You're the most legit Colorist I've come across on RUclips. I can tell you're an artist who genuinely loves their craft and wants to share knowledge and not just trying to sell us a product or teach us BS for views. Love the fact that you encourage trusting our natural inclinations and feelings instead of being crazy technical about the scopes and numbers. Love it, keep going.
That last tip was very cool! I do not know if you have talked about trying to separate the skintones from the background, when the background or other elements have very similar color but I think it would be a cool topic
Really appreciate the fact that you always ground us with "what you've done thus far" before you dive in. It matters so much having that management context that SOOO many others just leave out. Thank you my friend :)
Loved this episode, Cullen. Loved your mention of learning a lot from a casual conversation: I've found that often the most meaningful take-aways from a technical conference were those chats at a booth with a veteran. Why? Because you may hear their distilled knowledge or experience, the larger sum of their relevant experience, not just a recitation of parts of the manual. Good job, Cullen.
I’ve been subscribed for quite a while as your videos are the only ones I find truly instructional. I wanted to use the opportunity to recommend your excellent voyager pro luts. They are the only luts I use because of the sheer quality and modularity. Also the provided powergrades are very insightful even or maybe especially to someone who grades professionally.
Thank you, Cullen once again you have shown me something new. The only problem is I now have to go back over the short video I am making reevaluate it and try to improve it.
Hi Cullen, you can do what you did with the color warper by selecting the extreme in the color warper web, having maybe 8 circular points, you select the green and you drop down the luma value. I love color warper. Is wonderful and artifacts free
The title as is typical, understated. The value though can't be overstated. Probably one of the best of yours I've seen, and I've been a subscriber for at least 4 years. Don't know how I missed this one until now. Not that I expect you to go back and edit your description, but having chapter markers for videos like this and in general would be helpful.
An alternative to the second tip - using Power Window + Qualifier - is to use HDR color wheels with the Power Window. They're gentle, easy to use, and to some degree they're also an alternative to (the first tip) switching a node to Linear, as you always have a flexible crossover point, and isolation between darker and brighter regions, unlike with LGG.
Brilliant tips thanks. I find the colour wheels are often too aggressive, especially when adjusting white balance. I hadn’t found a way to reduce their strength, so Tip 1 is really useful. I guess now you could use the AI Magic Mask to select the man’s face, although that is much more processor intensive than a qualifier.
Just discovered this channel and wow, the quality of your content is incredible, even better than a lot of paid courses so, first of all, thank you for that. Would you consider doing a video on how we could approach grading 8 bit rec 709 footage from any mid range canon dslr? Because, for a lot of us, it's all we have acces to, and there's not a lot of resources online that go into that and get decent results. I like to believe that with the right teacher, that has a good creative vision and knows thorougly these color grading tools, it could be archieved, so it would be great to see your take on the subject
Really liked the last tool for increasing the density and luminance of chroma and luminance in the greens using the color warper. I play with my greens a lot so that's a nice broad-stroke tool I need to keep in my pocket and implement more. Nice, signed up for your course this spring and i'm fucking stoked.
Hi Cullen, I 've watched all of your videos and am on my way going through all the live sessions as well. This is so far the channel where I've learned the most about Color grading and I wonder if there are any channels out there that are at the same level of providing knowledges as your channel, but in the area of VFX, and that you may recommend?
Hey Cullen. My hobby is flying drones in different places and then editing those videos in Davinci. There are a lot of light changes if I fly in different places. Is there a special way to adjust each part of the clip to match the entire movie? Can you do a tutorial grading a movie with a drone? I can provide the footage if necessary
I am new, not only to Davinci Resolve but at video editing and color grading too however I wish to learn it. I find your videos pretty educative and scientific. I have subscribed to your e book and your Voyager Pro pack too. Could you please share as to how can one save the Color node tree (as you work on) as a default so that I do not need to manually make that node tree in every new Project of mine. Thanks
Thanks CK great stuff. Do you think you could get into working in DaVinci across the different disciplines? For example taking shots from Fusion and editing.. what do we need to consider in coloring if I am working with someone who is also working on the files in the editor and fusion? how does it all fit together?
