I'd be interested to hear how you get on with this because I was never fully satisfied with the results I achieved using 'Technicolor CineStyle' (probably because my camera shot 8-bit). You probably can't use color management on those clips - you can disable it for those particular clips and then apply a LUT specific to 'Technicolor CineStyle', I suppose, or as suggested, use the input color space of Rec709 and then also apply one of the Technicolor LUTs. Theres a LUT that will convert Protune Flat and Native WB to REC709 colour space, which should make it easier for you to. The other 'White Balance' settings use a Rec.709 Color Space whereas Native uses what is 'visible' to the sensor and hence covers a wider spectrum. Fourth screenshot is with data levels set to video. However, highlights are OK, crack can be seen fine. Third screenshot is with data levels set to full. In/timeline/out are all Rec.709 (Scene), SDR 100, in/out DRT None both. Not that you'll want to hear this, but if your DSLR footage is 8-bit, the 'Technicolor CineStyle' will break up very easily as you try to grade it. the 'Native' white balance is actually more to do with the Color Gamut. Then I have enabled your GoProProtuneNativeRec709Scene LUT. If not, does one of the existing Input Color Spaces come close to matching the Technicolor's CineStyle Profile for Canon DSLRs? If so, is there a file for DR matching the Technicolor's CineStyle Profile? Is it possible to install additional Input Color Spaces? It would be great to be able to set a proper "Input Color Space" in the Color page. Now I am getting material shot on Canon DSLRs with Technicolor's CineStyle Profile. This works great with all my Pocket 6K BRAW footage. Vivoices wrote:All of my DR Projects are color managed, generally using the HDR DaVinci Wide Gamut Intermediate and outputting to Rec.709 2.4.
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