This is by far..BY FAR one of the best tutorials on this topic on RUclips. I am the biggest fan of this channel, thank you, Darren, so much for sharing
@Solvegia Sure it is. Every Colorist has his own, unique way of Grading. Workflow to any colorist plays an important role when grading. I found the old, golden method of manually using the CST technique instead of relying on the Resolve alone to perform it's algorithm to convert to color spaces. Which one did you find promising? @Darren Mostyn First, I convert from Slog3.Cine Slog3 to Arri Gammut 3 ArriLogC3, perform exposure corrections using Curves, Balance the Image using Offset, Contrast, Primaries, Saturation, Color Cast, Basic Grade, then convert it from Arri Gammut 3 ArriLogC3 to DWG INTERMEDIATE, see if a LUT is working, convert to Rec.709 and start performing furthur global setting required beneath the last conversion which is Rec.709(after a LUT). My question is, irrespective of what color space you convert your footage into, if the timeline color space is set to DWG Intermediate and the output is set to Rec.709 Gamma 2.4, is there a need to convert to DWG during the workflow? I'm looking at a 100% Rec.709 BenQ SW270C monitor(Factory Calibrated) Also, does my workflow make any sense to you? Tell me if I'm wrong
Ditto for me. Thank you the great content. Just watched a few so far and they were game changers for my understanding of the colourspaces in Resolve. Thanks!
Darren, you’re a complete and utter star. Your tutorials are so wonderfully simple. Plus, I love the fact that you don’t do the American-style 10 minute intros explaining what you’re about to do. You just jump right in. Thanks so much. John
Really easy to follow and well explained Darren. For some that don't know what rec709 ( scene ) is: The rec709( Scene) is the color space that most cameras give to rec709 - which was developed before the standards of 2.4 gamma was established in BT1886 which is the recommended gamma for High Definition flat panel displays. Macs however still returns generic rec709 tags to gamma 1.96 which is the problem that many Mac users, that use their GUI for monitoring run into, where the preview in Quicktime doesn't match the GUI in Resolve. Should be noted that Mac users do have in Preferences to have Resolve automatically change input rec709 ( scene ) to rec709-a on input. Just thought I would note that for people that want to dig into this deeper. The mac colorsync gamma of non meta tagged or mistagged gamma issue is one of the most asked problems in the Resolve forums - almost daily. I feel like that could be an addendum to this video you have done here, because to understand the issue, you need to understand all these terms and how they relate. To which you have laid out a foundation to explain and attempt to fix that issue. ( spoiler alert - it can't totally be fixed, but can be tamed ) Anyway thanks for putting out another quality video regarding color and the tools we use to work with them. Although, I know the CST method is sound that you use ( and others ) I still wonder why we don't establish the correct color space at the front of the node tree and then add a CST at the end to send to display? I know that you are working with the tools under the display CST but can't understand how Resolve knows what space it is, without telling it what space? In almost every case in Resolve it doesn't process backwards - so logically if the colorspace hasn't yet been established, you are working under the CST, but in what space? I asked Cullen this and he does it the way you have illustrated here. Not sure I communicated the question properly though. Anyways glad to see another Mostyn tutorial. Made my Monday more interesting to say the least. Cheers.
Thanks Jim for your fine in depth and much welcomed synopsis....good reading! I guess that you could put a CST at the front and send its output to match the timeline settings and then at the end have the input be your timeline settings mapped to output ? I'll play with that. However I have different CST's set for each colour space on input - I dont use one generic, so Im telling Resolve what the input is on a clip by clip basis. You can also set NODES to behave in a color space just to throw another obstacle in the way. This hope fully explains the timeline color concept without confusing too many and of course CST workflow is the obstacle for me and you! We should, just work color manged really! Thanks for your support and I did promise a healthier episode this time than the last one I did!! All the best mate, Darren.
Regarding the CST method you mention in the end here, are you referring to a node based color management? With an IN node (from camera colorspace to working colorspace) in the very beginning, and then an OUT node (from working color space to display) at the very end? That’s the way I work and although it requires setting it up, that can be done very quickly, and then I’m in total control of the pipeline (which always feels good). Maybe I’m wrong, but I feel many colorists is doing it this way? And that’s another thing about CM. This is all fairly “new” grounds to even the most experienced digital colorists when you relate it to the fact that film is hundreds of years old but digital colorgrading is still in its infancy. Everybody is learning, new stuff comes out and that’s one of the reasons that tutorials like this one is so valuable.
