@Solvegia Sure it is. Every Colorist has his own, unique way of Grading. Workflow to any colorist plays an important role when grading. I found the old, golden method of manually using the CST technique instead of relying on the Resolve alone to perform it's algorithm to convert to color spaces. Which one did you find promising? @Darren Mostyn First, I convert from Slog3.Cine Slog3 to Arri Gammut 3 ArriLogC3, perform exposure corrections using Curves, Balance the Image using Offset, Contrast, Primaries, Saturation, Color Cast, Basic Grade, then convert it from Arri Gammut 3 ArriLogC3 to DWG INTERMEDIATE, see if a LUT is working, convert to Rec.709 and start performing furthur global setting required beneath the last conversion which is Rec.709(after a LUT). My question is, irrespective of what color space you convert your footage into, if the timeline color space is set to DWG Intermediate and the output is set to Rec.709 Gamma 2.4, is there a need to convert to DWG during the workflow? I'm looking at a 100% Rec.709 BenQ SW270C monitor(Factory Calibrated) Also, does my workflow make any sense to you? Tell me if I'm wrong
Ditto for me. Thank you the great content. Just watched a few so far and they were game changers for my understanding of the colourspaces in Resolve. Thanks!
Darren, you’re a complete and utter star. Your tutorials are so wonderfully simple. Plus, I love the fact that you don’t do the American-style 10 minute intros explaining what you’re about to do. You just jump right in. Thanks so much. John
Hi Darren, what a great explanation on such a underrated topic. To be honest, it took me more than a year to get familiar with the concept of the 3 different color spaces and what those are about. In the meantime, I tend do prefer the non-managed color science DaVinci YRGB, timeline colors space ARRI-Log C (for it's lovely highlight rolloff) to deliver in Rec709 Gamma 2.4
Work with as much headroom(wide gamut) as possible, than compress(709) for broadcasting media. Like, making a Wave audio file to a MP3 for easier transmission and storage.
Absolutely brilliant. I've been under the impression that when not working in a managed environment one needed to set the timeline colour space to the input colour space and then use CSTs to set your work up. Thank you for opening my eyes. 🙏🏻
large subject - but hope this helped the basics! Timeline color space CAN match input colour space, especially good if one colour space only - so for eg. if you work Arri only - you can set timeline as Arri, but still need to set input colour space. Hope that makes sense. All the best Darren
I cant thank you enough for how helpful this is. I've been having issues for ages and following along with this video has helped solve all the problems I was having. Thank you so much for all your free content.
Incredible video. I've taken several masterclasses on grading and none have tackled color space as eloquently and to the point as this video.Thanks, man!
When I irate got into davinci a few weeks ago,I loved it and I watched this video but coming from Final Cut Pro,it didn't make too much sense, now I have been learning more about davinci I came back to this video and realised a few or many things I had no idea about that definitely was hindering my gradet lol,thanks.
Wow. I really never did that before. I usually just jumped straight to cst without managing the colour space on the timeline nor did I ever add output colour space to my cst. I didn't know until just now. Thank you.
Wow Darren, after seeing too complicated tutorials/trainings/lessons/masterclasses about colorspaces etc. Your explanation makes it so much easier to understand, finally.
Glad it was helpful Wilfred! I work hard to make my tutorials easy to understand but have to admit .. this was one of my more challenging, so I really REALLY appreciate the comment! All the best, Darren
I really appreciate this video, thanks so much! I feel like other channels who make videos about this topic try to keep it super simple but as a result lack depth. Now I actually understand what I am doing!
Hi Darren, thank you for your video, it's incredibly clear and really helpful! I'm using RED footage and I have a doubt regarding some parameters, maybe you have an answer! Projects Settings-->Color Management: I set the parameters like I understood watching your video. Ok. Projects Settings-->Camera Raw-->Project Settings: what exactly am I setting in this panel? I see again the parameters "Color science", "Color space" and "Gamma curve". Haven't I already set them in the Color Management panel? Thank you so much, please keep doing your amazing tutorials!
Thanks Darren. Brilliant tutorial. Have you created any tutorials on exporting transcoded HDR log in Rec 709 projects? I followed your helpful settings/workflow recommendations for the rec 709 color grade of a no budget documentary I'm working on. I'm very happy with the results on my MacBook Pro M3 Max monitor and other Apple devices, but when exported the video has too much contrast, is over lit and has washed out colors when viewed on Rec 709 TVs and projectors. I filmed the footage using HLG BT2020 on a Sony full frame camera because I understood it was developed for seamless integration between HDR and SDR. HLG is certainly much easier to color grade than S, C and D-log footage. But, I've struggled with the transcoded Rec 709 color grade on both Davinci and Final Cut Pro.
