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Are you grading from the unique Uncooked information, or will you be onlining them into another format first? Additionally, what are you onlining them in?

If it's just you, then there's principally one easy necessary factor you need to bear in mind: whatever you are going to do to your other footage, you want to have the ability to do --reversibly-- to your vfx selects.

For instance, if you are utilizing Arri LogC Raw footage, and you're going to be grading the RAWs immediately in Resolve, then you definitely want to make sure no matter you do to your VFX footage, it comes back into Resolve in such that it's also interpreted as Arri LogC (which can be your working space in this example). This is applicable if you're utilizing EXR, DPX or ProRES 4444 for on-line.

One of the best ways to ensure this occurs is to check it in Resolve. Get your Uncooked plates, put a transform on it to output it to no matter you want, then convey that footage back in with a transform to make it like the original once more. Evaluate the two with a difference. Instance: LogC Uncooked output as 16bit Lin EXR in Resolve, then carry the EXRs back in, apply Lin->LogC LUT, and you should have perfectly matched footage.

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23 apr. 2019 -
Streamline the #visitor #checkin process and transform the front desk experience for your office or site visitors with an #iPad or Android tablet based #visitorregistration system
— James Brown (@JamesBr93818508) April 29, 2019

The technical technique of the way you do this is sort of as much as you - give it's your job to colour the footage I assume you have obtained a passing data of this. However the reversibility of the process is the important thing. DI -> VFX -> DI with no change in colour.

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Advanced Note: this course of is encapsulated into something like an ACES workflow. In ACES all your incoming footage is reworked into ACES, so in case you output plates you'd output them to ACEScg which should slot right again into your ACES workflow. And all of your Raw footage is transformed into ACES too.

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You should use this idea that can assist you if you are running into complicated issues that some colourspaces have. i.e. you'll be able to shift all the pieces into 16bit linear. This means whenever you deliver your RAWs in you linearise them because the opening remodel. That is kinda an ACES hack that might work for brief form initiatives all shot with the identical digital camera. Then you definitely grade in a linear working space, viewing as 709/sRGB/P3 and so on.