@@DarrenMostyn BJ is 1000% correct. If you were representative of the approach of most instructional, we'd all be exponentially better off. RU-vid can be a wasteland and you are a great reprieve 🙏
I'm in the process of switching from Vegas Pro to Resolve and your tutorials are fantastic. You're a really good presenter and editor of what info is relevant and what is not. And no long intros about what pedestrian thing happened this afternoon in your life -> "so, without any further ado....let's get into it!" -> 30 second animated intro with stock royalty free music -> I kill myself. So thank you!
Your Videos make me feel like I'm using cheat codes for colour grading 😅 ... So many features which I've never explored and after you show them here, it feels like some secret revealed 😄.
WOW! That was quick! Thanks for taking the time to make this video, you've cleared up a lot of questions that've bugged me for a while. I would fully support any further videos on this topic as well. Color management has been a source of anxiety for me for too long! Great work, cheers!
Thanks Darren. Would you ever use ACES if the customer wasn't sure where their video was going to be shown? I capture a lot of interviews & they're often unsure if the video will end up on Web or Broadcast.
Great tutorial! Still I didn't get one thing. If I put Davinci YRGB Color Managed in the project settings, the adjustments in nodes will be done in Rec 709 or camera raw data? Thanks in advance!
As always, brilliant. I still don't understand the advantage of CST over RCM though? Is it due to the nodes before the CST making adjustments in a bigger colour space? So if delivering exclusively for Rec709 then CST is effectively the same as RCM? P.S. I know this is a beginner vid but would love to see the colour aware HDR tools being active only on RCM, not when using CST (as far as I understand)
Hi Sandeep...so due to how popular this video has been already (6 hours old!) I'll do a follow up. CST needs better knowledge of pipeline but effectively same thing...but more controllable if you are advanced user....dont worry about it if you are beginning - RCM will serve you well. I cant answer everyones questions now as I have to fly to Berlin tomorrow morning for a film shoot....I'll make a second episode as soon as I can! Thanks Darren,
@@DarrenMostyn Thanks for the reply, especially at this late hour! The pace, content, and structure of your videos is genuinely brilliant so I just want to say thank you for making them. You get across so much without falling prey to the style of so many bait-y YT creators. A breath of fresh air. Looking forward to the follow-up vid, and have fun on the shoot tmw!
But if you're using the colour management, all your nodes will be after, not before, no?? Unlike when you put the colour management at the end of the node tree. Confused on that point!
Wow!!! I've watch this Color Management video, the Grading A7SIII video, and a couple of others. I've learned so much. Hands down, this is the best DaVinci Resolve channel.
You should make a very short video explaining to people why you can’t do this kind of color correcting in premier pro. I’ve gotten several friends that say … just color correct in premier pro. They have no clue that Resolve is in a different world. Maybe make some really short video comparing the two… So I can send it to these clueless people. Lol.
Don't care that you told me not to watch it, I did anyway and still found it entertaining and educational! Thanks as always for a great video Darren. One question actually too. If you had a timeline full of clips that were shot in a LOG colour space, which I consider HDR, would you not want to set the Colour Processing Mode in RCM to HDR instead of SDR and then Output to SDR Rec709? I've worked with BMPCC 6K Pro footage this way and assumed that it gave me the right feeling in the controls and ensured I was making the most of the HDR footage. Cheers
Hi Alex. Yes would be better, however this was just a beginners guide so not elaborated yet...idea was to keep it simple. As you know this is the tip of the iceberg for color management - i didn't want to make a 1 hour video (minimum time to explain it all IMO) as they exist already. I also knew these questions would come up. I'll do a more advanced one soon. Thanks, Darren.
@@DarrenMostyn fair enough! As you say, simple is good, even for me! 🤣 Good to know that actually you can use both methods and get good results. Thank you and chat soon hopefully!
@@AlexCameron-Depiqd LOG doesn't mean it's HDR. HDR is a post process not an aquisition, however LOG is an important part of the HDR pipeline and is required, ideally with a camera with minimum 13 stops of dynamic range. Yes, be good to catch up again soon. All the best.
Thanks for an awesome beginners explanation. Even though I know most of the color management things I still enjoy watching even your basic videos as there is often something i've learned in the past from you. So thank you. I would champion my support if you do more advanced videos in any capacity!! Thanks Darren!
