@@DarrenMostyn l o Darren, I was under the impression that the colour space out of a phone was srgb, do I still set my timeline colour space to rec709 or do I set it to srgb.
I will say it again. If you made a full Resolve Coloring course, I and many many others would pay handsomely for it. It’s not just that you obviously are an absolute master, but your teaching style, pace, and attitude make absorbing and understanding the material so much easier.
I really like how you give the viewer so many helpful tidbits as you progress through your presentation such as H265 is not Resolve-friendly so use this instead. Love those straightforward pieces of wisdom.
I cannot highlight enough how much you helped me with this video. I am doing GoPro and drone recordings for my private travel videos - only on a hobby level - but I have improved my workflow and my results drastically because of you. Most of the videos on YT are for users who have good footage in ProRes or even RAW - which is also helpfull, don't get me wrong - but they forget us amateurs with action cams with that blurry 8-bit mess. Thank you for this nice and helpfull tutorial!
Oh mate, I have learned more from your 19 minutes video than watching for months ton of other” influential video masters” clips !!!!! Thank you so much. I’m your fan now!!
Thanks for the little tip on changing format from H.265 to ProRes/DNX at full resolution. That's the first time I've heard that. I'm suprised that even on your top of the line computer it's still important.
This video is an absolute godsend for me, had a load of documentary footage given me to edit and grade, and it’s all been shot on phones. I’d forgotten just how fragile 8bit footage could be in the grade. Awesome and thank you
Sooo glad that I have found this channel! The comment section nails it. Thank you for the time in as well as the format and style. Best Wishes For Long Success!
Very useful video. Thanks. People need to know that 8 bit footage should never be shot LOG even if some purchased camera apps offer that feature. Users should Stick with Rec709 as with 8 bit LOG you'll never be able to get the colours right and the image falls apart. Any Iphone before 12 and also the Ipad Pro 2021 has this 8 bit limitation.
There are many RU-vidrs who just yap in front of a camera to get their hit counts. You are one of the rare professionals whose channel is packed full of useful information.
I've never used proxies...don't know why exactly. Such a simple and valuable thing. Now, thanks to you, I'm gonna use it on a regular basis. Your tutorials are one of the most valuable on YT when it comes to Resolve. Thank you Darren for sharing your knowledge.
This is very useful. Whether it's news-gathering, or even travel run-and-gun, you're often going to be dealing with phone footage interleaved with regular10-bit. This tutorial is well overdue, and very clearly presented. Thanks Darren.
I'm so glad I found your channel Darren, by far the best one for the technical side of colour grading out there. Definitely coming to you to grade a project when the budget is there 👌🏻
When a professional like you make a video about color grading a mobile footage in resolve for free.... You are actually helping a lot of people... Thank you so much
Excellent tips as usual! Here's some ideas for futur videos that would be awesome to be covered; -Dealing with contre-jours -Mixed light on skintones -Monochrome color grades -Bleach film look -Emulating highlight rolloff Thanks for your work!
A new find. Subscribed. A nice change to have a local taking us through things at more of a pace. Answers and solutions aplenty in each video so far. Top notch.
I recently got tasked with creating a Lut for an motorsport editor who shoots in 8 bit in very dusty environments. The example footage he gave me to improve was highly compressed 8mb/s RU-vid footage. The effort to make a Lut that made cars pop, especially cars with red paint, on that footage was a challenge well worth the effort. Focusing on genital, cautious, and broad strokes led me to a rec.709 Lut (he refuses colour management, and barely grades) gave me a Lut that improves colour density, sharpens and improves contrast, and only clips blues in the blacks. The big surprise and wow came when I applied that Lut to human actors in an interior shot on an Arri in Raw 16 bit in transcoded to ProRes on a DaVinci wide Gamut/intermediate timeline, it just worked clean and lifted skin tones and colour density with an aesthetic I didn’t expect. And has proven to work well even when applied on top of his basic grade on 8 bit footage. Practicing on 8 bit is not a waste of time or effort! Even the most ghastly compressed source footage. The trick is to have a meaningful goal, and strive for functional improvements to the image, without breaking the image.