No, Scene is linear light scene, not display linear light. It uses OETF to convert to linear, not EOTF. When you color manage you are supposed to operate on scene linear light and only change to display linear light in the end. In fact you can display using scene light but you will have to match conditions outside and remove all glare from the sun. For a long time 2.35 which is after round on Sony LCDs became 2.4 was the only standard there is for TVs. It all got confusing when EOTF of sRGB was introduced.
Thank you Darren, this is currently the BEST video on RUclips to explain how to get the most gamma from multiple cameras within the timeline/deliver colour space. Nobody ever mentions non log (baked in) footage, and/or multiple camera formats. Don't know why it's never mentioned because in real world video editing tasking it happens more often than not. There are far too many videos about LOG footage grading and colour space set ups, so this video is very refreshing and certainly much needed. Thanks again. Great advice on a fantastic channel. Would love to also see a video dedicated ONLY to working with NON LOG (baked in) footage to get the most from the available gamma. Currently a video does not exist on RUclips. Crazy.
Work with as much headroom(wide gamut) as possible, than compress(709) for broadcasting media. Like, making a Wave audio file to a MP3 for easier transmission and storage.
I was in need of a refresher to solidify my understanding for a project, so came back to watch this for, I think, the fourth time. This is an exceptional tutorial about color spaces, what they are, their relationship to each other, and how to work with and in them. You get an amazing amount of information into eleven minutes -- all of it perfectly clear. Thank you.
I'm an Adobe PP user trying to work up the motivation to move to Davinci -when Adobe "fixed" their HDR workflow, it threw me into a tailspin and ruined all of my projects for nearly 2 months while I wasted countless hours on the internet trying to figure out what I was doing "wrong"... while frustrating, it forced me to try and learn color spaces. This was a little over a year ago, and they've since made the SLOG3 workflow functional -but it still sucks really bad. This video has helped TREMENDOUSLY and has given me a bit moar motivation to finally make the big switch to Davinci. I'd be lying though, if I didn't say that I"m cautious of switching... The trend these days for companies is to sh.t on their customers after they've captured their intended marketshare, and further monetize (the already frustrating) interaction with their software.
Clearly demonstrated and beautifully articulated tutorial. It makes sense that working in DaVinci WideGamut in the timeline would give you more leeway and room to work worth. Perhaps I am missing something... but if you're going to deliver in Rec709 Gamma 2.4, and clipping would occur on the delivered file, wouldn't it be better to just work in Rec709 in the timeline to know exactly what you are going to get on the final output? Is it not a choice between where the clipping will occur: the timeline or output? Thanks for clarifying, and for your excellent tutorials. They are a joy to watch.
Hi Darren, today spent more than 2 hours watching the explanation of the CST story input - timeline - output. Then did tests, rec709, slog3, etc etc . All in the same timeline. It works fine this way. If you add jpg pictures, srgb profile is embedded I do see a slight difference occurring. If I switch rec-709 to rec-709A then that problem is 99% solved. Thanks for sharing all this with the rest of the world. Gr v Chris.
The video conflates gamut and transfer function - two totally separate attributes. The gamut differences shown using the CIE diagram are not at all the reason that his changing the timeline color space resulted in the brightness range difference of the image. What made the difference is the 100 nit max of SDR REC709 gamma 2.4 vs the 1000nit max to which he set it when using Davinci Intermediate/Davinci Wide Gamut.
That is a fair point however doesn't alter what the timeline colour space is for - I got unlucky I guess as was trying to show that the curves are color space aware only in RCM, had I adjusted temperature for eg you would see that the DWG makes a difference beyond the 100 - 1000 nits. A very hard episode to make this one. Thanks anyway James. The INPUT to TIMELINE does work in a larger colour space and not just nit level. All the best. Darren
@@DarrenMostyn You do great work! Serious props to you for making these videos and sharing them. Yes, this was a tough one. I realize the gamut also makes a difference. It's just that difference wasn't what was being demonstrated in the brightness changes to the image on screen in your video. Resolve itself shouldn't be defaulting to conflating gamut and gamma, and instead should default to having them as separate attributes (and Resolve should also be using the correct term transfer function instead of persisting in labelling it gamma). Too many users never realize because the separation of those distinct attributes remains hidden behind a check box.
