Thank you for watching my tutorial! 🎥 If you have any questions or need further clarification on any steps, feel free to leave a comment below. Your feedback is invaluable, so let me know what you'd like to see in future videos. Don't forget to like and subscribe for more color grading tips and tutorials! 🌟
Awesome video dude. You make these complex work flows look simple enough for a total beginner like me to figure it out! I can't wait for a tutorial on your warm vintage look from a couple days ago.
@@GhettoFabulousFILMS Thank you so much! I’m thrilled you found the tutorial helpful. I’m actually planning to make a tutorial on how to build your own node tree from scratch and will also share the basic node tree I use in my workflow. Keep an eye out for it-should be up soon!
Thank you so much for your kind words! I'm thrilled to hear that you found the workflow understandable and valuable. Sharing this knowledge with the community is my passion, and your support means a lot and Your feedback helps me realize the value of these tutorials.
Thank you so much for sharing your knowledge!! I got more out of this color grading demonstration than any video I have yet watched, you did an outstanding job!! (By the way, your step-by-step video about building and using your node tree is the perfect companion to this one!) The only input I have would be to caption the 'on' and 'off' states when you toggle an effect to show the difference. It seems like you went back and forth fairly quickly, and some of the effects were somewhat subtle, so a cue would be helpful. I'm working to train my eyes and brain to perceive these fine details quickly and accurately. Absolutely fantastic video!! Again, thank you...
@@bobs9225 Thank you so much for your kind words! I’m thrilled to hear that you found the demonstration helpful. I appreciate your suggestion about captioning the ‘on’ and ‘off’ states-I’ll definitely incorporate that in future videos. Best of luck with your training, and thanks again for your feedback!
@@-semayawikine Thanks for the feedback. Here is the info: Davinvi YRGB, input color space Davinci WG/Intermediate, output color space Rec 709 Gamma 2.4
I suddenly thought this was going to turn into a Dehancer video, those people have crowded RU-vid, giving the program for free to people so they talk good about them, maybe it's a good strategy, but they are going to run out of customers if they keep giving it away for free, lol! Anyway, good video.
Thank you for your thoughts and for watching the video! You bring up a valid point about the promotional strategies of software companies. Dehancer is indeed a popular tool among professionals, and we find it to be a valuable part of our workflow. We even offer a 10% promo code for anyone interested in exploring its features further. That being said, we're all about versatility and finding the right tool for each project. DaVinci Resolve 19's new film look creator is another fantastic feature we often utilize, providing different advantages depending on the specific needs of a project. Ultimately, it's about what best enhances your workflow and creative output. We appreciate the variety of tools available, as they help push the boundaries of what we can achieve in color grading. Whether it's Dehancer, DaVinci Resolve, or any other tool, the key is to experiment and find what works best for you. Thanks again for engaging with us, and we hope you find the right mix of tools that suit your projects perfectly!
Great catch! That was indeed a misspelling on my part. To clarify, I meant to say that the max INPUT should be set to 10,000, and the max output should be set to 100 nits. Thanks for pointing that out!
CREATING THE SECOND POWER WINDOW NODE: To create that 2nd "outside serial node" that magically contains the inverse of the first power window, simply click on/highlight the node containing your power window, then hit "OPTION" & letter "o" at the same time -- that magical 2nd node with the inverse PW instantly appears! (I had played with power windows but never knew this existed/was scratching my head LOL. @MediabeeColorLab Thank you for another outstanding TUT! Cheers
@@eversparx Thank you so much for your kind words! I’m glad you found the tutorial helpful. It’s great to hear that the tip about creating the inverse power window was useful for you. Happy color grading, and feel free to reach out if you have any more questions or need further tips. Cheers!
@@iii_reza I totally get it! DaVinci Resolve can seem a bit overwhelming at first, but once you get the hang of it, it’s incredibly powerful. If you ever decide to give it another shot, I’m here to help! ☺️ Happy editing!
Thanks for your comment. I actually use a Mac Studio M2 Ultra with 64GB memory, which works well for my specific workflow. However, I'm not as familiar with PC builds, especially under $1200. I’d recommend checking out some forums or RU-vid channels that specialize in PC builds for DaVinci Resolve-there are some great resources out there tailored to different budgets. If you have any other questions, feel free to ask!
1:09 please... I reay tired about CST. In every tutorial always different... Why Wide gamut in out why not Rec 709? Why this node in start why not at the finish? If it in finish and all corections will be done before it what kind of setting will be there??? I realy did not see tut about how to use CST in 100% right way! I have black magic 6k and for 2 year s did not know how to make it correctly. What kind of color space I need to put in proj setting and also in CST. Help somebody..