You are very welcome Chris. Thank you so much for the kind words, really appreciate it when I get just nice messages of appreciation as I put a lot of work into these episodes. Thanks again. your support is appreciated and noted - Darren.
This video helped me tremendously to understand the basics on how the processing works. Thank you. One thing isn’t 100% clear to me. What does the „Automatic color management“ do exactly? If I uncheck it I can manually chose a color processing mode like „HDR Rec.2020 HLG“ and an output color space. Would that be chosen for me based on my raw video input and HDR/SDR selection?
Thanks for making this video, this is exactly what I was looking for when I started using Resolve 6 months ago, I couldn't find much on it so had to teach myself. Hopefully this will be very helpful for anyone starting out today.
Hey Darren, great video! I’m curious how you would apply this setup when using footage that is not in a LOG format. For example, I film on a Canon 5DIV with no log, so I use the neutral color profile on the camera. I seem to see a lot of information about working with log footage but what about footage shot on DSLR without a LOG option? Along the same lines, working on a Mac, would you use a color space of 709-A? Thanks man, keep up the awesome work! 😁👍
Hi Jason. Just simply BYPASS on the Input Colour Space and grade by eye/scopes. I dont use colour space of REC709A as I have an external professional monitor connected to a dedicated blackmagic IO card - its not then required. Thanks for the kind words, Hope you are well. Darren.
@@DarrenMostyn awesome, thanks for the info! That’s kind of what I do now but wanted to see what you thought. Making sure I’m in the right track. I’m always learning! 😜😁👍 My background is photography so I approach color in a similar way to the way I edit photos. 📸
@@DarrenMostyn Hi Darren. I may be wrong but I think the question being asked there wasn’t really “would *you* use Rec709A” but rather “should someone with a Mac use Rec 709A”? I too would like to know the answer as I edit on an M1 Macbook Air and have read that Mac displays use this slight variation of Rec709.
@@arnoldsnodgrass2953 Hi Arnold. You need to be calibrated to be accurate else you are 'hoping' all is good. Rec 709 Gamma 2.4 is a broadcast standard, or P3 variants , but REC709-A is not on any broadcast deliverable sheet I have ever seen. If it is a MAC profile that emulates then fine, but I can't compromise in my job so i have to use calibrated REC709 2.4 monitor with a dedicated IO card to ensure broadcast compliance and best grading experience for my clients. I don't grade on a macbook air so maybe I'm not the best person to ask - to me it's a compromise. Hope you understand, I can't answer your question honestly as its not in my experience. I do hear that Ipad Pro has a very good colour profile so maybe that is emulated on macbook air....sorry for vague answer - I just don't work like that. Hope that helps a bit..? All the best, Darren.
Darren, you are a great educator. You explain the concepts so well. You go to true in depth details. I love your tutorials. Request: Struggling to apply cinematic Rec709 luts on 8 bit HLG3/BT2020 clips converted to Rec709 timeline they DaVinci managed color workflow. The colors and brightness contrast simply falls apart the LUT is for Rec709 clip though (not log gamma). Any practical tutorial on how to apply cinematic Rec709 LUT on 8 bit footage is highly appreciated. Thanks
Thanks for this! Another super helpful bit of clarification. If you do do a follow-up, be great to see the correct way to apply the DR Film Looks when using colour management.
Thanks mate , I am new to resolve after moving over from Adobe and have been struggling with davinci with my grading but now having watched your video. Life in Davinci has become enjoyable and so much a easier. Your tutorial are the most easy to understand and are the most comprehensive. Thanks you very much , truly appreciated 👍
I am new to color management in Davinci and this was very helpful. I use the IPhone 12, DJI Mini 2 and a GoPro for filming. Beyond what you have shown here are there any other steps I need to take for these sources? I don’t see them listed in DR as a specific choice. Does it matter?
Man I just keep getting more amazed at how much of a powerhouse DaVinci is, and you did a really good job cutting to the chase here. Nicely done! I recently found out from my eye doctor that I’m mildly red color deficient, so there are certain shades of red and green that my eyes struggle with. My boss at work would tell me that sometimes my subject’s face would have a green hue to it after I did some coloring on it, and this workflow seems to really help me get my colors more accurate (and I’m paying closer attention to my vectorscope). My boss tells me my colors are looking better lately too. So kind of an odd question here. Have you ever worked with someone who may deal with any certain levels of color blindness? If so are there any other methods/tips you could give them?