I'll just say this: un. real. You seem to be rushing things, but this is oh so important so, man, take all your time, please. This is gold gold gold. What I mean is that people have all this gear that is available to many of us and by just using it wrong, to begin with, and then not understanding the basics of post work... Well, you, Sir, make it so simple with your tutorials that it just blows my mind. I sincerely thank you for all your time and effort, Sir! ps. I personally do not work with color managed workflow but still found this video very informing.
I had to watch it maybe three times to stick with me since I'm still at exploring colour grading, but every video I watch of your channel I feel like I'm closer to becoming a great colourist such as yourself! Awesome video Darren, thank you so much for sharing all your knowledge about it!
Honestly this was something I didn’t know that I didn’t know, thank you for enlightening me. Great content, and I appreciate how to the point you explained everything. Great demonstrations as well!
Been using DVR Studio for a 2/3 years now after stepping up from photography into also doing videography, and although I've been learning as I go, doing ok, colour grading to what looks ok, creating ok results, this video has just unlocked the true starting point with colour space and grading......and I've only just sought to seek this out since getting my first really good screen, a Benq monitor. Must have watched it 2 or 3 times till the penny absolutely dropped, my problem being that DVR doesn't want to recognise F-Log so have to choose it as an input colour space in the file.....but its easily done selecting all. Huge thanks for this, its really appreciated as it now feels like I'm doing things properly with colour and not just guessing and hoping.
For my thesis/research paper, I am still comparing color handling and approaches in different software and production environments. Its really frustrating to see many aspects are really only documented in terms of workflow steps and not in terms of exact technical nuance. (Critique is not geared towards you, but towards software/hardware manufacturers, including Blackmagic. You are working with what we got, I like your work.) In my current view of the analysis, multi-software color management needs more momentum towards open architectures and completely published profiles, better technical and theoretical agreements (keywords: relative and absolute scene-referred, color management systems vs workflows and color appearance models and the idea of what a "neutral digital image" is), as well as consistent use and implementation of labels describing any arbitrary operation that changes the appearance of color (directly and indirectly).
@@lolerie I would suggest try using specific color appearance models or workflows in your color management approach (e.g. TCAM2), or try using BM camera profiles/transforms in software outside of Resolve. Or try using OCIO in Resolve. I can might agree many different standards are met, but its always a question what variable we are testing. And Davinci/BM, like many others, is definitely not a golden standard regarding documenting or publishing the exact math & algorithms applied.. especially regarding "color management"
@@BlackPantherElite well, ACES 1.3 should be very good, using CAMs in production is very dangerous though (latest big things is Oklab space, then CIECAM16 and IPT are all quite unstable, IPT of dolby vision maybe less so).
@@lolerie depends on your vantage point, but ACES, even 1.3, most definitely is not even being used in big productions but reversed, as Kevin demonstrated the working group in a meeting. I can also document this after numerous interviews with supes and tds on productions, but you are free to use what ever you want. My other points regarding OCIO implementation and publishing of profiles and other important info still stands. Our survey analyzed roughly 400 workflows in different production environments. But we are just analyzing and evaluating, not giving recommendations. And your point on not using CAMs - take a look at what ACES does and wants to do, their documentation, RRT, transform concept, and discussions on ACEScentral are quite telling.
@@BlackPantherElite ACES 1.3 is literally 20 or so standards of SMPTE, Davinci released 1.3 support first! It is used by MANY many people. In Hollywood too. In other countries too. In fact look it up on RUclips.
I cant thank you enough for how helpful this is. I've been having issues for ages and following along with this video has helped solve all the problems I was having. Thank you so much for all your free content.
Great Tutorial, could you please give a brief explanation of why there’s such a big difference when setting the output gammas when working natively on mac screens (macbooks), since the only colourspace that gives accurate results is rec.709-A and all the others are way off in contrast ?
I've been doing a lot of research on this exact subject and have found it hard to keep up, but this video REALLY helped clear things up for me and I m so glad I've subscribed! Definitely will be referring back to this from time to time and thank you for making this and thank you for explaining this is a concise way!
Glad it was helpful. I work hard to give the best explanations I can based on real broadcast scenarios that I come across every day. Happy to share. Apprectiate your kind comments and of course your subscription shows appreciation the best for me.