Cullen: Secondary qualifiers! OMG! OK. How about using Resolve's Depth Map tool to separate foreground and background? Why? Because an adjustment can be more three dimensional. Someday perhaps we will have 3D face matrix or mesh tools, perhaps allowing lighting adjustments according to SHAPE and not just the SPACE occupied in the frame. More natural, hopefully. Love the tutorials, Cullen.
How do the new Voyager LUTs compare to Cullen’s previous Core Elements LUTs? Are they an enitrely new set, an upgrade, or just the Core Elements repackaged? And any idea in what colour space they are used? Its only been a month or so since I bought the Core Elements and would be interested to know if the Voyager LUTs are significantly different or in what ways they may be different. Appreciate any response. Thanks in advance.
Loved your informations and the way you did it , straight here from DARREN MOSTYN , he mentioned about your channel. Like he said this a treasure , will explore soon.
question sir - you have turn your expo node gamma to linear mode, in which grain wheel gives me a amazing results and thank you for that, but at same time lift & gamma is giving me aggressive results, so in order to use gain wheel in linear mode, do I have to create a special node for gain? cause mostly I have never done that and I have never seen you doing that? which makes me little confuse, should I give Gain a special node in order to make it work? if not then what? using lift & gamma in linear is not working for me at all? kindly help and thank you 🙏
Am I correct in assuming your recent discovery of how you will no longer be doing anything that affects image resolution in parallel nodes would move the mid level detail adjustment outside the parallel node structure?
What is the difference between using linear gain and just normal hdr global? and also is linear gain color space aware? I though only curves and hdr were color space aware.
You just need to have the timeline color space setting right because resolve will do a transform in the background, but you don't need to use RCM, node based is fine.
Difficult to see the difference on youTube between linear and regular blurs - is one just heavier or do they actually have a different effect? I'll have to try that - the last one with the color warper is interesting, but I have color warper power grades with all the most common hues in the skin tones pinned on the regular wheel and something like you are doing there, I can just add the warper and then click on the source monitor to choose the greens and grab them and move or desat etc. I can even pull the center ( neutral greys ) and pull the toward the complementary colors to add a split tone easily and preview it as I drag.
blur in linear behaves way more natural because it takes much more highlight "energy" into account than blur in a display-refered or log based environment. Btw never use spatial effects like blur inside of a parallel node setup like Cullen does here. There is a great danger of creating artefacts by doing this.
@@dronyfilm I have to admit that I haven't tried blur in linear- I seldom use the one from the tools there - I tend to use the OFX versions of blur more. Thanks for the parallel tip. A lot of smart people watch Cullens videos and I have found a couple of gems in the comments that have made their way into my toolbox.
I asked that in a stream, but so many questions to answer.. Good news for me: new machine that handles DaVinci! ..consider me, as the lest knowleadgeable of all subscribers.. and the most unlikely guy to be here.. but ..i learn..
Hey Cullen, on the point of switching a node to LIN gamma, it may just be me, but it does not equate to to CST to LIN and back, working exposure with gain in the middle as setting the node to work in a different gamma and colorspace does not actually change the footage the same way as CST'ing in and out. a 2x and 0.5x change in gain in LIN space should be about the same as moving +1 or -1 stop. This checks out with tests I have made. But setting a node to gamma LIN and doing a 2x or 0.5x does not have the same effect at all. What am I missing? :) I love doing exp and bal changes in LIN, bit am still sandwiched between 2 CST nodes as that is the only way I have found this approach to work.
