Davinci Resolve 14 to Hitfilm Pro

I started using Davinci Resolve 14 this week because the new editor and fairlight audio engine are really good. My question is about transferring EXR files between Hitfilm Pro and Davinci Resolve 14. When I transfer an EXR file created in Davinci Resolve 14 it seems 2 stops brighter with less contrast. If I make no changes and render the file out of Hitfilm Pro as an EXR it looks normal again in Davinci Resolve 14. 

Here is the problem. I have to change colors to make the composite look the way I want in Hitfilm Pro but then it is messed up in Davinci Resolve 14. 

Does anyone have an established work flow for consistent colors and brightness between the 2 programs using EXR files?

Comments

  • Aladdin4dAladdin4d Moderator
    edited October 15

    The short answer is you need to figure out what LUTs to use and when. Here's a thread where some progress was made:

    https://hitfilm.com/forum/discussion/40015/contrast-increase-when-rendering-openexr

    Going from HitFilm to Resolve you'll need one LUT,  linear to sRGB and/or the color space you want to work in i.e. Rec. 709, Rec. 2020, S-Log etc. etc. Exporting from Resolve to HitFilm, you'll need another going the other way, from whatever you're working in to linear.

    Resolve has full ACES support so in theory you could build an IDT/ODT pair to handle things but that can get pretty involved. If you dig through the BMD forums and others like Creative Cow you'll find all kinds of posts covering the same basic problem. Here's one for example:

    https://forum.blackmagicdesign.com/viewtopic.php?f=3&t=8095

    Unfortunately there doesn't seem to be a magic cure all yet. It's tinker until you get it right. 

  • edited October 15

    Thanks. Do you know if the same problem exist with resolve and its other software Fusion when transferring between the two? I read Blackmagic plays well only with it's own products. All I found so far was I needed to buy one of their hardware interfaces and a calibrated monitor to bypass the OS profiles. 

     

    I guess I'll use 16bit Tiffs

  • One thing that we don't discuss in that thread that has helped is this program 

    http://www.videoartifact.com

    The user interface is partially text based, but with bit of patience allows you to do a lot. 

    For my camera, I set the brightness levels 16-255 in the 8bit source and export to legal (64-940) 10 bit uncompressed and get detail loss that I can see. Once I am working from the uncompressed video, I found most of the weird issues I used to have disappear.

  • edited October 15

    @AramM Thanks, I will try it out as well as set my camera to 16-255 to see if it helps. 

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