Man this just opened my eyes to more stuff I need to learn, I always felt that temp and tint didn’t cut it but didn’t know why. Thanks for sharing this!!!
Originally Resolve was made for "correcting" telecine that was shot 709 colorspace. Temp and tint expect 709, not logarithmic footage. This is the reason why many of the tools don't work well with log-like footage. Auditioning different tools for balancing is a good idea. OFFSET, HDR global wheel, linear node's gain wheel, OFX Chromatic Adaptation. Alternative way is to prioritize balancing subjects skin (like he does in the video with offset). After that use curves on a node after to hue v hue and hue v sat the rest of the image. I prefer to do as much as possible with primaries as possible and after use curves to mold the image in line.
@@timovepsalainen4927 The Temp and Tint sliders didn't even exist before DaVinci 12.5, so clearly were not "designed for telecine" nor Rec709. They are just gain with predefined vectors, and should be done in linear. If you set correctly your timeline colorspace and are color managing properly your clips, then changing the node where you're gonna use Temp and Tint to Gamma > Linear is enough for them to behave correctly.
Nice demo. It would have been useful to explain why temp/tint create an undesired effect. They are just gain operators on two axis. They aren't designed to serve as balancing tool on log data but rather normalized SDR images. Offset or HDR temp controls work for log but he most accurate balancing would be to convert to linear and then apply only gain changes with primary temp/tint or the gain wheel, then convert back to log.
Hi there, appreciate your input. I'd like to try your suggest method but didn't quite get the last part: So you would 1.Convert to 709 2.Adjust the RBG in only the gain wheel 3.Adjust temp/tint Is that correct?
@@mikechen121 If you're working with log footage, convert from your current log space to the same space but linear gamma, then use the gain wheel, convert back to log afterwards. So for instance DaVinci WideGamut / Intermediate to DWG/Linear and the back after the adjustment. When using a CST to convert make sure tone mapping is set to none. If you use RCM or manual management with proper timeline tagging of your working space you can actually set a node itself to linear gamma (rightclick it) which removes the need for extra set of CST nodes.
@@VladislavNovickij Владислав, но ведь такое вмешательство, я имею в виду грубое вмешательство с изменением ползунков +/- 10 единиц возможно, только при условии, что вся нужная информация имеется в наличии как в RED 3D RAW если, взять ролик снятый в 8 битах или даже 10 бит лог, такого чистого результата добиться не получится
@@odessitfromshz По поводу 8 бит согласен там все по другому, легко сломать кортинку, но даже в 8 бит работая с колесами можно многое сделать и сохранить чистый результат. А что косаемо 10бит, я в своем следущем ролике показал как скопировав все что делал тут 10бит также идеально выглядет 👌 там более чем достаточно информации.
This is abit controversial. I dont think NEVER is the right word to put. Since the you are adding more step to the original tempt and tint adjustment. Maybe if u make same steps or lesser; the title will make more sense.
Whenever the NEVER is in a headline, it catches my attention - unfortunately. And even in this case, it's completely wrong! Understand your grading tools by examining them on a greyscale (even better - add a small greyscale to the image) and check what Offset, Lift, Gamma, Gain, Temp and Tint are doing by observing the greyscale line in your scopes. And decide when to use what tool! The NEVER will automatically disappear..
The main difference is that when using the offset wheel you are basically offsetting the different color channels while the inclinations and shapes of the curves stay unchanged. this has the advantage of affecting the white balance equally at all levels but it also alters the white and black points which is why he had to redo it later. the tint and temp sliders are also not affecting the shapes of the curves but they adjust the angle starting from the black point keeping it intact. the downside is that they are configured for rec709 signal and thus a rec709 blackpoint. nevertheless they are a good compromise if you want a more straight forward adjustment with less tweaking.
@@user-bepis There is always something for refference like white, black, grey or maybe sky, skintone if there is nothing of that in the scene, then You can always grade it by Your taste 👌
Thanks gor the question. I do not tell that its bad instrument. I just do not use them for the ballance, I prefer Primary wheels and get the best result. I sometimes use temp & tint for the final look creation but not for color ballance.