You need to have your timeline color space set to whatever color space you are working in. Otherwise when you select the color space or gamma from the node, it does the wrong math.
you are partially right. you can do the same thing with CST nodes. it's called linear sandwich. But you need to be careful to NOT use tonemapping, saturation mapping and OOTFs in those CST nodes. using the Lift in linear is not a good idea, your math (2x and 0.5x change) is correct if you use Gain instead of Lift.
@@dronyfilm This seems to be what I wrote? I am already doing LIN sandwhich with CST nodes and a gain operation. (though I forgot to add a 'not' to does *not* equate)
@@chrbille I know. I was trying to confirm that it is indeed the same thing, as long as you are disabling tone mapping etc in the CST OFX. But I'm not quite sure how you are seeing the use of Lift as being the same as changing exposure. Mathematically Gain (in linear) is doing the same thing as adjusting ISO or the aperture.
I make a compound clip of a grey-scale made with the generator. I work in YRGB with DavinciWG as timeline colorspace. I turn the node gamma into linear. Then I play around with the gain wheel. What I see in the Waveform monitor is the exact opposite of what is described here: Raising the gamma raises the shadows non linearly, and the line is curving up, not down. In order tor the image not to become "milky" the opposite should be true, the line should look something like raising the Log Highlights wheel. Is there something wrong with my methodology? (doing the same in Color Management with DWG as working space produces a different curve but still, it affects the shadows more than linearly)
You are using gamma instead of gain. Gamma in a linear domain is equivalent to contrast in a log space (no s-curve enabled). Gain in linear is equivalent to offset in log. I say "equivalent" and not "the same" because there are slight differences in the blacks. Those are due to the log curves (intermediat, LogC, Log3G10, etc) not being pure log, but log with a so called linear extension. As a matter of fact the HDR global wheel uses gain in linear for the exposure. For white balance / color it is different, because it uses some different color space (LCH or Jzazbz or something, there is no official info about that).
@@antonarap But you previously wrote that you raise the gamma. Anyway, the way Cullen describes it is exactly what happens on my end aswell. Note that in a color managed workflow you are working underneath the DRT. Try comparing linear gain to log offset. You'll notice it's almost the same except for what happens in the blacks. This is due to the log curve not being purely log. If you where to do the same in a pure log curve like ACEScc it would be mathematically the same
@@dronyfilm nevertheless, the waveform curvature when applying gain is the opposite of the one described in the video. What I don't know is how the fact I'm using a composite clip made out of a generator output factors in.
@@paulg.sportiello2371 it depends on what you are used to. DaVinci Wide Gamut is more similar to other color spaces and therefore easier to get used to. ACES has the advantage of being an industry standard that is used in other software aswell. It actually comes down to RCM vs ACES more than DaVinci Wide Gamut vs ACEScct. RCM has way more input color spaces by default and a (for most people at least) more pleasing looking Display Rendering Transform.
@@paulg.sportiello2371 in short: DaVinci Wide Gamut is the better option for most people. Especially when you're new to color management and grading in general
As much as I would want to Love this channel .. it just seem like I never learn anything by the way he presents his video , it’s a lot of talk and not much show and tell ..
Can we talk about aesthetics. For example if you are comparing two grades; what makes grade A better than grade B? Is that grade good enough or could it be better. Is there creative choices that make a grade better? Have we reached full grade potential? Is constant intelligent and creative grade design how we further the craft? Or is there self imposed subjectiveness that rationally interferes with the creative process. Of course I understand the perspective of when it Feels Done as an answer (and I'm not even including the client in this discussion on purpose) Maybe a little clumsy in my initial attempt at trying to open the mindset of pushing the craft forward but hopefully I added some grist to the mill.
I just came across this video this morning, I have a question which most likely expose my ignorance. I have a project I am working on and I am using Davinci Color Management set for the timeline. I have S-log and D-log 10 bit footage and I hesitate to call it log but GoPro 10 'Flat' 8 bit footage on the timeline. I am assuming changing the Gamma to linear will only be effective with the 10 bit log footage and not the GoPro footage. Is that correct?