Fun to watch, I've been a colorist in Toronto for 4-5 years now, and I felt like I was the only one that knew some of these tricks. I also use color compressor for banding. Give it a shot.
I have been waiting for this type of tutorial for a long time for rec 709 footage. All I have to say is " You are the Man !" hands down, you just made my day !
A big thank you for this tutorial. It is very timely. I'm glad to see that I wasn't the only one to ask myself this question. I really appreciate your tutorials.
great tips Darren, would love to see you work with the HDR footage from iPhone to rec 709. seems like HDR on phones is super common now but looks frightening when you bring it in to resolve.
@@DarrenMostyn is there a recommended way to convert to SDR? My Macbook (XDR display) looks great when opening HDR iphone footage via quicktime, but like crap in davinci.
I personally felt like I am sitting beside you and you're teaching me this, such a wonderful video and the way you teach is 👏🏻, will finish all your videos ASAP.
@@DarrenMostyn Would love to see very basics about nodes and also contents which is helpful for beginners like me, thank you for your replay, and have a wonderful day.
Thank you so much. You a true professional. So many confusion information here on YT. Often you see the Dunning Kruger effect. People talk about what they have no idea. I'm at the beginning of learning DVR, and it's even more difficult to deal with confusing statements and I'm grateful when I get information that's correct. And then explained in a good and understandable way. Subscribe!!
Thanks for posting this, I still don't have a camera so only have a cheap android phone to shoot with, I know I asked this question during Resolvecon, but this is a much more in depth tutorial, thank you very much for addressing this topic. Love your videos and always share them in our film group. Have a great weekend!
Next level boss. I want to work with you and learn the color science even deeper😮😮.You have changed completly the style of colir grading 😮😮really pro ❤
Thanks Darren for this video - I always benefit so much from your excellent teaching style! As a hobbyist, often all I get to work with is 8 bit (unless it’s 10 bit log footage from a drone), so this video was particularly beneficial to me. I wondered why Resolve didn’t play well with h265 - just thought it was computer/iPad that was the issue. Also so many other RU-vid video creators, sort of assume that you should only be working with 10 bit as a minimum and that trying to do anything with 8 bit is something of a lost cause. After watching your video, I was able to improve some old 8 bit drone footage - as you said, small moves and not pushing it too far. Thanks again!
oh wow, I really didnt know all of that. I've been working with proxies on H.265, which run pretty good on my MacBook pro, but I have to try this to see if its even faster once I start applying slow motion or removing noise from the background, thanks a million!
Great video. I think it's great that you simply express the reality of what you can and can't do with 8 bit. Unfortunately there are so many RU-vidrs out there telling you what you can do with 8 bit, from slog to some lut packs that don't work at all. 8 bit can work but as you say you have to be super careful with it. cheers buddy
It’s amazing that from each of the video tutorials you’ve made I’ve found something I’ve been doing wrong for a while. I would love to see how you would handle a grade for an HDR deliverable which you briefly mentioned in your commercial grade.
Wow, nobody talks about this stuff. This is great info. All my source footage is 8-bit Rec.709 and I kept wondering if I should be doing anything different than all the RU-vidrs grading log footage from nice cameras. This answers all that!
You're as good a teacher as you are a colourist Darren, getting lots of great info on different colour space here as well as workflow. Even my cat is watching this with me, seemingly captivated 🤓😸 Something I'm still trying to figure is "general maintenance" with Resolve, eg. how all the proxy media is handled, deleted with projects, file clutter left behind, etc. Some software can leave a lot of file clutter that makes them swell up if you're not aware. It seems like most is deleted with a project, but just leaving this here in case someone wants to share insight on that. Ok, now to watch the 10-bit workflow. ☮
Thanks. Yes by knowing where your proxies are you can archive and delete etc as you would regular footage that accumulates! Im constantly fighting about 120TB worth of data storage!
So... I could be mistaken but... in graphics coding, we have a trick for banding called dithering. I believe you can use a simple film grain to introduce noise dithering and smooth out 8bit banding.