Fantastic learning material, really appreciate all the effort you put into making these videos. I work on a MacBook Pro with XDR display - should I be using the HDTV reference mode or the SRGB reference mode to get accurate colours? Cheers!
Thanks Darren, always a pleasure to see your videos. I am confused thought, in this specific example, what the point to work in a wider color space in order to have more color (the blue in the sky that was previously clipped), what will happen when we will convert it back to our output color space? the blue in the sky that we manage to get, it will be clipped again?
Hi Darren. Much obliged to you. I am using an FX6, shooting S-Gamut3.Cine/S-Log3. What is the best color managed input and timeline setting: S-Gamut3.Cine/S-Log3 or S-Gamut3/S-Log 3? See you used S-Gamut3/S-Log 3 on the timeline for this tutorial. And the best CST setting? In your earlier video on grading Slog footage from the FX6, you had S-Gamut3.Cine/S-Log3 in the input color space for the CST. Thanks so much!
Thank you for the video. But I cun't find the answer to the main qiestion - in which color space should I export video for youtube to make it in youtube the same as in my monitor? RU-vid distirted colors in my videos. How to avoid it?
If you could do a basic down to earth tutorial on how to setup Davinci on modern mac computer with a P3 wide gamut display to work with mixed input projects (like iphone HLG, GoPro SDR, Sony Slog, etc) and output a/ rec.709 SDR for RU-vid, b/HDR for RU-vid - WE WOULD BE THANKFUL FOREVER. Currently RU-vid is a scene where every beginner Davinci editor puts up his wildest guesses on how he thinks he can get adequate conversions of colorspaces on mixed footage, but its a complete mess.
this is a very great video and I appreciate it, one thing I'm uncertain is on how or when priviledging one strategy to the other (selecting from Davinci setting level or go with cst nodes)
This video is fantastic! Thank you so much! I also have a question, please. I film myself, for my YT videos, using my Logitech HD webcam. I have been trying to find information on what colour space the footage is in. Do you know how I can find this information out, please?
Great Vid, but running into a lot of trouble using this Method. I am using Panasonic VLOG from a GH5s. First thing to notice is, that when I go into Project Settings/Color Management, I don't get the "Output Color Space" Option. I only get that Option, by going to "Custom" under "Color Processing Mode". When I set all the appropiate (Panasonic V-Gamut/V-Log) the Image in the preview adapts. But when I set timeline color space to Rec.709 Gamma 2.4 and switch it, lets say to Davinci Wide Gamut, there is no visual difference in the displayed Range as it is in this video. If I perform a cst by applying a cst node at the end of then chain and set all parameters (ICS: Panasonic V-Gamut, IG: Panasonic V-Log, OCS: Rec.709, OG:Gamma 2.4) the output adapts and displays the image correctly, but only if the Node with the CST is selected. If I select other nodes to grade, it reverts back to plain V-Log, which actually makes it impossible to grade, since I never the the correct output. Don't know if this makes any sense.
great video...i'd love to see the next step of how to ensure you don't get gamma shift when working on a mac after rendering. I've read in numerous articles, some from BMD, to use Rec.709A for output to get the <a href="#" class="seekto" data-time="61">1:1</a>:1 tags...I still don't understand much of this but I've now bought a specific monitor for grading and have calibrated it hoping to avoid the gamma shift issues.
@@DarrenMostyn thanks for the link…Until I have the resources for the ultra studio 4k can you share the basic GUI settings for Mac that you recommend to minimize gamma shift? I’ve checked use Mac profiles in general, I’ve seen many tutorials saying use Rec-709 A in the render settings. What would your recommendation be for project setting colorspace and render settings. My monitor is calibrated to Rec-709 2.2gamma. Right now I change project and render color settings to Rec-709A for RU-vid videos, doesn’t seem like the right solution.