You're the most legit Colorist I've come across on RUclips. I can tell you're an artist who genuinely loves their craft and wants to share knowledge and not just trying to sell us a product or teach us BS for views. Love the fact that you encourage trusting our natural inclinations and feelings instead of being crazy technical about the scopes and numbers. Love it, keep going.
That last tip was very cool! I do not know if you have talked about trying to separate the skintones from the background, when the background or other elements have very similar color but I think it would be a cool topic
THE best color grading channel on youtube for sure! Thanks Cullen 😍
That Qualifier for power window truck is money 💰
Thank you so much for teaching these concepts in an accessible way!
Appreciate you articulating a putative story point at 8:10 as the motivation for your grading decisions! 👍
Incredible insights, as always! Thank you very much.
Thank you very much for the linear node tip. 🤜🏾
Finally, a use of linear color space not only to send for VFX 🤘
Really useful tricks ! I am very happy to have learnt new things today !
thank you so much for taking the time to share your very professional workflows!
Cullen, what great ideas. Never would have come across this without your professional help. Thank you so much!
LOVING THIS CHANNEL! Thanks for all your work
Really appreciate the fact that you always ground us with "what you've done thus far" before you dive in. It matters so much having that management context that SOOO many others just leave out. Thank you my friend :)
Working with linear gain is also great for micro and mini panel users as you don't have to switch the wheels over to offset.
Honestly I've grown to like that stupid little button. Helps keeps things separate.
Thank you ! please more of these tips & tricks !
All of them are amazing tricks Thank you cullen 🙏🙏🙏...some of them looks very simple but it changes our workflow radically !
Loved this episode, Cullen. Loved your mention of learning a lot from a casual conversation: I've found that often the most meaningful take-aways from a technical conference were those chats at a booth with a veteran. Why? Because you may hear their distilled knowledge or experience, the larger sum of their relevant experience, not just a recitation of parts of the manual. Good job, Cullen.
Your videos are so great, thx for making them.
I’ve been subscribed for quite a while as your videos are the only ones I find truly instructional. I wanted to use the opportunity to recommend your excellent voyager pro luts. They are the only luts I use because of the sheer quality and modularity. Also the provided powergrades are very insightful even or maybe especially to someone who grades professionally.
thank you for sharing your vast knowledge and experience...
Thanks for share your professional workflow, is mindblow for me 🔥
this color warper tip is such a game changer! thanks a lot for your content Cullen
Love it Cullen!! Thank you so much. Linear Gain seems to be such an useful tool!!
Yes sir. Good stuff Cullen. thanks for getting nerdy and pulling back the layers in being a colorist. Will be trying out in next project.
Thank you! It helps me understand Resolve even better. Clear and actionable. A technician and an artist.
Cullen, thank you SO much! Can’t even begin to say how much I appreciate your videos. These lessons are pure gold. Thank you
You a really great professional! Thank you very much for share.
Thank you, Cullen once again you have shown me something new. The only problem is I now have to go back over the short video I am making reevaluate it and try to improve it.
Gosh I rely on the qualifier way too much. Thank you so much for providing another angle to approaching these selective color adjustments!
Waw, loved those new tricks ⚡
These were great! More of this please🤟
Thank you, very nice insights!
Hi Cullen, you can do what you did with the color warper by selecting the extreme in the color warper web, having maybe 8 circular points, you select the green and you drop down the luma value. I love color warper. Is wonderful and artifacts free
Thanks again Cullen for your awesome tips. By the way, the longer hair looks better than when you cut it short.
The title as is typical, understated. The value though can't be overstated.
Probably one of the best of yours I've seen, and I've been a subscriber for at least 4 years. Don't know how I missed this one until now.
Not that I expect you to go back and edit your description, but having chapter markers for videos like this and in general would be helpful.
