Видео

Thank you for your lovely comment!

@@johannes3530 That’s so kind of you! Thank you for your lovely comment, Jo!

@@enrichtwo Hi Richard, I’m afraid not. The reason is I don’t own a Mac so I have limited knowledge about the issue as I’ve never faced it myself. To by knowledge, there is an excellent video by CineD that explains it in detail: ruclips.net/video/ZQ8VY9aWUfE/видео.htmlsi=icwLrmFgGyXeXshw Hope this helps.

@@marietafarfarova Thanks for linking it!

Thank you, I'm so glad you found this useful!

Hi Diego, no, it's not online. Is there anything from that tutorial you needed help with? Let me know and I'd gladly assist.

@@marietafarfarova Hello! I just wanted to see it again, to see the step by step and show it to a friend who had to install it and share 1 terabyte with me. Thank you very much for offering your help.

@@diegochak7560 Feel free to check out this video instead: ruclips.net/video/7c8SYE2ALRc/видео.html&ab_channel=ExaVault In this walkthrough, it’s shown how to connect to FTP. However, the steps are identical to connect to Google Drive. All you need to do once you’ve downloaded Cyberduck is to Open Connection -> from the dropdown menu select Google Drive. And this is going to open up a new window in your browser prompting you to log into your Google account. Once you’re in, just allow Cyberduck to access your Google Drive account and you’ll then be able to upload and download anything via Cyberduck. This avoids Google Drive’s zipping and the speeds are significantly faster. Hope this helps.

I appreciate it, Gabi! 🤗

Thank you for your kind comment.

I'm so glad. Thank you very much for your kind comment!

I'm so glad you found this useful. Thank you for taking the time to write this! ☺

@@m1nt9reen You’re absolutely right. However, if someone is looking to troubleshoot an issue related to data levels, it’s quite likely the term they would use is ‘gamma shift’ even though that’s not the correct technical term. So while I agree with your point, I’d much rather use a term that people are searching for so they can find this.

I have the same test chart with 18% grey patch for Sony S-Log3 if it helps: drive.google.com/file/d/1XGvPPsGc57CM3S66qGwB1Hl6syJsrj9S/view?usp=sharing I'm not sure if these are available to purchase or download for free online. I have mine from a paid course with TAC Resolve Training.

Absolutely, it's so important to understand the technical alongside the artistic side of colour. Thank you, Martin!

I'm so glad, thank you very much!

I'm really sorry but as mentioned in the video, this is not referring to the Mac gamma shift and the Rec709-A workaround. I don't use Mac so I cannot test, troubleshoot and provide any clarity on this subject, unfortunately. To my knowledge, there is a great video by CineD about this topic you may want to go through: ruclips.net/video/ZQ8VY9aWUfE/видео.html&ab_channel=CineD If this doesn't answer your question, it may be worth asking @DouglasDutton to create a video on this topic as I know he is on a Mac and has experience working in ACES.

Hey. I have a number of questions about your setup: 1. Are you grading on a reference monitor calibrated for HDR and set to Full/Data levels? 2. Are you sending out Full/Data levels from DaVinci Resolve (under Video Monitoring settings)? 3. What is your OS? 4. Is your second monitor, where you're viewing the deliverable in Quicktime, set to Full/Data levels? But to be honest, I'm unsure whether it matters at all how your deliverable is shown on a Quicktime player. The only thing that matters is how your grade looks like on an HDR calibrated mastering display. And I mean a proper one e.g. Sony BVM-HX310 or FSI XMP310, not a consumer-level TV such as LG C3 that claims to be HDR.

​@@marietafarfarova Hi. Thank you for replying. No I'm actually on the XDR 1600 nits Mac display. I know that you are recommended a secondary display for editing, but this is a great display, and still shouldn't give this result? I have been trying both changing clips in the media pool to full/data and following the same steps in the deliver page but none of that is giving a difference in the exported file. Sonoma 14.5. But what it sounds like from you, and from the guys I was speaking over at blackmagic etc, is that you can't trust the Mac display, no matter which one it is. And that problem wouldn't exist on a proper secondary display.