Hi Darren, what a great explanation on such a underrated topic. To be honest, it took me more than a year to get familiar with the concept of the 3 different color spaces and what those are about. In the meantime, I tend do prefer the non-managed color science DaVinci YRGB, timeline colors space ARRI-Log C (for it's lovely highlight rolloff) to deliver in Rec709 Gamma 2.4
Absolutely brilliant. I've been under the impression that when not working in a managed environment one needed to set the timeline colour space to the input colour space and then use CSTs to set your work up. Thank you for opening my eyes. 🙏🏻
large subject - but hope this helped the basics! Timeline color space CAN match input colour space, especially good if one colour space only - so for eg. if you work Arri only - you can set timeline as Arri, but still need to set input colour space. Hope that makes sense. All the best Darren
Thanks for this Darren! Great explanation. So, question: (for the sake of brevity, Rec 709 Gamma 2.4 = Rec while DaVinci Wide Gamut Intermediate = DWGI) Let's assume source is BRAW from a Pocket 4K. Timeline is set to Rec and my output is set to Rec. It makes sense that everything will look the same from timeline to display. Same color space. So I push the exposure on the clouds like you did and get clipping. Right. Now change the timeline like you did to DWGI and the clipping on the monitor changes. This makes sense with a larger color space. However, this is where it's not making sense: If my output is still Rec, how does the larger timeline color space back off on the clipping and then deliver this to a Rec output color space including more detail than the Rec timeline was able to do? Does my question make sense? It seems like the Rec output should reintroduce that clipping.
The transforms that davinci uses to step down from a big colorspace and dynamic range to a smaller colorspace and dynamic range are rolling off highlights to preserve detail, which the curves or HDR wheels don't do on their own.
Thanks a lot for showing me doing it wrong for so long. I never had the pretention of being a colorist, but I was very frustrated to see my range so limited. This channel is a pure gift to the filmmakers community! I'll apply that right away into my next edit.
Thanks! You did a great job with this and I hope I understood correctly. So, can you please clarify that the view and corrections seen in a wide gamut timeline will correctly translate to a REC 709 output? Also, I think I've broken the code with the help of other videos I've watched but a common complaint is the difference in saturation seen in output files when compared to the timeline. I'm referring to using the Mac OS.
Hi Darren. Love your stuff, but I have a bit of an issue with this one. Mainly what you did is really a demo of the HDR to SDR tone mapping, not anything to do with color gamut sizes. The highlight detail you see coming back is because switching over to Davinci WG/Intermediate automatically switches the default "Timeline working luminance" to "HDR 1000". Which is moving your luminance ceiling up, and tone mapping it back down to the 100 nit output. But if you set the working luma back to "SDR 100" it will look exactly the same in both Rec709 or Davinci WG working space. And alternatively, staying in a Rec709 working space and just switching the working luminance to HDR 1000 will give you identical tone mapping.
That is a fair point however doesn't alter what the timeline colour space is for - I got unlucky I guess as was trying to show that the cureves are color space aware only in RCM, had I adjusted temperature for eg you would see that the DWG makes a difference beyond the 100 - 1000 nits. A very hard episode to make this one. Thanks anyway Jeremy. The INPUT to TIMELINE does work in a larger space and not just nit level. All the best. Darren
Does the automatic working luminance at HDR 1000 affect the export - when uploading to RUclips the gamma has shifted and everything is a lot brighter/washed out and colour shift :(
This is nuts 🌰. I scratched my head so much recently, working on CGI projects. Between ACES and Davinci color spaces and all this mystery I was going more and more down to the rabbit hole. But you just enlightened me!
This helped me to figure out why I was getting different export results from two different computers running Divinci Reslove. One had the timeline color space set to rec 709 Scene and the other was rec 709 2.4 gamma. Thanks for the well-thought-out and clear explanation. You're a lifesaver!!
Having watched the video and not quite comprehending everything, I still don't understand the difference or when to use which one (2.4 gamma or Scene). Can you clarify when to use which, and for what purpose?
Fantastic! The Professor does it again. As another "Adobe Abandoner" I can't tell you how much your videos are easing my learning curve. This one super clear and well done. Your delivery kept me with you as you progressed. Thank you!