@@_thewatcher27 Thanks for Your question. Usually I also watch on my waveform. I see that theres way too much blue and so on in my shadows so I go down with it and go even further down because I know that I will be going in an oposite direction in gamma that will compensate that difference. Just don’t be afraid to experiment and You’ll get that feeling of how strong You can push any of the colors. But theres still also a way to do it little by little by lift - gamma, lift - gamma.
But this is raw footage and you’re not using the raw temp/tint! Why not? You’re inadvertently giving people bad information. Raw retains all of that color data that might be currently clipping. Which is why you see the blacks shifting so red when you move things around, for example. Balance in raw first so the tone curves can work their magic, so you won’t have to customize the color for each element of the scene for every single shot as much as this.
Thanks for Your question. This episode was not about RAW controls, this footage was specifically pushed to an incorrect WB to have it baked in the footage. I was talking about Primaries Temp & Tint if You have not RAW file with such incorrect WB. It works in 10bit footage the same as here because all the ballance is done with primary wheels. 👌
@@hautehussey render in place in Davinci to Prores 422 with this warmth in the file makes it 10bit backed in and still works the same in Primary Wheels 👌 I personally use my Red Komodo 16bit raw and also GH5s and Canon R5 for 10bit log footages. If You color ballance in Primary Wheels lift gamma gain offset its very hard to break an image but You get great results if You feel what You do.
I think you are mixing to different things here. Temp/Tint have the same function as in photography - just to get the correct white balance. And what you‘re aiming for is a certain color look that no professional would realize using Temp/Tint. You either use the primaries, HDRs or for example the color warper.
Thanks but in this case not. In photography we are dealing with Raw image settings of temp and tint which are the same as on camera, In this case temp is backed in the image. This is different. This was done specially to show that its still posible to correct that later. While this was a RAW file before CSTs, if I do changes in Raw settings with Temp slider then it gives the same result as my Primary wheels. Its just an example of how to deal with such incorrectly shot files 🙌
Reminder to myself: Never use annoying music that fights against voice audio in a video as if i were a 13 year old amateur content creator that wanted to look stylish and "cool".
You didn't really tell us why. I can see it, but maybe provide an overview of the main differences. I have no idea why you chose to work with Lift and Gamma and not offset for example. I have no idea what is going on here.
Sure, I’ll provide more info in the next video, this was done for examples to show. Sorry if there were not enough info to understend why I do that. By the way I choose Offset first and if it is not enough to ballance an image I grab lift gamma gain. I usually ballance the shot to get pure white, neutral blacks and good skin tone first, then make a creative look for certain project.
@@VladislavNovickij thanks I think there is value in what you're showing. It's definitely an interesting method. I'd like to understand it better that's all.
Actually this is good video, something miss in this video you need to give information about how the first method work on scope, I mean you can simply use the grayscale and put some adjustment on it, so the audience understand why the second method look better, and give the information how the camera read the light, it will make your statement on the title feels better Much love❤
@@VladislavNovickijyeah can you make another video on this with the grayscale? I see how this looks better but I don’t understand why it resulted like this vs using tint and temp. Great video!
Hello, Friend I'm watching your videos. So These are amazing. I have a nub question. I've got a Canon R10 and i'm trying record in HDRPQ 10Bit, but i don't know how i can color grade this case in davinci resolve. Do you have any tutorial or a post about it? Thanks so much.
i'm a bit confused on the process. for example i understand why you brought the reds down in the offset but why did you bring the blues down that far in the lift, or any of the left adjustments for that matter. what is it you're looking for in order to stop dropping/raising those adjustments? i didn't really hear the reasonings, though the image definitely looked way cleaner.
