Working with the Sony FS7’s RAW DNGs in DaVinci Resolve 12

Just two days ago we’ve covered how to match the Sony FS7’s EVF appearance with the Odyssey 7Q+ monitor/recorder and today we’ll delve into working with the FS7 and the Odyssey7Q+ even further by introducing another excellent tutorial provided by Convergent Design. This time, we’ll walk you through the process of properly importing, processing, setting colour space, applying LUTs, and exporting FS7 RAW DNG files from the Odyssey7Q+/Odyssey7Q using the latest version of DaVinci Resolve 12.

If you’re already a proud owner of a Sony FS7 and/or the Odyssey 7Q+ combo the odds are you’ve are quite familiar with the recording and processing of Raw media. Yet, there are some small details and specifications down the pipeline that might improve your current workflow and take it one step further. Without further ado, let’s jump in.

Once you’ve imported the CinemaDNG files in Resolve’s Media Pool, select them all and by right-clicking navigate to Create Timeline Using Selected Clips. Give your timeline a proper name and hit Create New Timeline. The first thing that you’d probably notice is that the clips in your timeline aren’t looking initially as they did in camera (or as they appear on the Odyssey 7Q display) even though you’ve already matched both devices.


Another thing that you might notice is the small amount of letterboxing at the top and bottom of each clip due to the fact that the Raw media in FS7 isn’t captured in the industry standard 16:9 aspect ratio.

If you want to use the exact 16:9 framing you can set that easily in the Settings Window of Resolve. Just click on the Settings button in the bottom right corner of Resolve’s interface, navigate to Image Scaling and under Input Scaling Preset choose Scale Full Frame With Crop and click Save. 


After you set your framing properly, access the Camera Raw tab that is also located in the Project Settings window. First select a proper Decoding Quality based on the performance of your workstation. Utilizing Half Res would be a great starting point for slower machines. Further, under Decode Using select Project instead of Camera Metadata. The latter should be set by default. This will enable you to choose settings globally that will affect all Raw clips in your project.

In the same window under Project Settings leave the white balance As Shot and change the Color Space to BMD Film. Notice that the Gamma settings will also switch to BMD Film once you set the Color Space. Again, click Save to apply all these settings.


Moving into the Colour Page you will see all your CinemaDNG clips with the BMD Film curve applied to them. In order to modify the clips and match them to the S-Log 3 in-camera look, with the first clip selected in your Timeline shift click the last one to select all the clips, right-click on top, navigate to 3D LUT, FS7_RAW and choose an appropriate custom LUT based on the White Balance settings you’ve shot at.

You can download the custom LUTs shown in this tutorial by visiting Convergent Design’s website.


Now all your Raw clips will be set in S-Log3 so that you can treat them as any other clip recorded directly using this particular gamma curve. You can apply LUTs that are specifically designed for S-Log3 such as the presets from the Odyssey 7Q/7Q+. If all your clips in the timeline are shot in S-Log 3 it can be useful to use a single LUT that can be applied across your entire timeline.

If that’s the case, change the Clip Mode to Timeline Mode in the top right corner of Resolve, add a Serial Node and choose the LUT corresponding to the one you’ve used while recording with the camera.


You can also modify the Raw settings of each clip and over-write the Project settings by accessing the individual Raw Settings of each clip and changing the Decode Using method from Project to Clip.


Once you are satisfied with the look of your Raw clips you can continue further by navigating to the Deliver Page where you can tweak the render settings accordingly in order to create Proxy files or any other type of media based on your personal needs and the specific requirements of your project.

[source: Convergent Design]

B&H Links:

Sony PXW-FS7 4K Super 35 Camera – $ 7,999

Odyssey7Q+ OLED Monitor & 4K Recorder with 2 x 256GB SSDs – $ 2,295

Claim your copy of DAVINCI RESOLVE 12.5 - SIMPLIFIED COURSE with 50% off! Limited Time Offer!

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