I know I have commented on other videos. Thank you so much I concur with your other subscribers, you are without doubt the best teacher / explainer on youtube in this area. Your lack of pretension and pseudo-elitism is very refreshing, it is a complicated business. You however make it accessible to anyone who wants to know and cares to pay attention. Other very well known and respected in their field colourists and editors, would lead one to believe that this area is akin to a religious cult. The only way to become proficient requires the sacrifice of the first born and giving tithes of all one's worldly wealth for a few crumbs of information handed over in such a way to demonstrate their skills yet actually teach obscurely. A whacked out hyperbolic rant you may think, but no. A simple illustration of what I mean is that YOU Darren actually explain very well opaque concepts and methods that are clearly understood by the end. One of the key factors is, that along with your clear verbal and visual tutorial ... YOU USE A MAGNIFIER SO WE CAN SEE THE INTERFACE AND READ THE MENUS ETC. Other leaders in this field on youtube do not, and I don't care how big one''s monitor may be, no matter how much one may pause and rewind, they are illegible, rendering the tutorial virtually useless. While the golden boy of colour upsells the viewer to their course on the subject, sneering at those who may not want to shell out the cash as not dedicated enough to get good at the skills. And of course don't forget to buy their professional exclusive LUTs, which when bought and paid for are reminiscent of the Emperor's new clothes, obviously you can't see the difference as you're not using a calibrated reference monitor like the author, there maybe a grain of truth in that, but I call shenanigans. It is in their interest not to give away too much for free, and to maintain an elitist position. Basically thank you very much mate, you are truly appreciated. As a small bonus it is refreshing to hear an accent that is not from the USA to go with it, just for a change 🙂
Wow. I really never did that before. I usually just jumped straight to cst without managing the colour space on the timeline nor did I ever add output colour space to my cst. I didn't know until just now. Thank you.
So if youre shooting with just 1 camera, shooting in the same color space, you could skip the CST step by setting up the color management section accordingly, neat!
Yes! Thank you! Best colorspace explanation ever! Coming from a print background, this finally makes more sense for the overall workflow! Thank you very much!
It took me a long time ploughing through the internet and RUclips before I was able to put together all puzzle pieces of the Colour Management page. With your patient help, when you started this channel, I was able to understand what is probably the most fundamental first step in using Davinci Resolve, even for a hobbyist like me. My little RUclips projects may not be any more interesting, but the sure are a lot more visually interesting thanks to you. 😀
Hey Frank, colour space management is one of those things that seems like it is simple at first and then gets confusing the further you go down the rabbit hole.
Thanks again as ever Frank. Dont get too bogged down in it. Its simple if you want it to be and if you are advanced you can go down a whole world of parameters...but its simple really. This with my beginners colour management ruclips.net/video/c4AVwVdKTHc/видео.html should have you pretty much covered. All the best, Darren.
@@DarrenMostyn Yep, I’ve come to the conclusion of keeping things simple. Since learning about colour management, I actually prefer the colours that come straight out of the can from my Panasonic GH6 log profile. I just fluff up the exposure plus balance and that’s me done. That’s provided I did not mess up the white balance filming. 🫣 I only experiment with grading on my sunset episodes which is so subtle, I doubt anybody would even notice. Resolve has given me so much pleasure and entertainment tinkering with my filming projects that I have never once regretted buying the Studio version. Hope it’s not too hot down your neck of the woods, especially over the next week.I’m not a fan of the heat.
I have watched a lot of tutorials about this, your's is the best! Finally somebody who explains both the project settings and CST workflows in one video!!! thank you
Regarding the grading exposure difference you demonstrated for Davinci Wide Gamut vs Rec.709 timeline color spaces, this doesn't actually clip the grade to the shallower timeline space (Rec.709 in this case). To demonstrate this, if you add a serial node after the exposure node that pushes the highlights beyond clipping, you can bring those highlights back without any loss of information by adjusting the exposure back. This means Resolve is always using high-precision representation of the footage irrespective of the working space employed. The only practical difference in the timeline color space chosen is whether it previews what the clipping would look like - but again, it's not actually clipped if you adjust it back on a subsequent node.
Thank you, Darren. After searching a lot, I found several of your videos (this one and others) where you explain so cristal clear all the stuff related to the the color management and the CST. You have won another subscriber to your channel 🙂. Thanks a lot and I'll keep tunned to your upcomming videos.
