Color Management EXPLAINED: Get Amazing Colors In DaVinci Resolve In ONE Click
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- Опубликовано: 4 июл 2024
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I’m about to explain color management to you, which is the easiest way to get amazing colors in Davinci Resolve in just ONE click!
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0:00 Download my Edit Videos Like A Pro Guide!
0:31 What is Color Management?
1:38 Settings For Color Management
3:30 How To Enable Color Management
6:28 Do You Still Need To Use LUTs?
7:44 The BEST LUTs For Color Management
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Master Matt, my friend, you forget to mention that this method of CM isn't going to save you if you have a un-calibrated monitor, or a monitor set on a different color space, not sRGB or REC709. I know you already post two videos about monitors and how to use them correctly. Thank you for all the free fantastic tips, lessons, and positive vibes.
Great video. Didn’t know that option was there. Question though. What is the difference between this method and the Color Space Transform tool under the effects tab and using the slog3cine option from there.
Thank you for the Premier Pro Guideline too plzz!
I use a mix of Sony, GoPro and Insta360 footage. What color space would you recommend for the log action cameras? I have just been using Rec 709 but not sure if there's something more "accurate" I should be using. Thanks for another good one!
Is this better than using the color space transform effect in the color page?
Always great content!
Please do a tutorial for premiere pro as well 😊
Great video.
The limitation of the color-managed workflow is that color correction comes after the transform and in some scenarios, you won't be able to bring back highlight or shadow information.
The ODT (Output Device Transform), which transform your clips to delivery format (e.g. Rec709) happens after the timeline, so the color space you are grading with is still in whatever color space you set your timeline with. Im not sure what happens behind the scenes in automatic color management, but you can just uncheck it and customize it to your needs. Input color space means the color space of your clips (for mixed cameras, you can just right click your clips just like what Matt did in this video). Timeline Color Space is your working color space, meaning your canvass then Output Color Space is the Color Space in which what you intended your film to be viewed at e.g. Rec 709, P3, etc. So if you set your timeline color space to a wide color space like Davinci Wide Gamut, then it wont limit you since its currently the widest color space.
Color correction comes after the Input Transform (to the Timeline Color Space) but before the Output Transform (to the Output Color Space) so you’re not losing anything 👍🏾
@@he.smile_ If your timeline is set to rec709, you do.
Hey matt! awesome video! have you moved over to DVR for good? or still using premiere pro?
Using both :)
Thank you for the Premier Pro Guideline too
please make one for Premier too.
What would be an optimal solution if I shoot in Cine.4 rather than S-Log3? What input should I choose in this case?
I don’t believe this would work as well if you aren’t filming in slog3 unfortunately. You’d want to use a lut tuned for coloring cine4. My luts work great for that
You can also easily select al the clips in the media page to give them the right color space. This way, you can easily select all the clips without having to go through the whole timeline to deselect drone shots for example.
can you do the same tutorial with premiere? Thank you
This is the video I needed.
These are some awesome tips that’ll for sure speed up the editing process. I knew some of this stuff, but selecting all those clips at once is gold. Didn’t know I could do that! I was copying one at a time, which was still faster than editing each clip. 😂
Now I’ll be flying through edits once I nail my look.
So glad to help! 😁
Hey Matt! Thanks for the video. Please -> Don't forget about us Final Cut Pro X. I'd love to color grade on DaVinci but already invested my money on Apple's suite, and if there is a way to make a round trip between FCPX and Resolve Free Version, that would be awesome. Ah, and please consider the new FCP 10.8. Thanks a lot!
I have a lot to learn about Final Cut still but it’s one of my goals to learn it and start teaching it too
@@whoismatt Thanks Matt....I really love FCP and now it's muscle memory (in terms of quick keys)....It may not have as many features (AI) like Premiere, etc., it is still a great piece of software. Would love to see if there is something like what you found in Resolve available in FCPX.
Good timing with this 😂
Do one for Adobe please 🙏
What's the difference between using this method and using "Color Space Transform" and then choosing your camera and profile in that? Thanks man!
came to ask this, thanks!
I believe this method applies it to the entire project, whereas using a node to do the Color Space Transform allows for individual clips to have their own settings. So if you're mixing footage from different cameras (say, drone, and two different camera bodies) you can select the CST settings specifically for each clip. Which I still prefer also.
Is this in the latest Beta version 19? I tried it and I don't even have that option. I shoot with BMPCC 4K and 6K.
It’s also in version 18 as well. Resolve should automatically recognize Blackmagic raw footage and enable you to tweak it in the raw panel
@@whoismatt OK, that's probably why when I change the settings under color management, the footage comes in already set. I have had Resolve for over 2 years, but I have to admit...Color Correction part is good, but I still edit with Premiere. I don't like how many of the features in Resolve are hidden and it works kind of clunky to me. I like the work flow better in Premiere Pro. I've used Premiere for almost 28 years now. Hell, I used it before Firewire!
where is this applied...talking in terms of nodes...is this applied at the end or the beggining...if curves ar used do they affect the log footage or the 709 space?
I would highly suggest watching this video to understand node based color management and doing it this way instead. Qazi essentially answers your question with scientific proof, and his color management will yield much better results and is explained in much more detail. Video is here ruclips.net/video/jRs-NlIdz0c/видео.htmlsi=3wAyhWIda5VDUpbp
The ODT (Output Device Transform), which transform your clips to delivery format (e.g. Rec709) happens after the timeline, so the color space you are grading with is still in whatever color space you set your timeline with. Im not sure what happens behind the scenes in automatic color management, but you can just uncheck it and customize it to your needs. Input color space means the color space of your clips (for mixed cameras, you can just right click your clips just like what Matt did in this video). Timeline Color Space is your working color space, meaning the color space of your canvass then Output Color Space is the Color Space in which what you intended your film to be viewed at e.g. Rec 709, P3, etc. So if you set your timeline color space to a wide color space like Davinci Wide Gamut, then it wont limit you since its currently the widest color space. Just watch this video for a more comprehensive outlook of Color Management ruclips.net/video/w0ubDSzEEYg/видео.html&ab_channel=Team2Films
Adpbe Premier please.
If u set the colour management before you import the files davinci will detect your slog and convert it before u even start editing.
Premiere too please! Looks awesome!
We are in 2024 where ai do most of the boring part, and davinci cant detect automatically? why? Even premiere can do that, which has basic color editing capabilities.
Is this just for slog etc would this work on hlg3
I don’t believe there’s an option for HLG3, you’ll want to use a lut instead of this method
Thank you @@whoismatt
Its not about color management, its about how to apply log lut to footage lol
And you cant talk about color being the same on all devices coz all displays arent the same
Color grading is something I have never been interested in. I do client work and don't have time to spend hours on color grading. Find it interesting how content 'creator's ' are obsessed with it even though they just talk to a camera