Thank you for a great video, I have a question about the "Use Mac display colour profiles for viewers" and "Automatically tag Rec.709 Scene clips as Ren.709-A" for me it seems that I need to have them ticket on to get the same grade on the export as the timeline. Is that correct?
This was awesome Darren, thanks! Can’t wait for your intermediate part 2 where you’ll talk about which adjustments are best before/after the CST node and why! =). Keep it up, I watch all your stuff even when it’s things I know!
@@DarrenMostyn Yeah, also curious why the CST node was the fourth one and not the first one! In my undestanding of your under 10 min explanation, the color management is sort of doing a "first invisible node" that transforms the LOG footage into 709, in order to be read to receive a more creative look... Am I wrong?
I think (beginner here) that the implication in the 'Order of Operations' section is that you don't need to - by using this 'colour managed' approach the editing, fusion and colour adjustments you make are all then made in the source color space, then the final step is the output conversion... But if you are doing node based CSTs then it would look more like what you ask. Darren has stated in other responses that the node based CST is preferable in some ways.
But what if the source colour space is restricted (Rec709) vs Davinci Wide Gamut? Surely it is best to convert from camera with a CST to DWG grade and then add a CST for the output?@@AndyHooper
He wanted to highlight both techniques in their own respective video. the video that explains the process that you mention is found here ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-CtSBVKmHkjU.htmlsi=m3vbwnRWPATJ707l
Thanks for the video so much. Do i get this right: Route A: color management via timeline settings--> easier and more balanced, but you grade on top of it, not benefitting from the larger color space. Route B: node based Color transformation, which happens in the end, and you grad before that, benefitting from larger color spaces.
I used to think DR color managed was the way to go - till I dug much deeper and determined that some color pipelines, like RED's IPP2, is broken in a few ways (and unlikely to be fixed by BMD for obvious reasons). I now use node-based color management and can't believe how much better our workflow has become. Love your videos Darren!
Hi Derek. Yes, agreed, CST is better way to go...my recommend of RCM in this video is for beginners here and the CST route once you get used to what it is doing...I appreciate you are an advanced user, but I show both ways in this video. If I was doing an advanced RCM video I would be showing Node based CST operations as in my own personal workflow. I think i was pretty transparent about that in this video and that I use CST's - good to hear from you as always, All the best.. Darren.
Hey @@DarrenMostyn - not sure I agree. CST is different from using LUTs for example. There are known limitations with IPP2 in DR. Only way around it is to use LUTs that you actually generate within REDCine-X PRO application and tack on that LUT at the end of your node tree. Try your CST method and tell me where you can find your Decoder Settings (Output tone map & Highlight roll off) that are powerful tools within the IPP2 tree. See what I'm saying? Ask me how many hours I worked on resolving that! :)
@@derekjcooper Hi Derek. I know this is an issue you have as we have spoke before on this. This will transpire into a resolve advanced color management forum thread before we know it and that is not the place for this - this is a beginners video and the information is to encourage new users and beginners to start taking colour management steps to improve their workflow. You are an advanced user. There are many issues with RCM that are in the public domain but I still feel the majority of users, especially new users will only benefit from. Respect your contribution but best kept to an advanced forum I think. All the best, Darren.
Ay this is such a good tutorial! A question… I’ve shot on a ZCam through an Atmos Ninja. So my footage is Prores Raw HQ. I’ve used premiere pro to export the clip as an 16bit exr sequence. I understand that exr imports looking dark. How do you colour manage pro res as an exr sequence? Thanks man!
Another great video, Darren. I have done countless presentations over the years and attended/listen to countless presentations on a wide range of topics (video/photography and others). I am continually amazed how well you explain often complex concepts by breaking them down to a level everyone can understand. I now understand Resolve color management better than ever before. Thank you.
Thank you Darren for the explanation but I still have a problem. I am using a Canon R6 shooting C LOG 3 and when I set it to automatically change the colour space nothing happens but if I manually do it then it does change. Is this because the R6 does not give the metadata out for Davinci to read or am I doing something silly? I have had the same thing with Canon Log on another camera.
@@DarrenMostyn Thanks ……. Probably should have read the instructions on the can. By the way do we know each other as I saw your piece the other day with Jay and you were talking about Fast. I did a lot of Beta testing for them in UK the early days and even went to Germany to see them about the software. It was amazing software and hardware.