Thank you for subscribing. Appreciated. Enjoy my curated playlists if you are stuck what to watch! I am running a 4 day LIVE masterclass (4 hours a day) starts in 10 days. link here if you want some information courses.darrenmostyn.com/aopcg-2023-nov/ . Aimed at beginners and covers steep by step all my techniques in a logical order including colour management and workflows and grading and balancing scenes in huge detail at a good pace. All the best, Darren
Hi Darren, thank you for your video, it's incredibly clear and really helpful! I'm using RED footage and I have a doubt regarding some parameters, maybe you have an answer! Projects Settings-->Color Management: I set the parameters like I understood watching your video. Ok. Projects Settings-->Camera Raw-->Project Settings: what exactly am I setting in this panel? I see again the parameters "Color science", "Color space" and "Gamma curve". Haven't I already set them in the Color Management panel? Thank you so much, please keep doing your amazing tutorials!
an incredible and audible topics. Luckily I found you, thanks the RUclips algorythmes I dare this question concerning CST and Groups : I used groups (Lightbox) for my files (origin* = Panasonic Gammut V-Log / 8 bits) then : Settings projects : ---------------------------- Timeline : DaVinci YRGB TIMELINE Color space : DWG / intermediate TIMELINE Color space destination : Rec-709 Gamma 2.4 NODES : ---------------------------- - a CST input in : pre-clips (origin* to DWG) - a color grading under DWG individualy (inbetween) - a CST output in : post-clips (DWG to Rec 709.gamma 2.4) this way it saves time. Am I correct in the CST order nodes and settings projects ? thanks to anyone hints and responses
Thanks for this - good that you showed the timeline colour space / input colour method first. You see so many people getting into tangles with CSTs unnecessarily.
When I irate got into davinci a few weeks ago,I loved it and I watched this video but coming from Final Cut Pro,it didn't make too much sense, now I have been learning more about davinci I came back to this video and realised a few or many things I had no idea about that definitely was hindering my gradet lol,thanks.
Appreciate you taking the time to explain the alchemy of colour space. Once I've watched it through a couple of more times and tweaked my own settings I'll understand more. Thanks again. Ian
Thank you very much for sharing this video. My work doesn't involve video editing at all, but you've helped me recognize and solve a problem I had related to colour spaces.
This is by far the best video I have seen on RUclips explaining this then I went down a rabbit hole on your channel man. I’m so glad I found it. You have brought my skills up into da Vinci turn out pretty feasible level. I left final cut, because it got limited and buggy so this just made my transition even easier. Thank you.
Thank you darren for sharing your knowledge!, really helpful, im this is my first year as a colorist trying to become better and better everyday, and your channel help me a lot! god bless
By the time you are reading this comment dear people, you probably just realized, that prior to this you have crawled through the offers of all those Dunnig-Kruger aka Armchair Experts and also probably, like I, are right now laying on the floor and thanking the universe, that there actually is a person in this world who know what he is talking about. Also, it appears to me, that there is a whole breed calling themselves "color grader", cause they missed out on all the basics, found a workaround and try to sell you their LUTs now. Thank you mister, very much for this video.
Darren, you should seriously consider making a masterclass or a course. The way you explain things is so simple to understand yet comprehensive simultaneously. There is no need to watch any other videos. Keep up the excellent work! Few questions though. 1. You mentioned that clipping can potentially occur from larger timeline CS to smaller output CS. So how can you prevent that? What to look for? Should I just keep some extra room for highlights and shadows and not push them to the limit? 2. As you said, ideally you would match the input CS to the timeline CS if the footage is shot in one CS but if DWG color space is the largest, wouldn't it be logical to always change the timeline CS to DWG? Thank you!
Thank you. Yes, you should sign up to my free email list to be kept up to date if I offer courses in the future. The link is in the description of every video I make. Yes, go from CS to DWG at the begging works in a CST workflow. See this video. ruclips.net/video/CtSBVKmHkjU/видео.html
![Watch these 25 mins to FULLY Understand Color Management [Beginners Guide]](/img/1.gif)
This is by far..BY FAR one of the best tutorials on this topic on RUclips. I am the biggest fan of this channel, thank you, Darren, so much for sharing
You're very welcome! Thank you so much, it is appreciated.
Finally, someone explained this difficult topic in an understandable way. Thank you so much!
same here. finally , understand what is input,timeline & output mean.
