I haven't used the Cine4 profile, so I don't know much about it. I just did a bit of research and to my understand it is a version of rec.709 but slightly flatter. So you could use Input Color Space and Gamma as Rec.709 / Rec.709 and then output Rec.709 Gamma 2.4 or Rec.709A and then it sounds like it needs a bit extra contrast to look proper. Again, I haven't seen footage shot in Cine4, so this is purely from reading a little bit and what it sounds like :-)
Most people skip past the understanding and just do as they're "told", which is fine for the most part but I had the same issue until I dug deeper and dig a lot of research to actually understand what it was about - and this is still a super simplified explanation of course :-)
Yes, definitely. If your camera doesn't have a LOG function, shooting in Rec.709 is still completely fine and you'll still be able to grade just with less flexibility as if you had shot it in LOG
One tip: If you're using DaVinci Resolve on Mac, then the image on the viewers is actually Display P3/Gamma 2.2.. You're not actually looking at a Rec.709/Gamma 2.4 image. The viewer is managed by MacOS Color sync and it's basically displaying the colorspace mentioned before. The smaller Rec.709/Gamma 2.4 is simply stretched to fit the native colorspace of the monitor. Since all the color spaces in resolve are going through color sync, they're all relative to the native colorspace of the display, leading to incorrect interpretation gamma and colorspace various displays. It's known as the infamous Resolve Gamma Shift To be able to monitor true Rec.709/Gamma 2.4 in your viewers, buy a video card. This will allow resolve to skip the MacOS ColorSync completely, letting your monitor to display true Rec.709.
Or changing the display profile is often enough, that's what I've done myself, so I'm viewing my MacBook screen in sRGB (Rec.709) instead of P3. Works as well 😊 Appreciate the input for all the beginners, thank you!
@@AlexBjorstorp P3 in mac has the srgb transfer function so it's basically srgb with the color gamut of p3. There is a rec.709 profile though but i'm not sure about its accuracy
I don't, sorry. However, you should check out my "Blind Grading" videos, where I grade clips I don't know what camera and LOG profile comes from. That's the approach I would use to grade GoPro footage as well :-)
I mean that when you're not shooting in LOG or RAW, it's usually some kind of Rec.709, maybe with some color science or profile baked in from the manufacturer but usually the format is rec.709 as the output for it to be display-able on all displays/monitors :)
Broooo...... 1. Rec.709 and sRGB is same? 2. Can I export an image into rec.709 ? I hope ur answers And ur videos are very helpfull brooo Thank youuu so mucchhh❤❤❤❤
Yes, different name for the same thing. There’s a tiny difference but not anything you can see. Do you mean a photo? If that’s the case then no, then you just have to make sure your display settings are in rec.709 or sRGB when you edit the photo :) Hope that helps!
@@AlexBjorstorp thank you for the reply broo❤️❤️ And Can I use P3 (apple macbook) display for editing photos and vdieos? If I use p3 display can I experience the rec.709 or sRGB ?
@@rithinrobert3563 I recommend you set it up to Rec.709 to be sure it shows the colours correctly :) Using any other color space will have a smaller or larger difference in colours
Amazing! Love to hear that 🙌🏻 If you got any questions or feel like there's something you struggle with, let me know - always happy to help or make a video that covers the topic 🙌🏻
@@AlexBjorstorp thanks ! Actually I might have one questions because I just got into all of these color grading scope. What would be the best LOG profile to shoot with ? I have a sony camera to vlog and also shoot footage and I wonder what should I use for the best output in post production
@@onatripwithalex I don't shoot with Sony myself but I've graded both s-log 2 and s-log 3 and they are both really good. From what I've read and heard, s-log 3 is the better one. To expose properly I've heard people over-expose with 1 stop but I haven't tried it myself, so you might have to play around with that. When you get further into grading, the LOG format matter less, it's the exposure you need to nail and then you'll have a lot of wiggle room for getting it to look the way you want 🙌🏻
@@onatripwithalex someone told me last night that overexposing with 2 stops is best for slog3, so I would try with both 1 and 2 stops of overexposure and see what works best for you 🙌🏻
hi. i would like to change color space of my smartphone to aces. i dont know what is the best input colorspace for smartphone cameras and changed it to aces in davinchi. should i use rec709 for output videos of smartphones or it's better to use srgb for that? thanks alot for helping me about this.
I don't know what smartphone you have but most of them shoot in rec.709 unless they specifically has some kind of LOG profile. So in this case I would transform it from Rec.709 to ACES. sRGB and Rec.709 are the same thing :)
hii is this conversion should be do for only SLog profile? I m shooting in HLG2 Color mode 709, Cine4 color Mode ITU 709 on my sony a6400. should i also make a conversion node like this? 🤔 help 🙏 edited and more correct info about my color profile
Hey! I haven't worked much with HLG to be completely honest with you but from a quick research here's what I found: HLG is basically Rec.2100, so what I recommend you try is to use the following settings for your footage in the color space transform: Input color space: Rec.2100 Input gamma: Rec.2100 HLG Output color space: Rec.709 Output gamma: Gamme 2.4 HLG is a HDR format, so it won't be readable by all displays, so by converting it like this you should get the best result but again, it's not something I've tested myself, so this is how I would try and work with it if I had some HLG footage to try and convert it. Do let me know how it goes 🙌🏻
@@AlexBjorstorp Thank you very much. I didn't anticipate that you will take time to reply me. thank you once again I will try, and let you know the feedback. I hope your channel grows faster. It's one of the best channels I have seen so far for DaVinci Resolve tutorials.
I have a question: if I shoot 8 bit in rec 709 out of the camera, when grading, should I use shift S to create nodes in front of the 1st node and grade before the first node for best results?
If you shoot footage in Rec.709 you don't need to do any transformation or conversion, you can just start correcting and then color grading. You should watch my "Understanding Nodes" and "Beginner Node Tree" videos, I think that will help you understand how and why you can structure the nodes in different ways and work with your footage in the best possible way :-)
@@AlexBjorstorp I understand what you replied, just want to know if back tracking on nodes and creating a node, pre rec 709, and using a CST from rec 709 to Davinci Wide Gamut, to work in a wider spectrum, then grading and finishing with a CST from Davinci Wide Gamut to rec 709 would be a good practice workflow to help finesse 8 bit footage?
@@chrisbeemedia4038 ah I see! I haven’t tried it but I don’t think it’ll make much of a difference as your footage is limited by the 8-bit from the start but it could be worth giving a shot and seeing if you get any better results. I don’t think there’s any harm in trying but I wouldn’t expect a different from a theoretical perspective
Found your channel, and it's great! If i was using a lut on an adjusment layer above all of my clips, instead of putting the r709 conversion at the end of each clip... would I actually do this step on the adjustment layer that is above the clips?
Yes, that will do the trick as well. The reason I don't prefer doing that is because I work with a lot of different clips from different cameras but it will do the exact same. Another way is to use the "timeline" node tree. When you're in the nodes section theres a small space at the top with 2 dots, one white and the other grey. If you switch up there you switch from clip-level to timeline-level. If you make your conversion there, you convert all the clips without the need of an adjustment layer and can grade the individual clips by changing back to clips. I hope that made sense ☺️
