Demo shows F65/DaVinci Resolve workflow
December 25, 2011

Demo shows F65/DaVinci Resolve workflow

WEST HOLLYWOOD — Hollywood DI (, in combination with Sony Electronics and Blackmagic Design, recently staged a technology preview of the CineAlta F65 RAW and SRFile to DaVinci Resolve workflow. 

The event took place on The Lot in West Hollywood and features a close-to-release version of the Sony F65 8K digital camera recording a 4K RAW image stream to the SRMemory recorder. The 16-bit Linear RAW data stream was then decompressed and demosaiced on the next version of Blackmagic Design’s DaVinci Resolve color grading software. The goal was to showcase the benefits of an open architecture for increasing image exchange and workflow efficiency. 

“For a modern post house like Hollywood DI that specializes in file-based workflow for filmmakers and TV shows, it’s imperative that we find the most robust and cost effective tools to deliver our editing, color correction and finishing services,” says Neil Smith (pictured above), managing director of Hollywood DI. “Taking the F65 RAW data out of the camera and converting it to SRFile format for editing and conforming projects using the DaVinci Resolve color correction software is a remarkable achievement. The camera and software incorporate many SMPTE standards that facilitate the easy exchange of digital content between production and post systems. Our FLOworks methodology for digital content creation and delivery complements the IIF ACES specification perfectly.”

“The ASC Technology Committee has been working closely with the Academy of Motion Picture Arts and Sciences Sci-Tech Council to develop the Image Interchange Framework and Academy Color Encoding Specification or IIF ACES for short,” notes Curtis Clark, ASC, chairman of the American Society of Cinematographers Technology Committee. “The IIF ACES specification delivers on the need for a comprehensive color management system that not only accommodates wide gamut color reproduction, but also incorporates known and unambiguous transforms between log and scene linear encoding, as well as known transforms between different color spaces.”