@Solvegia Sure it is. Every Colorist has his own, unique way of Grading. Workflow to any colorist plays an important role when grading. I found the old, golden method of manually using the CST technique instead of relying on the Resolve alone to perform it's algorithm to convert to color spaces. Which one did you find promising? @Darren Mostyn First, I convert from Slog3.Cine Slog3 to Arri Gammut 3 ArriLogC3, perform exposure corrections using Curves, Balance the Image using Offset, Contrast, Primaries, Saturation, Color Cast, Basic Grade, then convert it from Arri Gammut 3 ArriLogC3 to DWG INTERMEDIATE, see if a LUT is working, convert to Rec.709 and start performing furthur global setting required beneath the last conversion which is Rec.709(after a LUT). My question is, irrespective of what color space you convert your footage into, if the timeline color space is set to DWG Intermediate and the output is set to Rec.709 Gamma 2.4, is there a need to convert to DWG during the workflow? I'm looking at a 100% Rec.709 BenQ SW270C monitor(Factory Calibrated) Also, does my workflow make any sense to you? Tell me if I'm wrong
Ditto for me. Thank you the great content. Just watched a few so far and they were game changers for my understanding of the colourspaces in Resolve. Thanks!
Darren, you’re a complete and utter star. Your tutorials are so wonderfully simple. Plus, I love the fact that you don’t do the American-style 10 minute intros explaining what you’re about to do. You just jump right in. Thanks so much. John
Glad you like them John. Appreciated. New episide coming very soon!
Those damn Yanks
To be honest this is the only source of information worth listening too. Clear explanations has really gone a long way to helping me!
Really easy to follow and well explained Darren.
For some that don't know what rec709 ( scene ) is:
The rec709( Scene) is the color space that most cameras give to rec709 - which was developed before the standards of 2.4 gamma was established in BT1886 which is the recommended gamma for High Definition flat panel displays.
Macs however still returns generic rec709 tags to gamma 1.96 which is the problem that many Mac users, that use their GUI for monitoring run into, where the preview in Quicktime doesn't match the GUI in Resolve. Should be noted that Mac users do have in Preferences to have Resolve automatically change input rec709 ( scene ) to rec709-a on input.
Just thought I would note that for people that want to dig into this deeper.
The mac colorsync gamma of non meta tagged or mistagged gamma issue is one of the most asked problems in the Resolve forums - almost daily.
I feel like that could be an addendum to this video you have done here, because to understand the issue, you need to understand all these terms and how they relate. To which you have laid out a foundation to explain and attempt to fix that issue. ( spoiler alert - it can't totally be fixed, but can be tamed )
Anyway thanks for putting out another quality video regarding color and the tools we use to work with them.
Although, I know the CST method is sound that you use ( and others ) I still wonder why we don't establish the correct color space at the front of the node tree and then add a CST at the end to send to display? I know that you are working with the tools under the display CST but can't understand how Resolve knows what space it is, without telling it what space? In almost every case in Resolve it doesn't process backwards - so logically if the colorspace hasn't yet been established, you are working under the CST, but in what space? I asked Cullen this and he does it the way you have illustrated here. Not sure I communicated the question properly though. Anyways glad to see another Mostyn tutorial. Made my Monday more interesting to say the least. Cheers.
Thanks Jim for your fine in depth and much welcomed synopsis....good reading! I guess that you could put a CST at the front and send its output to match the timeline settings and then at the end have the input be your timeline settings mapped to output ? I'll play with that. However I have different CST's set for each colour space on input - I dont use one generic, so Im telling Resolve what the input is on a clip by clip basis. You can also set NODES to behave in a color space just to throw another obstacle in the way. This hope fully explains the timeline color concept without confusing too many and of course CST workflow is the obstacle for me and you! We should, just work color manged really! Thanks for your support and I did promise a healthier episode this time than the last one I did!! All the best mate, Darren.
Regarding the CST method you mention in the end here, are you referring to a node based color management? With an IN node (from camera colorspace to working colorspace) in the very beginning, and then an OUT node (from working color space to display) at the very end? That’s the way I work and although it requires setting it up, that can be done very quickly, and then I’m in total control of the pipeline (which always feels good). Maybe I’m wrong, but I feel many colorists is doing it this way?
