Z-cam Luts

[Jeanett Fite]

Theseluts were made specifically for use with Zlog2 footage and have not tested it with other image profiles.

They are to be used on top of the zlog color plugin for best results. ( -cam.com/lut/)

My colorists are working on Davinci Resolve, so I would like to be able to edit on Vegas (as it is the best editing NLE in my opinion), and export an XML to colorgrade in Resolve. is this possible? right now everytime I try to export a rough cut from Vegas to Resolve, it doesnt load all the media due to the fact that Vegas doesnt read my R3D file's timecode, so Resolve can't match the files. The solution for this would be either manually inputting the timecode into each video file (which is very time consuming), or transcoding my media into a format of which vegas can read the timecode from (which is out of the question cus im loosing all my RAW data)

What I've been doing so far is editing my stuff in vegas, then render a "Vegas Intermediate 444" file (depending on your footage), Import to Resolve and use the "auto scene cut detector" to split my clip and color grade. this is fine I guess but it makes me unable to keep my RAW files.

My usage is probably not much like what your company has in mind because I do almost everything in Vegas and pop over to Resolve only for color tweaking. Usually with the unedited clips as they come from the camera. Export the LUT from Resolve, bring it back to Vegas, and do all the other work there and lose nothing. Since I don't have the Studio version of Resolve and cannot pull h.265 stuff in, I might make an intermediate. Perhaps scene-stubs marked off in Vegas as regions and rendered with a batch script. But for my purposes frame grab jpegs pulled out of Vegas work well enough. In any case, I export 65-point LUTs from Resolve and that's the only thing I bring back into Vegas.

It does on the preview screens, as long as the video level ranges match... I use the SeMW extensions on the Vegas preview screen to quickly bounce in and out of studio and pc level ranges. Z-cam camera log-luts I've been working with lately work the same on both too. I've never rendered out of Resolve, however, so I don't know anything about that.

FWIW, I also prefer cutting in Vegas, and it is more than just familiarity with the software. Vegas is more agile and it is easier to get a precise pacing of cuts due to the way it handles overlaps and transitions. It is quite different from other NLE's in this way.

Do check, though, that the clips aren't moving within the events (i.e. shifting from the actual edited position according to timecode) - it is a bit suspicious that Vegas can't read your TC, but somehow it gets through AAF (maybe AAF doesn't need TC, I don't know.)

I currently have a BMPCC 4K and I'm fairly happy with it for now (I jumped from the 8-bit slog of the Sony A7 III), but sometimes I struggle with the highlights, trying to not blow them. Dark scenes are hard, as there is some noticeable noise. Playing with BRAW has been wonderful, so it would be hard for me to go back.

I'm wondering, would a camera such as the Red Scarlet X would be a good upgrade? I think with some patience it would not be difficult to find a good deal and probably more affordable than modern options: Komodo (which I've read mixed reviews about), Sony FX6, Ursa mini 12k....

To be honest, I'm not very familiar with the Red ecosystem or history of sensors. From what I've gathered, the Misteryum X sensor falls a bit behind the later Dragon sensor, so I'm trying to get a sense of how they perform and if at this point it's best to prefer a more recent one. If you have some reading or comparison videos, I'd appreciate it. ?

- sensitivity is not anywhere near modern cameras. if you always shoot at 800 ISO you would not notice but you need to have a proper lighting budget for it. In comparison, I regularly shoot indoors indie stuff at ISO 4000 and ISO 12800 without issue with more modern pretty basic camera setup

- very old camera design in digital camera terms. The original Scarlet is from 2009 or 2010 I think and is almost 14 years old! This means that the camera bodies are so old that they can fail anytime for being so old (most digital cameras don't last even this long) and there is a risk of losing value of the investment if you don't get shoot enough material with it before it WILL break up.

+ if wanting a PL mount camera with compressed raw, there is very little options in this price range so it can be relatively cost effective if the camera body just lasts long enough to get your money back from it

One's main alternative would be a used Ursa Mini Pro 4.6k, either gen1 or gen2 . OR a new Z-cam e2s6 . They both have pros and cons too. The ursas are more well know so will list only them for z-cams:

+ small, lightweight, uses very cheap batteries and affordable media, consumes very little power ( I think about 1/6th of what the Scarlet consumes) , most models pretty light sensitive, have pretty good dynamic range

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