An alternative to the second tip - using Power Window + Qualifier - is to use HDR color wheels with the Power Window. They're gentle, easy to use, and to some degree they're also an alternative to (the first tip) switching a node to Linear, as you always have a flexible crossover point, and isolation between darker and brighter regions, unlike with LGG.
The warper is definitely some tung to test out! Cheers for sharing!
Brilliant tips thanks. I find the colour wheels are often too aggressive, especially when adjusting white balance. I hadn’t found a way to reduce their strength, so Tip 1 is really useful. I guess now you could use the AI Magic Mask to select the man’s face, although that is much more processor intensive than a qualifier.
Will watch in the AM. Thank you!!!!
Just discovered this channel and wow, the quality of your content is incredible, even better than a lot of paid courses so, first of all, thank you for that. Would you consider doing a video on how we could approach grading 8 bit rec 709 footage from any mid range canon dslr? Because, for a lot of us, it's all we have acces to, and there's not a lot of resources online that go into that and get decent results. I like to believe that with the right teacher, that has a good creative vision and knows thorougly these color grading tools, it could be archieved, so it would be great to see your take on the subject
Thank you Cullen !
super helpful, thank you very much
Really liked the last tool for increasing the density and luminance of chroma and luminance in the greens using the color warper. I play with my greens a lot so that's a nice broad-stroke tool I need to keep in my pocket and implement more. Nice, signed up for your course this spring and i'm fucking stoked.
Thank you Cullen.
Thanks Cullen. Damn, more food for thought!
Great tips, thanks very much 👍
Brilliant.
Thanks for explaining linear gamma!
Got my ah ha moment with the linear vs offset gain explanation!
Thank you ✌️
Can you do a video on Midtone Detail / Texture Pop?
Hi Cullen, I 've watched all of your videos and am on my way going through all the live sessions as well. This is so far the channel where I've learned the most about Color grading and I wonder if there are any channels out there that are at the same level of providing knowledges as your channel, but in the area of VFX, and that you may recommend?
Thank u sir♥
Hey Cullen. My hobby is flying drones in different places and then editing those videos in Davinci. There are a lot of light changes if I fly in different places. Is there a special way to adjust each part of the clip to match the entire movie?
Can you do a tutorial grading a movie with a drone? I can provide the footage if necessary
I am new, not only to Davinci Resolve but at video editing and color grading too however I wish to learn it. I find your videos pretty educative and scientific. I have subscribed to your e book and your Voyager Pro pack too. Could you please share as to how can one save the Color node tree (as you work on) as a default so that I do not need to manually make that node tree in every new Project of mine. Thanks
Save it as a powergrade. You can also load it into the Gallery stills Memory area, and save a project to use as a template. Details in the manual.
Thanks CK great stuff. Do you think you could get into working in DaVinci across the different disciplines? For example taking shots from Fusion and editing.. what do we need to consider in coloring if I am working with someone who is also working on the files in the editor and fusion? how does it all fit together?
Is it better to do the luma trick in the color warper or in the hue vs luma ?
Cullen: Secondary qualifiers! OMG! OK. How about using Resolve's Depth Map tool to separate foreground and background? Why? Because an adjustment can be more three dimensional. Someday perhaps we will have 3D face matrix or mesh tools, perhaps allowing lighting adjustments according to SHAPE and not just the SPACE occupied in the frame. More natural, hopefully. Love the tutorials, Cullen.
I haven't tried the depth map - sounds useful.
How do the new Voyager LUTs compare to Cullen’s previous Core Elements LUTs? Are they an enitrely new set, an upgrade, or just the Core Elements repackaged? And any idea in what colour space they are used? Its only been a month or so since I bought the Core Elements and would be interested to know if the Voyager LUTs are significantly different or in what ways they may be different. Appreciate any response. Thanks in advance.
Linear Gamma - genius😊
Loved your informations and the way you did it , straight here from DARREN MOSTYN , he mentioned about your channel. Like he said this a treasure , will explore soon.
Can you do the look using the track balls purely in linear?