Your insights with H.265 vs ProRes are very helpful, particularly in citing the editing/scrubbing performance. But 'long GOP footage' (IPB) is not inherently inferior to ProRes (All-I) in terms of quality, while editing performance can be mitigated. This plays-out in quality metrics (PSNR, SIMM, VMAF and subjective scrutiny at 4x zoom) which favor codecs like H.264 or H.265 at sufficient bitrates. And as you know, H.265 can be processed indirectly through a proxy-workflow while retaining the ability to switch instantly between proxy-media and source-media for color/noise work. Not to mention the ability to convert H.264/5 to a 'visually lossless' intermediate codec like ProRes 422 'HQ' or DNxHR, as necessary for studio workflows. Color compression differences (4:2:2 vs 4:2:0) can be relevant in extreme grades with low-res footage, but these distinctions disappear at 1080p+. So you're primarily experiencing the 'bitrate' limitations associated with real-time H.265 encoding in today's cameras. The quality-per-bit from today's cameras doesn't match H.264/5 from a modern computer. This reflects a lack of refinement in the dedicated encoding hardware within a camera SoC relative to that in the latest CPU/GPU/APU. Both progress generationally, but SoC-based encoding hardware lags. At the same time, a lowly camera SoC has no problem encoding ProRes using much slower software codecs, due to the low compression/mathematical overhead. The only problem arises when a camera steps-up to ProRes 422 @50fps or better, since those codecs require an SSD to handle the throughput and perhaps storage. So at the end of the day, 150Mbit/s H.265 from a drone won't match the quality of the same from a modern computer. But throw more bits at the problem (>200Mbit/s) and the SoC output does match or exceed 150Mbit/s quality from a computer. And here's the major point: out-of-camera H.265 IPB reaches ProRes quality at ~1/4 of the bitrate. So for instance, H.265 IPB at 235Mbit/s will match the objective/subjective quality of ProRes 422 HQ (943Mbit/s at 4K@30 DCI). Note that 235Mbit/s comes-in under V30 SD card guaranteed write speeds of 240Mbit/s. And this 25% bitrate phenomena doesn't scale linearly because with software codecs even 300Mbit/s H.265 IPB reaches ProRes 4444 XQ quality (alpha channel notwithstanding). But here's the rub: we don't often see cameras offering H.265 'IPB' (long-GOP) at 200Mbit/s+. You will find cameras offering H.265 'All-I' leveraging V60/90 SD cards to reach 480Mbit/s or 720Mbit/s write-speeds respectively. So your experience with H.265 'IPB' quality is valid. But not because IPB (long-GOP) is inherently inferior to All-I codecs such as ProRes.
Really fantastic. I've found watching your videos really great. You know your stuff and you get straight down to it. I think this is the way to do online tutoring. Many thanks and you have another subcriber!
Great tutorial for 8 bit mobile users.😊 I personally stoped filming on my mobile and now only film on my camera in Log. I agree about what you said about Luts and while learning colour grading for now I will not use luts. I think you learn best from your own mistakes instead of trying to get a fast fix from a lut. It would be great to have a tutorial providing people with an understanding of what are good and bad luts and how one can judge which luts may work best.
No problem using LUTS, but there is a lot of science behind making them look. The pro ones will work on most footage well. I have a problem with 'RU-vidrs' just selling LUT packs that they have made without any scientific testing or understanding of what goes into making them. there are many good trusted sources out there too, on RU-vid!
Hi Darren, Another nice video, again. Favorite channel on DaVinci Resolve. Not only are you a talented colorist but you’re a very good teacher too, ( and God knows one of the secrets of pedagogy is repeat, repeat, repeat… ;-)
@@DarrenMostyn awesome content, if using HDR iPhone videos and editing in SDR, we need to use the davinci color managed space to rec.709 2.4 or use a node CST with input Rec.2020 and 2100 HLG ? Doing that but they seem really bright !
Darren, insanely important tips about alternative color correction selection tools in 8-bit sources This is great news to be extremely careful with frames shot with low chrome subsampling
