SL2-S Video Settings

[Chris W]

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I understand everything except which codec to choose. Shooting to internal (fast SD card) editing in Davinci Resolve.

Short clips of two to three images each. Best quality?

[frame-it]

 

[BernardC]

1 hour ago, Chris W said:

I understand everything except which codec to choose. Shooting to internal (fast SD card) editing in Davinci Resolve.

Short clips of two to three images each. Best quality?

One thing to keep in mind is that the free version of Resolve doesn't accept MOV files, or formats > 4K. The paid version (Studio) does.

There are workarounds, such as converting your MOV files to a format that Resolve can ingest, but that's a pain.

[Stuart Richardson]

I would say the paid version is absolutely worth it. The quality of the program vs the cost is superb, and it is a perpetual license, which is almost like a rare jewel these days. If you can afford a Leica, you can probably afford resolve studio. There are other bonuses too, like HDR, excellent noise reduction and things like dead pixel fixer (hopefully you don't need it, but great when you do) and surely lots more for people who are more advanced in it to me. You don't have to upgrade each time. Just buy it once and never worry about it again (assuming they don't get greedy). Certainly way cheaper over time than maintaining a full Adobe subscription if you are not doing that already. 

[Chris W]

I don't need to discuss the pros and cons of Resolve, I've been using it for 15 years.But the SL system for  video is new to me.

I have the Studio Version and have been editing CDNG from a Sigma FP for years.

That's what I'm used to, hence being confused by the plethora of options in the SL menu.

I don't need 6k or 8k, just good quality (raw) that I can colour grade in Resolve.

[Chris W]

2 hours ago, frame-it said:

 

Yeah, I watched this a couple of times weeks ago.A lot fit is basic stuff I already knew.

What they do is list all the features.

What I want to know is *what are the file settings most people who are experienced with the SL2-S ACTUALLY using * 

RAW video 12 bit 4.2.2, 10 bit HEVC? etc, etc.

[LocalHero1953]

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54 minutes ago, Chris W said:

I don't need 6k or 8k, just good quality (raw) that I can colour grade in Resolve.

Raw? In which case you'd have to record over HDMI to an external recorder. It won't record raw internally AFAIK (unlike the Sigma fp, or Blackmagic).

FWIW I record internally and edit at 25fps C4K, L-Log, ALL-I, .mov, but render at FHD.

Edited October 16 by LocalHero1953

[Chris W]

Great, thanks.

[frame-it]

5 hours ago, Stuart Richardson said:

and it is a perpetual license,

for now, but might change

[Archiver]

12 hours ago, Chris W said:

What I want to know is *what are the file settings most people who are experienced with the SL2-S ACTUALLY using * 

MOV 10bit 422 C4K 25p Long-GOP

MOV 10bit 420 C4K 50p with aps-c crop Long-GOP

MOV 10bit 420 1080 100p Long-GOP for slow motion

All using L-log. Natural profile as the viewing LUT. Interpret as Rec709 in Premiere Pro (not using ACES until I fully understand it) and apply Leica's Natural 709 conversion LUT for base correction.

[Archiver]

7 hours ago, frame-it said:

for now, but might change

Might as well buy it while it remains perpetual. 

[frame-it]

2 hours ago, Archiver said:

Might as well buy it while it remains perpetual. 

they can still change it to subscription based, just like adobe did for LR, was supposed to be for this current version but they aint doing it for now

[BernardC]

With the Studio (paid) version, pick a 10-bit L-log MOV format on the camera, and tell Resolve to use Rec-2020. That will give you the biggest dynamic range and colour response.

[Chris W]

Thanks 👍

[Photoworks]

Most of it has been said.

to recap + some other details.

Mov is a good format, 422 is a bit better than 420, which gives you more colors, more punch, and pulls in color grading. 10-bit should be a must for dynamic range. 

L-log will give you a flat profile, which will give you maximum dynamic range. Set the camera to preview the Leica Nutral Rec.. 709 LUT, and expose the just as you see it.

I shoot 4K MOV 29.97p h.264 ALL-I 4.2.2/ 10bit 400Mbit/s L-Log. That is what most of my clients ask me for.
Some other camera shoots in ProRes and ProRes RAW. Unless you know that you need it, it is overkill. I use ProRes for greenscreen work, and RAW when it is going to special FX in post.

In Davinci
I am trained as a colorist, so this may get a bit complicated.  Make sure you update to the latest one; there is a big update from last week on the Rec709 shit on the Mac.
To edit LOG files, you probably need to have Davinci Studio.

Simple
When you set up a timeline, pick  Davinci YRGB  / Davinci WG/Intermediate / Rec 709 (Scene) in the color tab
Step 2 in the Color Screen, in the node section, go to timeline and make a new node in it with a Leica Lut Neutral Re.709.
You should now see what you saw in the camera, in the node section, switch back to clip view, and add all you need to make your correction.
You can find the LUT files on the Leica Support Download page.

Advanced

You would use IDT, an ODT, or a color space transform to manage your files. It is what most colorists use because you have more options and control over files from different cameras.
Plus, you can easily change the destination to HDR or Movie theater projection files.

Another advanced option is also color managed.
 

You may know all this already, or maybe there is something new, and if you need more info, just let me know. 
My point is not to post just for you, but otheres that may come across it at some point

Cheers.

 

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Edited October 17 by Photoworks

[Chuck Albertson]

On 10/16/2025 at 9:16 AM, Stuart Richardson said:

I would say the paid version is absolutely worth it. The quality of the program vs the cost is superb, and it is a perpetual license, which is almost like a rare jewel these days. If you can afford a Leica, you can probably afford resolve studio. There are other bonuses too, like HDR, excellent noise reduction and things like dead pixel fixer (hopefully you don't need it, but great when you do) and surely lots more for people who are more advanced in it to me. You don't have to upgrade each time. Just buy it once and never worry about it again (assuming they don't get greedy). Certainly way cheaper over time than maintaining a full Adobe subscription if you are not doing that already. 

I bought the Speed Editor deck (currently $475), and the pro version comes with it (speaking figuratively - it's a download).

[Chris W]

14 hours ago, Photoworks said:

You may know all this already, or maybe there is something new, and if you need more info, just let me know. 
My point is not to post just for you, but otheres that may come across it at some point

 

Well thanks for all the detail. Much appreciated.

I have been using many of those suggestions for a few years editing my Sigma FP footage, but as I don't edit video more than couple of times a year, I can forget things, or get confused. So I will follow your directions (editing my first SL video next week).