Regarding display calibration (LG desktop monitors in my case) and based on Gamma 2.4 in Resolve, what should my nits be set to in my calibration software?
Yeah. So, try to pull a key on that color manged timeline. Add a False Color OFX plugin and what does it look like? Like you said, "In a Color Managed workspace, all your changes happen in that larger color space." That's not good if you're trying to use the qualifier or certain OFX plugins. You would think Resolve would compensate for this, but it doesn't. Unless I'm missing something.
Under 15 mins of content....no intros....last bit is plugging my good friend Cullen Kelly...I did it under 15 minutes! I really tought I could do it in 10, but alas NOT! Love your attention to detail though! :)))) All the best, Darren.
Ha, as I am a for real real beginner, this is too advanced for me. I don't know how to add the node and it was all over the place. However, once I actually learn the basics, I imagine this video will be useful to rewatch. Thanks!
Hi Darren - your videos are super useful and clear. In the flow chart it looks like Davinci is doing the transform in the CM workflow PRIOR to color page. Yet when you added a transform in non CM version you placed it as last node - effectively at END of color page. Why? Also in CM flow does davinci automatically use the wide DR color space for timeline? Thanks!
The input colour space is PRIOR to color page, not the output so this is correct. I placed in my non managed at the end as I want to grade UNDER the CST (in a larger color space). You can choose to use DWG or anything else in the custom settings, but yes it is by default. Hope that helps, glad to hear you are enjoying the tutorials. All the best.
You sir are a godsend @Darren Mostyn I am just starting out with Color Grading and have your videos on repeat. I appreciate you so much for sharing. 1 question: Under what scenario would someone want to use Color Transform on a node level as opposed to a project level color management approach? Unless Im missing something (which is highly likely) it seems like an exhausting and inefficient
I shoot on Fujifilm but not raw because it is just talking heads, so I like using Eterna then play a bit with highlights and shadows, do you have a video for people who don't use Log footage?
Hi Darren, I have a question. On which setting shall the INPUT COLOR SPACE in the MEDIA PAGE be set? Background is the possible double accounting of MediaPage AND Color Page. Example: COLOR PAGE: Node1 CST Clog Rec2020 - a set of grading nodes - Node (last) CST Rec 709 G2,4 Could you please give a hint to disentangle?
Hey Darren! Love your stuff and love your teaching style. I have what may seem like an odd question, but as someone who wears corrective eye lenses, perhaps you can help. Do you have to request special lenses from your optometrist for your glasses to ensure they don’t impact the way you perceive color? I go back and forth between wearing contacts and wearing glasses within each project to make sure I’m not being fooled by my eye correction, but wonder it this is a concern for you. If you get a chance to answer this, great! If not, you still have a committed learner in me!
Thanks for this video, Chris. There are so many videos out there that don’t accurately describe what’s going on, leading people just getting into DaVinci astray. You’re doing fantastic work, thanks a bunch
So Happy I discovered your channel. This saves a Ton of time and I'd say, ridiculously assigning Color Space Transform nodes to every clip on every new project (like the three other channels I watched after yours tell you to do, 🙄). You're the difference between a RU-vidr and a real industry professional. Thank You for this, ❤❤❤. --Jason ✌🏻&❤
Brilliant tutorial. You mentioned when grading for TV you you used the Rec709 2.4 gamma settings. When one is grading for a digital projector I understand one the setting should be Rec709 2.6, but I don't see that option in the DR settings. Do you have any tutorials on color management for digital cinema projectors? My reference monitor has Digital Cinema (P3-65) and (P3-DCI) modes, which one would you recommend? Sorry about all the questions.
Darren, LOVE your videos! Very well done, sir. I've watched you video on the correct way to apply a film LUT, and I have a question. I like to work in managed Davinci Wide Gamut at the project level. If I apply a Kodak 2383 as your video instructs, should I be setting node based CST input gamma to 709 right before the LUT, and then Cineon output? It's confusing when you're using a project based CST, since the input and output are outside the node tree. If I leave the node CST input at "use timeline", everything get s cranked up and blown out. Any help is very, very much appreciated!
Thank you for this. I learned alot. What settings do i change if my Display is an 95% LG DCi P3 . And my color output will be rec709. Do i just change my output color space to DCI P3 instead? To match up with my monitor? Thanks
Hi mate. I'm using Kodak 2383 lut which requires me to CST a couple of times and transfer it to Rec 709. I don't want to use Resolve managemnt as its leading to me using Rec 709 TWICE...How do I turn off rec 709???