​@@SkardeLine Hey. The issue with not having a dedicated colour grading reference monitor that is connected to a playback and capture card, is that otherwise what you're seeing in your viewer is being affected by your operating system and is not a true representation of your grade from Resolve. Therefore, it cannot be trusted. You can have the greatest display. But if it's not connected as a dedicated calibrated ref monitor receiving a clean feed - it doesn't matter how amazing that screen is. I hope this helps.

You're very welcome. ☺

I’m so glad you found this useful, thank you!

I use After Effects for my GFX.

@@marietafarfarova thank you 🩵

Well, I am on Windows and so I haven't faced the well-known Quicktime gamma shift issue. But the best explanation about this issue I've seen online is by CineD: ruclips.net/video/ZQ8VY9aWUfE/видео.html&ab_channel=CineD

I appreciate it, thank you! ☺️

So glad you found it useful! ☺️

You’re very welcome. Thank you for your kind comment.

Thank you for your insight. In this video I wanted to focus on the broad picture rather than specific issues related to codecs and incorrect decoding by different software. In my experience, I've only faced issues with DNxHR 444 12-bit - Premiere interprets the file as full data levels even though it should be video. But I have not had any issues with DNxHR HQ.

That's a great question! If you're creating colour-critical work as a professional in Resolve, it is essential that you have a dedicated calibrated colour grading monitor and you're feeding a clean feed to it via a capture and playback card. Otherwise, what you see in your viewer is affected by your OS and it's not a reliable representation of your grade. It doesn't matter where your deliverables are going.

That is a very good point and, indeed, should have been said. Thank you so much for bringing it up! I've pinned your comment so more people can see it.

Thank you!

@@thedouglasdutton Thank you, Douglas! ☺️

Thank you for stopping by! You're very welcome. ☺

Thank you, Sven! That's a very good point. I find that DNxHD 444 specifically forces full data levels causing a gamma shift in Premiere Pro. But since my last tests Adobe have introduced Colour Management so they may have fixed it. Or, at least, they hopefully now offer the ability to switch between Full and Video levels the way Resolve does.

@@marietafarfarova Ah good to know. It's been a while, since I had to do something with premiere, but I remembered there was an issue with that.

Of course! This is just a technique for texture. My usual order of operations is the following: 1. Shot matching (exposure, white balance, secondaries, relighting/power windows) on the Clip level 2) Look development - Contrast, Split toning/palette 3) Secondary look development adjustments - HSL Curves, Color Warper, etc. 4) Texture - Film Grain, Halation, MTF, Sharpening, etc. Hope this helps.

@@marietafarfarova Yes thanks! I'm trying to make old film look :D

That's so kind, thank you!

Oh, interesting! Magic Mask is quite a narrow tool but if you're looking to tackle something very specific, it may work well. In my experience, it hasn't been able to hold up with moving subjects.

@@marietafarfarova yes sometimes you have redraw the stokes to adjust the the mask but I found it about the same time or faster then manually drawing a masks.

Thank you for your kind comment!

Thank you for your lovely comment!

Absolutely, this is in the pipeline for future videos. I'm just waiting to have my panel back from a repair (hopefully, soon!). Thank you for your support.

Sure thing. Firstly, you want to ensure your images are properly exposed and balanced before proceeding to creating a look. Personally, my preferred method for creating a complementary split toning is using the RGB Custom Curves. I've covered it in this video: ruclips.net/video/dHXNwSlw55Q/видео.htmlsi=w1gv8EO7wuEm0FJb Next, you can also use your Primaries - Lift, Gamma, Gain; or your Log wheels - Shadows, Midtones, Highlights. You can push cool tones into your shadows and complement this by adding warm tones into your highlights. You can also use FPE's. For example, Kodak 2382 and Fuji 3513 both have a complementary RGB split engrained into their look. So you can use those as a base for your look and go from there. Of course, there is also an array of 3rd party DCTLs and plugins you can use. But I'd highly encourage you to stick to your native tools until you've mastered them before diving into external tools. Good luck!

@@marietafarfarova Thank you very much for the detailed explanation.

You're very welcome!

@@marietafarfarovaas a beginner hobbyist colorist i want to understand what i am doing and WHY im doing it. Your videos have helped me tremendously!!

Thank you, Tonelf!