Yes I have to learn explaining more in the video of why I do that, sorry if it was hard to understand. As I see that the picture shadows were too blue and not enough red, I drop blues in the lift way lower the green channel and add the red so it sits higher than the green because I know that I will need to compensate (go an opposite direction) them in gamma, then they will sit in one place of the waveform. Otherwise I can always make it step by step I mean if I would drop blues until the greens in the lift and add the red until the greens too, yes I would get neutral shadows but also too saturated skin, so I would go to the gamma red and blue to fix that but then these changes will affect the shadows too, so I will have to go back to the lift and push blues down again and reds up and so on. I would need to jump from Lift to Gamma and back again few times and finally would get to the same red and blue numbers as on the video.
thank you for responding, after doing some experimenting i can see why you made the changes you did. thank you for explaining i appreciate it! @@VladislavNovickij
The problem is, never use a cameraman that capture white balance that off! 😂😂 So you dont have to be on the situation. But thank you. Now I know what to do if the situation happen
I was skeptical at first. But the results are undeniable. Looking forward to that next video! Great content. Maybe a little bit more explanation on what you were looking for in your waveform. If I were to repeat this process, I’m not sure if there’s a rule of thumb for the waveform or if it’s just up to the eye. But other than that great job.
Never let waveform dictate what you should and should not do. "Keep blacks black and whites white" is not what it is about. Look at the photo, if you see something, verify your guess from scopes. I use 99% only histogram and vectorscope.
Im sorry can you repeat that? I was too busy vibing to that beat.😎 😜 Interesting method, I wonder what it looked like when they were shooting on set. How is it that the light in the BG was so much cooler with your method vs temp and tint? Ive always felt unsatisfied with temp and tint’s results. If Ive got this right your primary adjustment order is: Offset, lift, gamma and then fine tune from there?
Очень красивый цвет 👏 Причем на вашем видео он мне понравился ничуть не меньше, чем на примере. В процессе просмотра появился вопрос: при работе с RAW материалом, вы используете его полный функционал? Я понимаю, что сегодня был пример без него, но если бы вы работали для себя? Можно же установить баланс белого и экспозицию по вкусу для получения более пригодного исходника.
You're right. When I graded my last film, I used the Temp too and it made my image just as purple-orange and washed out as yours at first! This is an eye-opener!
Sorry, but this is the messiest attempt to white balance a clip I’ve ever seen. Your original temp and tint attempt was way off, so comparing the two is silly.
if the script / brief called for a hot atmosphere (imagining a fire / grill off camera) how would you go about balancing it but still keeping the original warmth?
The first time i tried resolve i didnt like the results of the temp picker and intuitively i did exactly what you did. Thanks for proving that this is not unorthodox at all.
Yes, better skin tone....but the background is very blue at the final. I doubt that it was that color in reality at time of video capture. How would you address that issue?
This is too much work for such a bad white balance problem. Put a Chromatic Adaptation OFX in (with the right Color Space and Gamma settings, and both Source and Target White Points in Color Temperature) and change the Source to make it correct. If the image is not too broken like the one in the example, you can also change the balance node to Gamma > Linear and do everything in the Gain wheel (some clips would need the Gamma wheel too). Much more streamlined and photometrically correct.
It's nice, but it's not balancing the footage really, it's a grade. There's a difference - and because it's all in one layer it isn't modular, so if a client has notes regarding one aspect of the image, you'd need to redo it all over again.
Thanks for Your response. In this case its not the look creation, it is an image balance to get clean blacks, whites and correct skin tone. Its a starting point for any creative look. Look goes later when an image is correct first. If I would need a specific look the client asks, I would create it after the balancing node, would not go and change the balance. This is an image as how it was shot on location.
@@VladislavNovickij But the image isn't neutral, look at the background - these lights aren't naturally that blue - it isn't a correction, it's a grade. The lights look very much like they should have a yellow tint to them, which you can clearly see at 2:30 - there are some kind of tungsten lights on the right and you lose that neutral tint in your grade. The lights on the left are cooler (in the background) and the right side should be warmer, but you lost all that during your grade, hence, it is not a correction, but a grade - you gave it a different look to what it naturally is. I'm not saying it looks bad - it looks very nice. I'm saying it is not balanced footage - it is graded footage.