A tutorial on the node tree while using Davinci Color Management. White balance, Contrast, Look, etc. Maybe heaven forbid, using a look lut. Thank you for sharing your expertise with us.
Darren ! Could you please help me ? I did filmed the footage on Canon R5C in Raw LT Canon log 2 . When I did use automatic colour management nothing happened in my timeline. The footage is still flat. What I’ve been doing wrong ?
I have some lava footage from Big Island from a Sony A1 and looks great on my iMac and all washed out and shitty when I export...have no clue why. I tried so many things suggested and still shifting. I am hoping you have some input! Thanks.
This was really helpful as the other tutorials have me poking in nodes and adjusting all things I don’t fully understand. One question if I may. I film underwater caves that you can see on my channel. I have an issue where I color grade in one area of the clip and it looks great, but later on in the clip (say I’m in a darker wider space) my color seems off. How to I fix that? Do I have to break the clip off into segments? For context, the video is shot with a go pro so it isn’t flat format. Maybe that’s my limiting factor?
Hi Darren, I've followed this tutorial - but for some reason whenever I export, the colours are different than those that I see while working in Davinci (The skin tones are much more pale). I have Color Mangement Settings: Color Science: Davinci YRGB Color Managed, Automatic Color Mangement: Ticked Color Processing Mode: SDF Output Color Space: SDR Rec. 709 I'm using Sony Slog3 Cine Gamut 4:2:2 10 bit from the A7Siii. I have the following settings under VIdeo Monitoring: Video Format Proxy Media Res: Choose Automatically Media Format: Pro Res 422 HQ Optimised Media Resoluation: Choose Automatically Optimized Media Format: ProRes 422 HQ Render Cache Format: ProRes 422 HQ My node tree is this: Node 1: Offset = 12.90 (As I am overexposing the Slog3 Footage by 1.7 Stops) Node 2: Vignette Node 3: Color Space Transform: Input Color Space: Sony S-Gamut3.Cine Input Gamma: Sony S-Log3 Output Color Space: Use Timeline Output Gamma: Use Timeline Tone Mapping Method: DaVinci I wonder if you might be able to help? I've tried exporting 4k for H 264 and H 265, and Apple Pro Res 422HQ. But I can't seem to make the colours stick. I appreciate you're busy, so don't expect a response, but wanted to give it a shot just in case it was an obvious mistake I was making?
This is big boys. Not for entry level cameras. I have Nikon Z50, I have no idea what profile this camera shoots, it's just flat profile (not LOG) and 8bit. And all those settings with color profile does not work.
Hi Darren, Great tutorial and excellent content. I was wondering what my best options would be for a project I have coming up with only Fx6 ( S-log3) and DJI Mavic Pro 2 (D-logM) I have experimented a bit but I'm still getting my head around the whole concept... Any advice would be most appreciated! Cheers, Marty
Amazing! Just perfect, no words. Do a complete course! I would be even willing to pay for it as a donation for my greatfulness. This is a perfect tutorial.
I am color grading on a BenQ monitor that gives me several options for setting the working color environment. Should I be setting my calibrated monitor to Rec709 Gamma 2.4 vs. the other options like Adobe RGB, SRGB, etc.? Darren, thank you so much for the most clear and concise DaVinci tutorials on the web! As a stills photographer just now venturing into the mysterious world of video, you have been a savior!
Hi Darren, thanks for making this video. Totally new to Davinci Resolve so the learning curve is quite steep. I've shot a bunch of footage on my Sony ZV-E1, however when using the color managed color science, it doesn't automatically detect the SONY - so the footage just remained completely flat. In your video, where all your clips registered 'RED', "Blackmagic RAW'. etc., mine only shows H.264 High 4:2:2 L5.2 When I navigate to the Camera Raw project settings, the entire panel is greyed out. Decode Quality is set to "full res" but nothing can be changed in that panel. I'm just wondering if it's something I've done, or whether Resolve doesn't yet support my camera model. The videos were recorded in XAVC S 4K 140M 4:2:2 10bit. Would you happen to have some insight into what is going on? Super grateful for you and the phenomenal content you put out! Thank you!