Sir, could you make a tutorial with the Canon DSLR footages, please?🙏
I just found your channel and I’m a beginner editor and trying to learn color grading. Where should I start on your channel?
question sir - you have turn your expo node gamma to linear mode, in which grain wheel gives me a amazing results and thank you for that, but at same time lift & gamma is giving me aggressive results, so in order to use gain wheel in linear mode, do I have to create a special node for gain? cause mostly I have never done that and I have never seen you doing that? which makes me little confuse, should I give Gain a special node in order to make it work? if not then what? using lift & gamma in linear is not working for me at all? kindly help and thank you 🙏
When you flip the gamma to linear could you still adjust with printer lights?
The Best
Cullen or anybody out there, when you are color grading on Mac, how do you solve the color shift once you exported?
Am I correct in assuming your recent discovery of how you will no longer be doing anything that affects image resolution in parallel nodes would move the mid level detail adjustment outside the parallel node structure?
The color warper you showed is a dimension more than a Hue vs Lum curve?
New to grading. Which of your videos should a beginner start with? TIA
What is the difference between using linear gain and just normal hdr global? and also is linear gain color space aware? I though only curves and hdr were color space aware.
Would you only change your nodes to linear in a color managed workflow?
You just need to have the timeline color space setting right because resolve will do a transform in the background, but you don't need to use RCM, node based is fine.
Difficult to see the difference on youTube between linear and regular blurs - is one just heavier or do they actually have a different effect? I'll have to try that - the last one with the color warper is interesting, but I have color warper power grades with all the most common hues in the skin tones pinned on the regular wheel and something like you are doing there, I can just add the warper and then click on the source monitor to choose the greens and grab them and move or desat etc. I can even pull the center ( neutral greys ) and pull the toward the complementary colors to add a split tone easily and preview it as I drag.
blur in linear behaves way more natural because it takes much more highlight "energy" into account than blur in a display-refered or log based environment. Btw never use spatial effects like blur inside of a parallel node setup like Cullen does here. There is a great danger of creating artefacts by doing this.
@@dronyfilm I have to admit that I haven't tried blur in linear- I seldom use the one from the tools there - I tend to use the OFX versions of blur more.
Thanks for the parallel tip. A lot of smart people watch Cullens videos and I have found a couple of gems in the comments that have made their way into my toolbox.
I asked that in a stream, but so many questions to answer.. Good news for me: new machine that handles DaVinci! ..consider me, as the lest knowleadgeable of all subscribers.. and the most unlikely guy to be here.. but ..i learn..
Hey Cullen, on the point of switching a node to LIN gamma, it may just be me, but it does not equate to to CST to LIN and back, working exposure with gain in the middle as setting the node to work in a different gamma and colorspace does not actually change the footage the same way as CST'ing in and out.
a 2x and 0.5x change in gain in LIN space should be about the same as moving +1 or -1 stop. This checks out with tests I have made.
But setting a node to gamma LIN and doing a 2x or 0.5x does not have the same effect at all. What am I missing? :)
I love doing exp and bal changes in LIN, bit am still sandwiched between 2 CST nodes as that is the only way I have found this approach to work.
You need to have your timeline color space set to whatever color space you are working in. Otherwise when you select the color space or gamma from the node, it does the wrong math.
you are partially right. you can do the same thing with CST nodes. it's called linear sandwich. But you need to be careful to NOT use tonemapping, saturation mapping and OOTFs in those CST nodes.
using the Lift in linear is not a good idea, your math (2x and 0.5x change) is correct if you use Gain instead of Lift.
@@dronyfilm This seems to be what I wrote? I am already doing LIN sandwhich with CST nodes and a gain operation. (though I forgot to add a 'not' to does *not* equate)
@@chrbille I know. I was trying to confirm that it is indeed the same thing, as long as you are disabling tone mapping etc in the CST OFX. But I'm not quite sure how you are seeing the use of Lift as being the same as changing exposure. Mathematically Gain (in linear) is doing the same thing as adjusting ISO or the aperture.