Hey Daren, you are the best at explaining things in detail!! Im not clear with gamma thoug, i dont know what gamme uses my monitor but i have an OLED TV that is set gama 2.2, ussualy all RU-vid videos look very good on TV at that gamma. If we work on the monitor on gamma 2.4 and we render the file as such if then uploaded to RU-vid and watched on a TV that is wet to 2.2 wouldn the footage seem washed out?? So wouldn't be better to use gamma 2.2 for the output? Excuse my bad English and thanks for the clear up!
when you saw some one explaining stuff with a pen some how tells me he wrote down notes in which people who are not really pro in the topic will understand.
What do you mean when you primary corrections are non-colour space aware? If you are working non-colour managed, Log-C -> CDL -> LUT; surely your CDL will look different if your input media or output colour space change as the gamut mapping and maths will be different?
Great tutorial! I do still wonder how I know what color space my footage is shot in. For example shooting in ProRes HQ, what color space input would that be
Thank you very much! I don't think I understand why it's beneficial to have the timeline colour space in a wider space than Rec709 yet. Could you please clarify?
thank you for this tutorial! So much confusion out there... specially from RU-vidrs that even though mean well, they don't have much knowledge as a colorist! I have a couple of questions... 1- If we use the color managed option, there is no need to apply a CST node at the end, correct? 2- If we use the color managed option, we can start to use nodes right away without having to mind any specific order of when and where as it is the case with the CST option correct? and 3- What is the difference between RAW, Proress RAW and regular ProRess...? Is ProRess a way of Log? How about ProRess RAW? thanks, hope my questions were not too confusing! Thanks in advance! cheers!
This is a great demo of what timeline colour space does, but what’s the benefit of having a larger timeline colour space other than you can drag the mouse a little further to get the same result?
Thanks for these precise tutorial, Can we get any benefit on changing the timeline luminance from 1000 to 2000,4000 or more? ( Can we get more dynamic range for the luminance)
I don't know why I get weird results with the Canon CLOG3 and cinema gamuts. It just seems to darken everything by about 4 f stops and looses data. I end up colour grading everything manually as the LUTs, transforms etc just don't seem to work right with Canon footage, no matter what I select in various settings.
Can you use color management and CST together? For example, color management can be used for the input color space as Rec.709 gamma 2.2, timeline color space as DaVinci WG, and output as Rec.709 gamma 2.2. This would convert your P3-D65 footage into the DaVinci WG working space and display it in Rec.709 gamma 2.2 on your monitor. Can you then add a CST to convert with input color space, input gamma, and output color space set as the timeline, with the output gamma as Cineon log? After that, can you add another node and apply a Rec.709 Kodak 2383 D65 LUT? Would that be the correct workflow?
Great Video, I work with the original Blackmagic Pocket cinema Camera (1080p) and like to use Luts and Film convert, etc. What project settings do you suggest I set and forget??
Hi Darren, i am a little confused still. I prefer to use the Input color space method as oppose to CST... however, when I use Input Color Space (Davinci YRGB Color Manage). Automatic color management. my Clog3 footage (canon R6II) doesn't seem to have any effect. is it because it's not RAW? Can i stay on Automatic color management? or do i need to go into custom like you. Can you not do anything with CST? or is that necessary as part of the workflow? or is it one or the other?
Hi Darren, you are amazing! Im caught in your Videos over and over again and I finally understand how things work based on colors. I've got one question, maybe someone else can answer it too: What happpens if your input Gamut is Rec. 709 and your Output Gamut is some bigger Colorspace? Is it still possible to work with it?
maybe I am missing smth, if you work in a larger timeline colorspace like wide gamut intermediate, does the smaller output colorspace not undo your work?
why would input color space stay at rec 709 for that slog clip? shouldn't he change the input color space to slog 3? am i the only one with his decoder ring out watching this over again? mostly really clear to me though. also, if you use Cine 2. what is the input and output color space and gamma? is that just rec 709?
Hi Teh. If you watch it again you’ll see that I do change the input colour space to Slog3 at 2.20 (ish). You can set to slog2 if you need to. Hope that helps. Darren
Love your tuts, keep on creating! My comment doesn't apply to this video but since I'm not on social media I don't now how to reach out to you other then here. Got myself a Fuji X-H2S and now I'm am able to record ProRes RAW on my Ninja v+. Converting the footage to CinemaDNG with the RawConvertor app to be able to import it into DR. Now here's the request: What would be you approach to color grade the footage?
Hi Darren. I edit on a mac. Would you setup the color space to 2.4 or 709.A? Some people say the latter, but I cannot find the correct answer. My monitors are just standard rec 709. Thank you in advance.