Hi Darren. Thank you for your efforts (they are very much appreciated) Big newbie here but I do come from a pro photographer background so calibrate Eizos to 2.2, Mac M1. The process you have outlined didn't work for me and so I thought I would flag in case it helps anyone. I don't know if it is because I am using the free version 18.6 (? anyone) but no change to my v-log Lumix S1 footage. The Camera Raw pane of Color page is all greyed out and Metadata of individual clips is missing all the camera data etc. Having run Exif Tool in terminal the .Mov's deffo have the data embedded. I have found what I think is a workaround but as I say a newbie so.... I can right click a clip in the edit page and manually assign the Input Colour Space (about a third of the way down the menu above LUT) In my case Panny V Gamut/V-Log and hey presto it looks as it should. However it is not the end of the story when I do a quick export to test the resulting output is slightly off that I see in the edit ( bit flatter ). After much melting of the suede and following others advice turning off the tick against Automatic colour management in Project Settings and changing the output colour space to Rec 709-A has resulted in a match between the images pre and post export. This after going to general prefs and ensuring 10 bit precision and use Mac display colour profiles is checked, saved and relaunched. It has also been pointed out to me that this can all be screwed up at the timeline level.-Rightclick the timeline in the edit page -timelines -timeline settings then there is a colour tab (I'm ticking -use project settings). It's way too complicated!
When I follow the steps you made up until 3:38 and press save, I see no difference in my image. Anybody know why this might be? Also, all my Camera RAW drop-downs are grayed out, showing "Decode Quality" as "Full res." and "Decode Using" showing "Camera Metadata." My Davinci isn't behaving the same as this guy's 😞
Love your videos! I'm having trouble with this one though. For some reason, nothing happens when I change to a color managed space. I have to go down and select an input LUT for it to work. What am I doing wrong? Thanks!
Quick question... so when I click on the "Camera Raw" tab... mine simply gives the options of: -Decode Quality -Decode Using THEN Lift, Gain and Contrast, all greyed out and inaccessible. While the one you're showing displays the Color Science, White Balance, Color Space, Gamma and ISO... any reason why?
Ok, things are a bit clearer now, or are they? 1- I have a calibrated Benro EW3270U monitor. The specifications tell me it is a DCI 65 colour space. So, I’m going to set this as my output CST settings. I’m going to set a 2.2 Gamma as my output is RU-vid, not broadcast. 2- My camera is a DJI Pocket 3. I am going to shoot in it’s Log colour mode, because I want to, and I want to learn how to colour grade in order to get the best results I can, given early learner state of skill. So, I’m going to create a beginning CST with DJI as input and davinci wide gamut as output. 3- The in between nodes I stole from you. Q1: am I on the right track? Logic ok? Colour managed or just plain YRGB? Q2: if I shoot video on my Nikon Z6ii, not modified yet for Log, what do I set my input CST input items to? And, if I modify it, what settings then? Comment 1: I don’t think I heard you cover how to make those choices in a precise way, but I am a pedantic sort of person, sorry. Once I get the first and last nodes ok, I should be able to carry on, with some RU-vid research, I think. Q3: I will need to save two versions of the node tree? The P3 one and the Z6ii one? Comment 2: I saw your video part where you save a node tree. No matter how many times I looked at it, I just could not see the icon presses clearly. My fault for using my iPad. Backup, then it takes time for the screen to regain brightness, might have dropped out of full screen, do a pinch to see area of where I think the icon you used is, … I think you get it. Yes, I will in the future use the desktop and nice Benro monitor for your videos and other speedy RU-vid creators. Sorry, slipped into nasty, angry old man mode there … . With 25 years of experience, I’ll bet you find it hard to communicate with us beginners who want you to go really step by step. I don’t want to slavishly copy you, I just want to learn how to do stuff like save a node tree. I’ll bet the folks who need to learn such things won’t mind it if your videos are a bit longer. They will be lots less frustrating, I guarantee. Q4: Last for today…In the video where you talked about the automatic colour management settings, you pointed out some clips were labeled RED since they were taken with that camera and I could read that in the lower left of the node? Clip? Went by fast. Anyway, is that automatic? Do I have to do that manually on each clip? Do my cameras do it for me in the metadata so Resolve can find it? Sorry for the long comment to your informative video. I do appreciate your efforts to help lots of us.
This might be a lost cause but I do this workflow (but I use CST node because I’m not shooting in RAW), but on export the colors are all correct but the SHADOWS / contrast, etc. are a hair flatter. Do you know what that could be?
