3:30 when I export a RAW photo to .png (16 bit) in LR, it weighs, for example: 120 MB and when I export the same photo to .dng, it weighs 26 MB :D Am I doing something wrong? By the way, you're doing a great job. Thank you for sharing this with other people :)
I love it! I was hesitant to pay for a plugin like Dehancer just for a few film effects because it's like $300, but I hadn't considered using Resolve to add those film effects for images. Great vid!!
people like u need to stop gatekeeping complicated subtle effects and instead teach young people that wanna pursue this kind of thing instead of gatekeeping it. smh you ruin the community
Has anyone noticed that the guy in the car has red, almost glowing ears? I guess halation simulation gone wrong there... Rec.709 doesn't have this problem.
Amazing video, really thorough and consise! Question, would you be willing to share your footage for testing purposes? I would love to try out some looks and come back to the video to compare them all uniformly. Once again, great job, full speed ahead! :)
Thanks for sharing - for me it seems like sRGB is not the best choice to work in since its a limited colorspace to tweak. It is what we are all looking at mostly on our computer displays but for editing purposes one could work with a bigger color space to have finer details and controls over the image. When exported it still can be converted to sRGB. what this workflow of the video shows is like shooting raw footage - render it as mp4 and grade the mp4. The outcome is looks very nice - dont get me wrong but technically its self limited which ins unnescessary.
@@burgoyne711 the output for displays in sRGB is totally fine. the input file format should be something like a dng / raw (don't know if davinci can open / handle them). A png or tiff with 16 bit is also better than jpg. But of course dont just resave a jpg as such - it has to come from a data heavy source. i dont have a workflow with davinci yet - thats why i watched your video. all i know is that you do the same with videos. you shoot in log to maintain image data as possible to grade it to convert it in a final step. if you work with an already converted to final output and therefore limited file you limit your possibilities.
Ps. I love the video idea. I wish more people talked about it. Not a fan of the workflow headaches of using yet another program in my chain (current use capture one for raw conversion, then photoshop), but there are some things that I can’t do in photoshop that I can do in resolve. I wish Photoshop had a way to do a quick round trip!
16bit PNG? Is that really smaller than a compressed tiff?! And the problem with this workflow is going out to rec.709(or sRGB) is you’re throwing away a decent amount of your stronger colors that you could print (or view on wide gamut monitors and phones now).
In my view serious photography editing (stills) requires a dedicated application. Photoshop is the best known application, but I've used Affinity Photo for years and both apps edit circles around Davinci Resolve.. for video, effects, and sound I use Davinci
That’s a valid opinion. It seems we’re using them for different reasons. I would never tell someone they have to use a specific program, but I don’t think it’s bad to expand your options.
awesome video ! I would love to hear your take on film unlimited , i've been using for tha past couple years on a lot of projects, and I also share the same feeling about the grain and halation, so i got interested on seeing your point of view in the whole powergrade !
Do you have trouble with the quality of the images? My files being brought into davinci are very sharp, but when I grab stills from DaVinci, the quality drop is pretty substantial. Is there a certain way your exporting out of Davinci?
I would make sure your timeline resolution settings in DaVinci match your image resolution. It defaults to 1920x1080 which is likely lower than your source image resolution.
Great idea. i am gonna give it a try. What timeline setting do you use in the project? Do you just let the image setting auto create the timeline setting?
Wow, thank you for this amazing video! Exporting as PNG in Lightroom first totally solved my color space issues when converting RAWs to DNG. You're a lifesaver! ❤
Yep. I hate everything program and workflow that involves DNGs. If a program works on a raw file and outputs a dng then it will impart its own bad color science on that image. Ie it’s not really raw anymore. I wish more people would talk about that.
Im about to watch all your videos man. I love how you put so many useful tips and knowledge into small easy to watch and to understand videos. This one tip will be useful!
was able to get this to work! it’s really cool! only question I have is, when I exported my vertical photos they came out with black bars on the side? I know I can change the timeline resolution BUT does that mean that the timeline has to only be vertical? or can i have horizontal photos too? i’m sure im missing something to small but just wanted to see if anyone else knew. thanks!
Hey dude, great video, thanks! How do you handle colour management with this powergrade? I usually go fairly manual, working in DWG at the timeline level, but I'm finding the results are really hot in terms of saturation - should I bypass colour management when working with this PG? Also worth mentioning that the footage I'm working with in this instance is straight up rec709 as opposed to log footage...
CinePrint doesn’t really accommodate a color managed workflow, so you’re stuck with CST’s. It also expects LogC, so unfortunately REC709 isn’t going to play very nicely here. In your case I’d look at using Dehancer or another option that allows for REC709 source footage.
@@cknopik Hey man, thanks for replying! I've been playing around with it and I can get a really decent result with bypassing colour management and changing input / space to r709 so I'm going with it... that's what I love about grading in Resolve - if it works, it works, right? 😂 Edit: I am working with 10bit footage though
