Resolve 9.1 - Are we there yet?

The latest version of DaVinci Resolve, 9.1, now includes CinemaDNG Input Device Transform (IDT) for grading Raw images in the ACES colour space.

This gives in my opinion, out of the box, the most accurate colour rendition of the Ikonoskop footage. Or as Jesse Borkowski said on Twitter: "I know! It’s like I got a new camera!"

To set it up in your Resolve projects, here’s a nice tutorial by Jesse:

If you were using the IkonoVinci.lut, be sure to deactivate it when using ACES.

Starting Point for Grading in DaVinci Resolve

In a prior post about Resolve, I wrote about my quick fix to get rid of magenta in the shadows and I mentioned it’s only one of several ways to get rid of it. All you want is a good starting point for your grading.

It’s in the grading that lies the power of the uncompressed raw CinemaDNG of course. That’s why you bought or use the camera in the first place.  As Ikonoskop has always mentioned: the dII does the capturing, your computer does the processing afterwards. There’s no processing of the image in camera. No curves, no rolloff, no LUT. There are many things you have to be aware of to get the most out of your Ikonoskop footage. After all, it’s all about luminance and chrominance. And with the dII, it’s you who’s in control, not the camera. You not only need to be maybe the director, DP, editor and colorist, you’re also the guy or girl in the lab developing your film.

That doesn’t make it easy to get quick results at first of course. It needs studying and a lot of trial and error. But after a while you get better at it, you’ll make your own presets and LUT’s you can trust and most of all, you will have control over your images like you’ve never had before.

So if you see footage out there with whites that aren’t really white, with harsh highlights, with a magenta or green or blue or whatever cast in the shadows, and it’s difficult to assume it was an artistic choice, don’t go blaming the camera or the sensor. They’re quite alright actually. It’s all in the hands of the one who’s responsible for the grading.

Just watch this to see how nice Ikonoskop footage can look:

But anyhow, I started out by mentioning those other ways to get a good starting point in Resolve, in addition to my IkonoVinci.lut. Apparently not everyone finds it so easy to install this LUT. And I really suck at making tutorials.

So I’ll leave the making of tutorials to people more capable and this leads me, quite seamlessly, to another way to get a good starting point without magenta in the shadows. It’s written buy a new Ikonoskop owner, Jesse Borkowski, and it’s a great tutorial. I’m not quite sure about using the Linear Gamma setting, but that’s just my opinion. 

The third possibility I’d like to share with you is something you might like if you’re used to working with LOG style footage. Like ARRI’s LOG C or Sony’s S-Log. Set the color space, in the Camera Raw settings (see video above) to BMD Film and be amazed by the details you’ll see in highlights and shadows without any strange color casts, but with the all familiar washed out LOG type ‘look’. Now drop your familiar LUT’s on your footage, and I’m guessing you’ll find that the result will be pretty close to what you’re getting with other LOG footage.

RawCinemaShop’s Shot On Ikonoskop 2012 Reel

To celebrate this new year, a little tribute to the past year. It’s been quite an eventful one for me and it left me utterly exhausted. But nothing some hard decisions and time with family and friends can’t resolve. 

It was a very educational year in regard to the Ikonoskop A-Cam dII. I’m thankful for all the people I’ve gotten to know, online and in person, just by sharing interest and passion about this camera and filmmaking in general.

Anyhow, this reel is a selection of shots from about 50% of the projects that were shot during 2012 on my dII’s.
They have been graded in DaVinci Resolve by me, solely for the purpose of this reel. The goal is to show a lot of different styles of grading. So I even changed style in the different shots from the same project. Except at the end, when there’s a little edit of the two girls walking and talking. 

A big thank you to all my collaborators and clients.
Have a great 2013!

RawCinemaShop’s Ikonoskop 2012 Reel from Joachim Vansteelant on Vimeo.

Getting rid of Magenta in DaVinci Resolve

UPDATE: obsolete as of firmware 1.27 (March 2013)

There’s a lot of magenta in the shadows of Ikonoskop footage in DaVinci Resolve. I don’t think it has always been that way, but it definitely is the case in Resolve 9 lite.

There are several ways to get rid of it. I offer you one solution here that’s very quick and easy. In my opinion you have to fix it before you do any Color Correction in the Color Tab. That’s why I’ve created an input LUT that fixes the magenta issue: IkonoVinci. Well it will fix it untill Blackmagic changes something on the decoder side and/or Ikonoskop change something on the encoder side. Then I’d might have to make a new one ;-)

This means you don’t have to fiddle about in the CinemaDNG settings (Camera Raw tab) in Resolve. So leave the White Balance, Color Space, Gamma settings and use the Camera Metadata to do the Decoding. 

Unpack the zip and copy the folder into the LUT directory of DaVince Resolve. On OSX this would be: Library>Application Support>Blackmagic Design>DaVinci Resolve>LUT.

Now go to your Project Settings image. Select Look Up Tables and select under 3D Input Lookup Table the IkonoVinci.ilut.


Then hit image

Now in your MEDIA tab image you’ll still see the magenta. But when you go to the COLOR tab image, you’ll see it’s gone. Now you can start grading.

Getting rid of Magenta in Camera Raw

UPDATE: obsolete as of firmware 1.27 (March 2013)

We’ve talked about this before. How there seems to be a magenta issue in decoders like After Effects (Camera Raw) en DaVinci Resolve and rather a green issue in decoders like SpeedGrade. So I’m writing this for those of you who don’t seem to get rid of this magenta in the shadows in After Effects.

3 images with default Camera Raw settings:

Image 1 - Zeiss Distagon mkI 12mm


Image 2 - Canon 8-64 S16 Zoom


Image 3 - Optar Illumina 12mm (thanks Lennert De Taeye)


Now in the first image, there doesn’t seem to be much of magenta, because there isn’t that much shadow. But take a close look at the sides of the image. You’ll notice 2 dark vertical bars at every side. The one most on the outside is completely black. The one between the image and the outside black bar is a reference bar for the blacks in your image. Now see how magenta this is? Not only is it magenta, but it’s also a lot brighter than the outside bars.

The second image contains some more shadow. You’ll notice some magenta on the shadow side of the head (mostly below the ear). Look at the reference bar, also some magenta.

The third image has loads of shadow and a magenta cast almost covering the complete image.

I’ve made a preset to get rid of this: IkonoRaw2012. It’s nothing fancy, a combination of alterations in contrast, blacks and tint settings (Shadows under Camera Calibration tab). 

After you’ve downloaded it, you can use it as follows:

Click the little select symbol:  image  (to the right, next to ‘Basic’). Now select Load Settings find the IkonoRaw2012.xmp file, and click Load.

It gives the following results:




That’s more like it, no? Well there’s still something funny about the second image. This one now seems to have too much green in the shadows. Setting the Tint level in Shadows under the Camera Calibration tab to -60 seems to give a better result.


Of al the images in my CinemaDNG archive only these takes (second image) give rather greenish results in the shadows using my preset. The reason is (I assume), that this was filmed with a Canon 8-64 Super 16 Zoom. Apparently this lens has an impact on the magenta/green balance. Saving a specific preset for this lens takes care of that.

Coming up: Getting rid of Magenta in DaVinci Resolve.