Hello Darren, I have a question concerning raw footage. I record on a Canon EOS M with Magic Lantern software to get raw data out of this tiny camera. These files are then transcoded to CinemaDNG files. I would like to bring them into Davinci Resolve as CinemaDNG. When I change the Color science from DaVinci YRGB to DaVinci Color Managed and I import these cDNG-files, I get nice results. But in the Camera Raw tab, do I have to change anything here as well...? Thanks Darren.
I'm not sure what the reason is for it, but one thing that's absolutely maddening is when TV shows and movies make their colours so STRONG to the point that they look unnatural. When I say unnatural I mean that we can't just have colours in something, we have to have COLOURS that POP to the point that they're too vibrant. Some examples: Look at the trailer for or any scene from The Beekeeper (Jason Statham) Do a search for Dr. Who season 14 Another example of how correctionists are oversaturating their colours, is when you watch a movie and you see the colour black. You know it's supposed to be black but when you look closer at it, you'll see that the black actually has the colour blue in it - whether it's by just a little or a lot. I really just don't understand this immense hunger for colour correctionists to crank the colours saturation WAY up that colours don't look natural and instead look like the colour palate they're using was used for reflective construction vests.
In "davinci YRGB", what's the view windows showed (gamut and gamma)? Because I download the android wide gamut robot, put it in davinci, In "davinci YRGB", I can see the robot clearly.Does the davinci view window showed by picture gamut?
Hi Darren, I am quite new to Resolve and have been watching lots of your tutorials, which have helped my hugely. Could you answer a small question for me though? I am making delivery masters of an animated film. The animation studio has given me their master ProRes 422 HQ movie (picture only) which is 1080p Rec709 rendered out of Premier and has been QC checked fine. I now have to add the audio tracks and make the delivery masters. I’m using Resolve Studio18 on Mac OS 13.2. My question is… How do I set up my project settings so that I can be sure Resolve isn’t accidentally altering the ProRes picture in any way. I’d just like the picture to be straight in-and-out with no changes. I don’t want to fail QC. Appologies for the rather long explanation! Thanks so much… John G
Tried to follow the steps to process a DNG clip, but Resolve colour management does not correctly convert the clip to REC709 (it still looks flat like log footage). However, Resolve does not put up an 'Input Color Space' selection menu, so it appears it thinks it knows what decoding it should apply when it apparently doesn't. Furthermore, manually trying a few source types in a Transform node didn't result in a good result. The DNG file was generated by Adobe DNG Convertor from Sony RAW photos (.ARW). Vieiwing the DNG outside of Resolve shows a reasonable picture, so apparenlty the conversion curves are known by someone. Anyone? Anyone??
Thanks for the video man... best on this i have come across on DR by miles... just a little question if I may. Do you use gamma 2.2 for web, or can i use 2.4 as a kind of happy medium? What would you recommend?
oh boy... I will have to rewatch the beginning... I don't know nothing about my monitor and my own camera.... It's a Sony ZV-1... also, what happens when I film with my Samsung Galaxy S10e? Will my videos contain metadata? Tnx for your answer.
Thank you Darren for all the informative videos! I have a question about masking qualifiers and the CST workflow. How should I go about using the highlighting mode functionalities for qualifying and masking in a node/CST managed timeline? (Davinci YRGB - DWG) at the moment, if my color is being managed by CST nodes instead of timeline/project settings, the highlighting mode changes the color of my masked clip only taking into account the nodes that came before it, giving me flat muted colors and their respective but wrong scope readings because the final DWG Exit node / CST is located all the way at the end of the node stack, rendering the scopes practically useless when trying to mask out and isolate parts of the image to further inspect the colors. I understand I could put the nodes after the CST, but does doing so make sense for all the nodes that need masking with final colors? especially since I am then loosing the benefits of working in a DWG colorspace for those nodes. Is there another way to get final image and accurate color readings from within highlight mode? Or should this qualifying/masking workflow work entirely different within a CST managed color space? I may have missed out on this detail with one of your videos or just had forgotten about a solution this, which I will now double check, but any links/info would be greatly appreciated Thanks again!
