I am Senior Colourist and founder of Online Creative Post Facility in the UK - established in 1999. I regularly colour grade for BBC, Amazon, C4, C5, ITV and most of the UK terrestrial broadcasters. I have worked internationally with ABC, Turner (USA), Channel 7 (Australia), HBS (FIFA), NHK (Japan), N24 (Germany) amongst many. My work is diverse and covers documentaries, factual and entertainment television, music videos, branded content, features and shorts. I am a Certified Master trainer for Blackmagic Design DaVinci Resolve and have talked about my work at seminars across the world, and regularly train colourists & editors from beginners to advanced. I Love to share knowledge from my 30 years in the broadcast industry, 18 years as a colorist and 14 years on DaVinci Resolve. Please subscribe to this channel for regular Pro tips for DaVinci Resolve. If you want to say "thank you" then you can buy me a coffee www.buymeacoffee.com/darrenmostyn
By far, the best Davinci Resolve channel ever. I have one tecnical question that apparently nobody talks about. Do you know any real solution for "horizon lock"? When i shoot handheld, my horizon keeps rotating clockwise and anti clockwise throughout the clip? Is there a way to keep horizon locked in place without me going to manualy keyframe every second of rotation angle? Maybe somekind of line tracking that is applied to the clip to stabilize it (if it makes any sense). Thank you!
thank you so much, i saw some video about tracking but i had many issues when the tracking was not following the video thanks to your video now i m good.
If you do a calibright calibration of your monitor and that setting is in the Windows OS, Is that as good as using a calibrated monitor through an IO device?
For the life of me, I cannot understand how this 20 minute introduction to DaVinci doesn't have at least one like for every view! Darren, this is the best intro to anything i've ever seen. Bravo!
Love the uncut interview style. Is there a place where your concept of rippling the edits down the line is discussed further? Is this something done in group grades through grabbing stills and applying those grades? Always something new to learn from this channel!
What if there are people of different races. I mean a mix of light & darker skin people? does the DCTL still recognise and apply an accurate viewing mask?
My tool, designed similarly to the skin tone indicator line in DaVinci Resolve’s Vectorscope, is capable of effectively working with a diverse range of skin tones, including light, dark, and mixed skin tones. The fundamental principle behind the skin tone line is not to target a specific shade or color, but rather to align with the natural hue progression found in human skin, which spans across different races and ethnicities. To see how well it works for yourself, there is a free demo available. I encourage you to test it out and experience its capabilities firsthand.
Great video. Can someone explain the thought process here? I understand why you would boost the blue channel to remove the yellow, but why does adding red and green into the blue channel remove even more green? Is it somehow adding more blue?
"So, if I buy DaVinci Resolve Studio, I won't need to pay extra for future updates. For example, if I purchase version 18 Studio, I can easily upgrade to version 19 Studio without any additional cost. Is that correct?"
Mind blown! Thank you for this video. Make things o much easier. I do have one question, you say that your monitor is set to REC 709 color space since your work is for broadcast. What about the settings for if your doing work that is online and remains online for say Real Estate or living here on YT or one of the many social media feeds. I understand for output that REC709 is best, but what about the input gamma and such? Hope that makes sense.
hi. thanks for kind words. REC709 Gamma 2.4 for broadcast, REC709 gamma 2.2 for web/social media etc. My monitor switches easily and is calibrated for both standards with a simple switch. XMP310 is my monitor. Hope that helps. Dont set an output that doesn't match your monitor settings basically!
@@DarrenMostyn Eventually I’ll be doing more mission critical work as long as I stay on the road I’m on. Only up from here. But definitely going to try editing in the REC709 profile for my screen and see how the final looks with viewing it on a mobile device which is how most view things these days.
same principle - just use less nodes maybe. Because I have 20 or so nodes doesn't mean they all being used. A simple RU-vid look node tree maybe only 2 or 3 nodes. But I work in docs and Music videos a lot so I like to use this bigger node tree. Hope that helps.
@@DarrenMostyn Thanks. One goal I want is that when I do my videos i want them to still have a nice grade and not just look like a regular video just posted. But thanks again for your reply!
Thanks for the update. Can you give us some sources like(books) for learning the art of color grading, besides learning tools? I'm good at using the software but when I look at a footage, I don't know what to do with it. I can just correct it, but during grading I don't know what to do with it. I want your opinion, on what should I have to learn to become a good colorist like you.
Mr. Darren Mostyn, a world-class DaVinci color grading master Hello! It's great to meet you! Can we get some help with the color grading of the DJI Mini Pro 4 drone on the DaVinci platform, how to properly grade this DJI Mini 4 Pro D Log-M format to produce high-quality HDR video (DJI Mini 4 Pro D Log-M to HDR) I hope you can take the time to make a tutorial. Especially to make this tutorial on the recently released DaVinci 19 version.
Darryn, keep killing it man, you've literally taken us out of the dark ages with color grading spots for our clients, so, thank you. QQ for you. We pass a lot of cuts to the color station as Prores 422 files, and then detect scene cuts to get into coloring. We use several Sony bodies shooting Slog3, and it has been very easy to set the input color space of the clips to Sony Slog 3. Problem is, if the cut contains any other footage such as drone or Iphone, It treats the whole cut as one clip, even though divided by the scene cuts. This prohibits setting the input color space on the individual clips, as it must be global across the entire cut. I've found some success using cst to try to back out of Slog3 for the rec709 clips, but havent found the recipe that delivers a clean result yet....Any thoughts? Thanks!!
you need to do as CST only non RCM as the clip is one clip. Auto colour managed wont work. Also, use 422HQ not 422 - difference is worth it, even better use 4444. Hope that helps.