@@filipparulski While its a R3D file I specially pushed warmth in RAW settings like its been backed in an image and corrected that in balance node. I did not show in this video but if I correct an image in RAW settings and turn off my balance node it looks the same just slightly less warm in the brightest background highlights, I can easily correct that too, this video a fast example of the difference and You can always tweak adjustments as You wish👌
Wow!! Very helpful! Thanks! I saw some other tutorial where the guy said he liked to switch to linear to make this adjustments and adjust exposure as well. What are your thoughts on this?
wow this is just amazing. But we need to understand whats really happening with the colors as we might have to use this trick in other situations . A detailed explaining video would be very good
@@OrelRussia Я не очень силен в фотошопе, сложно обьяснить. Фотографии я также обрабатываю в Davinci. Только сначала с фотошопа делаю експорт в 16бит цветов 🤗
@@OrelRussia Но изначально лучше сделать ретушь модэли в фотошопе, потом уже я экспортирую тифф для цвето коррекции в давинчи, просто тут мне легче, быстрее и надежнее чем в фш
This is amazing. My problem is I don't know how to read the scopes and why you push certain colors up and down by looking at the waveform and vectorscope. I'd love to know what I'm moving and why.
Hey, thanks. The main thing of the waveform to understand is that 0 is the darkest point and 100 is the brightest point. So from 0 up to 100 is everything in between. In Davinci Resolve You can go to the Waveform settings and choose Colorize option and set to RGB, then the waveform will display Red Green and Blue channels separately. And also if You go to 3 dots of the scopes, turn on - Display Qualifier Focus and navigate Your mouse cursor to the specific image area, it will show You the exact place where it is on the Weveform and You will be able to see what color is higher there and which one is lower. So You know which one to add and which one to reduce 👌
Fiddle any control you want - they all just change the numbers. Look at the wfm and get to where you want. Probably RGB cuves is the way to do it without wasting 6 minutes 56 seconds.
Yes there are more than one way to do that, I prefer the primary wheels for more precise but still global controls without damaging an image but never Temp and Tint.
Thing is, there is no right way to do it when it comes to balancing an image or creating looks. The process is up to the artist, so saying "NEVER" is wrong. Especially because what you did is technically the same process as Temp/Tint, and your comparison of the two is unfair and completely biased. With Temp and Tint, you did no corrections to the image with the primaries, which left you with a bad image. However, when you used Offset, you spent 90% of the video correcting the problems that came up after balancing to the colder tones. Had you done that with the Temp/Tint image, you would have gotten the same results. Temp and Tint provide more specific control over the white balance by targeting color temperature and tint separately. Offset affects the entire image globally, making it less specific for white balance correction. So, if we were to try to find the "correct" tool, that would be Temp/Tint, as these will provide more repeatable and accurate results over the span of large projects. Your approach isn't wrong per se, but telling others to NEVER use the more accurate (and technically correct) way to balance is misleading and unhelpful, especially when using biased examples.
Thank You for such detailed response 🤗 Understanding the wheels give You much more power than Temp and Tint sliders in my opinion. So I personally never use Temp and Tint for balancing the shots. I sometimes use them in look development node as an aditional spices. This shot was extreme, usually one Offset wheel gives the perfect results. But in this case I’ve shared an understanding of Primary wheels and their power 🤗 Thanks again for watching 🙌
sorry guys you have just been dazzled, this isn't an accurate or fair analysis... 1min 30secs was spent on getting color "right" in first example & a full 3mins on 2nd coloring example. another 1min 30secs spent on first example he would have landed at an almost exact picture. The 2nd way is the "correct way" but both ways can get you to the same spot in about the same time.