Thank you. I was new to Resolve and had iPhone footage. I said I don't know much, let's keep the default settings which was YRGB. Then learned that I have to apply CST to each single clip which was a lot of work. Later I saw this video and learned that you don't need to do anything if using YRGB Color Managed! It's automatic. Now I do this. I don't understand why their default setting is YRGB, it should be YRGB Color Managed to make it easy.
Hi Darren. Thanks for the great video. I'm on versiom 18.6 but unfortunately my S-log3 footage remains the same even when I match your settings. Any suggestions please?
Started watching your vids today and they are EXTREMELY helpful. We have an episodic series called Thespian that's now in its third season. The show is available on Amazon and picked up by Tubi and I do the grading myself to the best of my limited ability. No one's laughed at me yet and we've won some awards so that's good! My workflow has always involved using a 709 lut and then Film Convert Nitrate as my final two nodes and wondering if by using CST or DCM I'll get a better grade on the output. Does Film Nitrate become obsolete for my purposes? And, ideally, which is better DCM or grading using a CST node for every clip? Thanks so much for doing what you do!
Awesome video, I got a question regarding HDR. Lots of tv's today are HDR tv's, when grading for such a display would rec709 be used for the output? thanks!
Please help! A beginner in color grading here, trying to understand which output gamma setting to use: 2.2, 2.4 or use Rec.709-A (whatever gamma that one has). The more I read, the more confused I am. I would really appreciate if you could help me choose the correct setting, without me having to take a PhD in color science. I'm more interested in the "what" and less interested in the "why", so short answers are very welcome. I'm grading on a macbook air (without a separate monitor) and delivering to the internet (youtube and social media, perhaps also vimeo). All I want is to have an identical looking image when grading, when viewing the exported file (in quicktime in my case), and when uploaded to the internet. In my testing, Rec.709-A has been the only one to look correct in quicktime, and one source said it's good for youtube as well. Gamma 2.2 exports look completely washed out in quicktime, and 2.4 looks better but still not correct (lifts the blacks). Therefore I've been using Rec.709-A so far. However, I've read that 709-A has its limitations (on windows, vimeo and certain web browsers apparently) and gamma 2.2 seems to be the standard for web(?). Therefore I'm having "trust issues" with 709-A. As long as I'm grading on a mac screen and delivering for web, I want to make sure I have one single gamma setting that I can use consistantly on all projects. (Now obviously I'm not grading for netflix or TV in the near future, so I guess 2.4 is not even relevant for me?)
Hello Darren. Thanks for these and the other colour management videos, i have a problem which is possibly not related to the DaVinci / apple gamma issue - the 2160 version uploaded to RU-vid is darker than a separate 1080 version. When I edit and grade a video in Da Vinci and export a 1080 version and 2160 version - all look the same. When I upload 1080 to YT, looks the same as the above. BUT, when I upload 2160 to RU-vid, looks darker. I have been told that it is a compression issue - YT uses vp09 for the 4k videos. So when uploaded as a 4k clip it is darker than the 1080 version uploaded separately. This "darker" version does not happen when uploaded to Vimeo. Could you possibly help with this? Thank you.
Amazing tutorial. Thank You. I'm forced to work with a First Gen BlackMagic Production Camera (only BM cam with Global Shutter) along side a Sony FX3 w/ Atomos - and was wondering what was the "right way" to do it.
Thank you, you are amazing! I haven't before seen anyone with your combined understanding of the workflow/science and the verbal ability to get it across like this. Very thankful to have found your channel! 🙏
You're very welcome Kim. Glad you found my channel too! Enjoy my curated playlists. Subscribe to my free email list too - lots of free stuff and notifications bout upcoming events. bit.ly/2RrjvpN
I don't understand the purpose of working with a Wider color space. If Rec709 is that limited, then that means any strong edit to the highlights for example would make it clip, correct? However, if you were doing the same edit in a Davinci Wide gamut, it would not clip as fast? That part I've got right? Where I'm lost is, if your input is in any type of log format eg. S-Log3... And you set your timeline to Davinci Wide Gamut - but your output space is Rec709 then wouldn't you lose visibility into what actual colors would pop out in your output/delivery? Since you were doing them in a Wide gamut on your timeline, which leaves a lot more room that would blow out in the Rec709? It's a confusing topic, or I might not understand colors enough. I'm not even sure I phrased my question correctly. An additional question is; Are there any use cases where you would for example use a "wrong" color space to achieve a certain type of look/coloring? Or is it a must to always choose the right profiles etc? Thanks a lot, Darren.