@@dronyfilm Aah yes, I see it now ;) Lift was a mistake on my part, meant to say gain.
I make a compound clip of a grey-scale made with the generator. I work in YRGB with DavinciWG as timeline colorspace. I turn the node gamma into linear. Then I play around with the gain wheel. What I see in the Waveform monitor is the exact opposite of what is described here: Raising the gamma raises the shadows non linearly, and the line is curving up, not down. In order tor the image not to become "milky" the opposite should be true, the line should look something like raising the Log Highlights wheel. Is there something wrong with my methodology? (doing the same in Color Management with DWG as working space produces a different curve but still, it affects the shadows more than linearly)
You are using gamma instead of gain. Gamma in a linear domain is equivalent to contrast in a log space (no s-curve enabled). Gain in linear is equivalent to offset in log. I say "equivalent" and not "the same" because there are slight differences in the blacks. Those are due to the log curves (intermediat, LogC, Log3G10, etc) not being pure log, but log with a so called linear extension. As a matter of fact the HDR global wheel uses gain in linear for the exposure. For white balance / color it is different, because it uses some different color space (LCH or Jzazbz or something, there is no official info about that).
@@dronyfilm nop, I use gain
@@antonarap But you previously wrote that you raise the gamma. Anyway, the way Cullen describes it is exactly what happens on my end aswell. Note that in a color managed workflow you are working underneath the DRT. Try comparing linear gain to log offset. You'll notice it's almost the same except for what happens in the blacks. This is due to the log curve not being purely log. If you where to do the same in a pure log curve like ACEScc it would be mathematically the same
@@dronyfilm I said that I turn the "node gamma into linear"
@@dronyfilm nevertheless, the waveform curvature when applying gain is the opposite of the one described in the video. What I don't know is how the fact I'm using a composite clip made out of a generator output factors in.
3:39 Exposure
Linear respond.. such as ACES CC
ACEScc has a bunch of other issues. that's why they developed ACEScct which is non-linear again
@@dronyfilm ACES cct VS Davinci wide gamut... who's the better for color grading...?
@@paulg.sportiello2371 it depends on what you are used to. DaVinci Wide Gamut is more similar to other color spaces and therefore easier to get used to. ACES has the advantage of being an industry standard that is used in other software aswell. It actually comes down to RCM vs ACES more than DaVinci Wide Gamut vs ACEScct. RCM has way more input color spaces by default and a (for most people at least) more pleasing looking Display Rendering Transform.
@@paulg.sportiello2371 in short: DaVinci Wide Gamut is the better option for most people. Especially when you're new to color management and grading in general
@@dronyfilm When you have to do REC 709 + DCi P3 color grading for the same project.. Which one will give u better result, more flexibilty ?
As much as I would want to Love this channel .. it just seem like I never learn anything by the way he presents his video , it’s a lot of talk and not much show and tell ..
Can we talk about aesthetics. For example if you are comparing two grades; what makes grade A better than grade B? Is that grade good enough or could it be better. Is there creative choices that make a grade better? Have we reached full grade potential? Is constant intelligent and creative grade design how we further the craft? Or is there self imposed subjectiveness that rationally interferes with the creative process. Of course I understand the perspective of when it Feels Done as an answer (and I'm not even including the client in this discussion on purpose) Maybe a little clumsy in my initial attempt at trying to open the mindset of pushing the craft forward but hopefully I added some grist to the mill.
I just came across this video this morning, I have a question which most likely expose my ignorance. I have a project I am working on and I am using Davinci Color Management set for the timeline. I have S-log and D-log 10 bit footage and I hesitate to call it log but GoPro 10 'Flat' 8 bit footage on the timeline. I am assuming changing the Gamma to linear will only be effective with the 10 bit log footage and not the GoPro footage. Is that correct?