Thanks for Your detailed response 🙌 but this episode was not about what method is faster, its about the quality of result and the first method won’t do that so well 🤗
Movies are shot with the correct white balance in camera and usually in RAW format which has RAW WBsettings so You won’t need to make such balancing in post 😁🙌
What is missing for me is an explanation why you do the things you do e.g. "I add xyz because I see xyz here in the image, what might throw off other people is xyz but if you see this do that..." because what you say is undeniably correct, but I'm missing the why. After watching this video I walk away knowing that you know your stuff but I'll have a hard time replicating this myself because i don't know what to look for.
Thanks, I have my new video of this shot step by step grading with more info. And You are correct I’m still learning to explain that all so will add more work in such things to be more understandable in the future episodes 🙌
Thanks, I just got used to Primary Wheels its just more versatile technique because You can use it in other softwares like Adobe Premiere, Final Cut or even Photoshop but sure will check Chromatic Adaptation of resolve too.
Thanks for You comment. Yes still learning to explain, please check my last video, I hope I explain there more why I do so. But surely will be explaining more in depth in new episodes.
Does this boil down to the temp and tint being global but the colour wheels are split? I respect the result and the author, but coming from a photography background where white balance is a major step that’s done globally, I’m struggling to reconcile this particular tip with my own experience.
Correctly mentioned the photography. In photography we have RAW files and yes the raw file is much better to control with the raw temp and tint settings because them work as in camera but in this example is shown how to balance something like JPEG in the photo world, not 8 bit but 10bit as most usual cameras are filming👌 Or something similar to 10bit because raw is 16bit and in video them are less affordable
Well the adjustments you make with temp and tint at the beggining did not bring the image to the similar levels. for different situations different adjustments work better. The info in that video is not accurate.
The background music in your tutorial is obnoxious, to say the least. Why do you think we need to have music in the background if we’re trying to hear what you have to say. Plus the way you’re doing this is so convoluted and so difficult and this is such an easy thing to do. I think you’re the one who needs some tutorials.
There’s nothing wrong with using temp/tint, at the end of the day it depends on your footage and needs. Every shot is unique so you can’t use one trick for every singke footage, gotta remember that.
Thanks. Yes, everyone finds its own ways to get the best results. I just always balance with the wheels mostly with an Offset one not Temp and Tint because I get better and more accurate results that way. Deeper understanding of the wheels makes You always better in every situation 🤗
4 месяца назад
Nice clickbait title, sorry, I do not agree. Temp/tint is the tool all the same quality and you have to use it right.
Thanks for Your opinion . Its my personal choice because I’ve tested alot with that. And the result of Resolves native Temp and Tint does not get the this shot even close to what real RAW temp and tint does. RAW controls works as in camera and I get the same results as the RAW controls with my primary wheels 👌 I sometimes use Resolves temp and tint for a look creation but not for balancing or correcting the shot.
I think the temp-tint white balance method fails because it expects only one uniform light source. It will fail when there is a mixed light source with different temperature, or when one spectral being too dominant over the others that makes them unrecoverable. In that case we'll need to reconstruct the linear curve and the color matrix using a color target.
pretty sure you're good at color grading, still you need to learn to adjust the bg music level so it's not distracting or at least use eq to push mid frequencies down
I didn't understand... I got the offset part. But everything later... Why push something far in one direction in lift and then you compensate it with gamma? I could never replicate this (with a different video). Also, in temp&tint, your skin color is way off, and you can clearly see that in vectorscope. So it is not fair comparison
I looks great, but you didn’t tell us WHY you were making those changes other than keeping skin tone on line. Kinda lost in this video and I consider myself a sharp person. I guess I’ll just try to make the whites white while maintaining the skin on the line and start pushing colors around…🤷♂️
Владислав, из видео не понятно, чем же плох метод Temp & Tint. Если стоит задача сделать задник голубым, то да, надо работать колёсами. А если надо просто поправить баланс белого - брак работы оператора - то почему бы не работать и дальше старым методом?
Спасибо. К сажалению я не показал, что этот файл я специально изменил и запек эту теплоту. Чтоб показать как от нее избавится. В оригинале с правельными настройками он и есть с синим фоном. 🙌 Учту что надо более детально все показывать. Спасибо за отзыв.