Thank you for sharing your concerns and frustrations. Color space transformations (CST) can indeed be complex, and it's common to see different approaches depending on the project and personal preferences. Wide Gamut vs. Rec 709: Wide gamut is often used to preserve more color information, especially if you're planning to do extensive color grading. Rec 709 is a standard for broadcast, so it's typically used for final output. Starting with a wide gamut gives you more flexibility and control over your colors. Node Order: The order of nodes can significantly impact the final look of your footage. Placing the CST at the beginning ensures all corrections happen in the same color space, which can be simpler. However, some prefer it at the end to maintain more original color information throughout the grading process. Project Settings and CST: For your Blackmagic 6K, you might want to set your project color space to Blackmagic Design Film for the widest range, and then use CST nodes to convert to Rec 709 for final output. This ensures you work in a high dynamic range and only convert at the end. CST Settings: When applying CST at the start, set the input to match your camera's color space (e.g., Blackmagic Design Film) and the output to your grading space (e.g., DaVinci Wide Gamut). If applying at the end, set the output to your delivery format (e.g., Rec 709). I hope this helps clarify things a bit. I'll consider making a detailed tutorial to cover CST workflow in depth. Thanks for your patience and support!
@@MediabeeColorLab thx for answer. Still have questions 🫣 for example why in proj settings BMC Film and why not wide gamut? What if I have 3 cameras and do not know what the types of that cameras? I think good and long tutorial from pro like you will be super awesome!
@@HalloFilmz Thank you for your questions! I use Blackmagic Design Film as my input color space because I'm working with footage from a Blackmagic camera. This ensures that I maintain the integrity and quality of the footage right from the start. For color grading, I use the DaVinci Intermediate color space as it provides a large enough gamut to make significant changes without compromising on color information. If you have three cameras and are unsure of their types, you can use DaVinci Resolve's built-in color management to auto-detect and apply the appropriate color space for each camera. Alternatively, you can manually select a common wide gamut color space, like DaVinci Wide Gamut, which can handle footage from different cameras more flexibly. I appreciate your suggestion for a longer tutorial, and I’ll definitely consider creating a comprehensive guide to cover these aspects in detail. Thanks again for your support and feel free to reach out with any more questions! Happy grading!
Hi, great question. Here is my master project level color management settings: Color Science: Davinci YRGB Use separate color space and gamma (unchecked) Timeline color space: Davinci WG/Intermediate Output color space: Rec 709 Gamma 2.4 Master settings should match the specs of the footage. In my case it was Ultra HD, 25 fps Hope this helps!
Beatiful tutorial.Can you help for creatibg this high quality screen recording ? Bit rate ? I do screen record via Screen flow and export via Davinci-but not able to find this much of brillian quality :(
@@DevAcharya yeah, I am not sure if you can record your voice while screen recording with Quicktime. I add my voiceover later in post. About the bitrate, yes, Quicktime does a good job, but I have to double check the bitrate.
@@MediabeeColorLab Thanks a lot .. i'll look into that also.BTW the color grading process you shown .si it achievable wihout dehancer pro ? I'm a beginner and i do not have budget to get Dehancer pro :(
@@rylediting2795 it is included in the Voyager LUT essential pack by Cullen Kelly. You may google it and it will come up. 😉 They are all very reliable, quality creative LUTs, so I would highly recommend them.
@@jhonesreece4946 Thanks for asking. You may want to check out my first tutorial video (at least the first 2 minutes): DaVinci Resolve Secrets for a Cinematic Look | A Step-by-Step Workflow #Tutorial #davinciresolve ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FnBSg6YOFNY.html
Hi... I want to give some constructive criticism. It always bothers me when I’m trying to learn or improve my knowledge on something, when the video is filled with unnecessary zoom-ins. If you want to highlight a particular part of the video, I, as the viewer, end up missing the transformation that occurs on the part of the screen that got hidden by the zoom. And there’s no reason for the zoom, you provide your video in 4k. And even if it were only 1080p, no one here, especially with the type of content you provide, would have a monitor smaller than 720p. It’s just a suggestion, with all due respect.
@@zackempire Thank you so much for your constructive criticism and for taking the time to share your thoughts. I really appreciate your feedback and understand your concern regarding the zoom-ins. I’ve been considering the different ways my followers consume my content, and many of them watch on their phones. The zoom-ins were intended to make it easier for them to follow along with my color grade workflow on smaller screens. However, I see your point about potentially missing transformations and will take this into account for future videos. I’m always looking for ways to improve and make the content more accessible for everyone. Your input is invaluable in helping me achieve that. Thanks again for your suggestion and for watching my videos!
Thanks for your comment! The DCTLs I use are from various creators, and I purchased them from different sources. If you're interested, I can share where I got them, but unfortunately, I can't distribute them directly. Also, I’m currently working on my own LUT pack, so please stay tuned if you are interested.
@@MediabeeColorLab Hello, great tutorial, I am really interested where you got these DCTL or the name of this pack. I woud really appreciate if you can deliver me the name or where it comes from. Thank's Richard
@@MediabeeColorLab Thank's for this fast answer. I took a look at this site but I did not see any DCTL with that particular name MONO SAT HUE 3.0 at 3.54 min off your tutorial.