And that’s another thing about CM. This is all fairly “new” grounds to even the most experienced digital colorists when you relate it to the fact that film is hundreds of years old but digital colorgrading is still in its infancy. Everybody is learning, new stuff comes out and that’s one of the reasons that tutorials like this one is so valuable.
No, Scene is linear light scene, not display linear light. It uses OETF to convert to linear, not EOTF. When you color manage you are supposed to operate on scene linear light and only change to display linear light in the end. In fact you can display using scene light but you will have to match conditions outside and remove all glare from the sun. For a long time 2.35 which is after round on Sony LCDs became 2.4 was the only standard there is for TVs. It all got confusing when EOTF of sRGB was introduced.
Thanks Jim! I was JUST going to ask about rec709 scene. Darren, excellent as always! See you next time!
@@Resolve_This your workflow is done by many colorists to ensure that the wheels and other controls always behave the same.
Thank you Darren, this is currently the BEST video on RUclips to explain how to get the most gamma from multiple cameras within the timeline/deliver colour space. Nobody ever mentions non log (baked in) footage, and/or multiple camera formats. Don't know why it's never mentioned because in real world video editing tasking it happens more often than not. There are far too many videos about LOG footage grading and colour space set ups, so this video is very refreshing and certainly much needed. Thanks again. Great advice on a fantastic channel. Would love to also see a video dedicated ONLY to working with NON LOG (baked in) footage to get the most from the available gamma. Currently a video does not exist on RUclips. Crazy.
Work with as much headroom(wide gamut) as possible, than compress(709) for broadcasting media.
Like, making a Wave audio file to a MP3 for easier transmission and storage.
Audio comparisons are helpful.
I was in need of a refresher to solidify my understanding for a project, so came back to watch this for, I think, the fourth time. This is an exceptional tutorial about color spaces, what they are, their relationship to each other, and how to work with and in them. You get an amazing amount of information into eleven minutes -- all of it perfectly clear. Thank you.
Great to hear! Thanks Adam. Really appreciated. Hoping to get another one out this week before resolveCon.
Thanks Darren As Always A Breeze of Great Information, Thanks For Your Continuous Support For All Of Us Here!
this is the best color space tutorial i have seen. thank you for making it so easy and understandable
You're very welcome Ronald! Just pinned your comment -appreciated.
I'm an Adobe PP user trying to work up the motivation to move to Davinci -when Adobe "fixed" their HDR workflow, it threw me into a tailspin and ruined all of my projects for nearly 2 months while I wasted countless hours on the internet trying to figure out what I was doing "wrong"... while frustrating, it forced me to try and learn color spaces. This was a little over a year ago, and they've since made the SLOG3 workflow functional -but it still sucks really bad.
This video has helped TREMENDOUSLY and has given me a bit moar motivation to finally make the big switch to Davinci. I'd be lying though, if I didn't say that I"m cautious of switching... The trend these days for companies is to sh.t on their customers after they've captured their intended marketshare, and further monetize (the already frustrating) interaction with their software.
ive been on resolve for over 14 years. I unsubscribed from Adobe Cloud over a year ago. Im happy.
Clearly demonstrated and beautifully articulated tutorial.
It makes sense that working in DaVinci WideGamut in the timeline would give you more leeway and room to work worth. Perhaps I am missing something... but if you're going to deliver in Rec709 Gamma 2.4, and clipping would occur on the delivered file, wouldn't it be better to just work in Rec709 in the timeline to know exactly what you are going to get on the final output?
Is it not a choice between where the clipping will occur: the timeline or output?
Thanks for clarifying, and for your excellent tutorials. They are a joy to watch.
Thanks Darren, a patient explanation of a tricky subject. Appreciated as always.
Thank you - was a tricky one to plan this one, Hope it worked!! All the best and thanks again. darren
Hi Darren, today spent more than 2 hours watching the explanation of the CST story input - timeline - output. Then did tests, rec709, slog3, etc etc . All in the same timeline. It works fine this way. If you add jpg pictures, srgb profile is embedded I do see a slight difference occurring. If I switch rec-709 to rec-709A then that problem is 99% solved. Thanks for sharing all this with the rest of the world. Gr v Chris.
Glad it helped!
The video conflates gamut and transfer function - two totally separate attributes. The gamut differences shown using the CIE diagram are not at all the reason that his changing the timeline color space resulted in the brightness range difference of the image. What made the difference is the 100 nit max of SDR REC709 gamma 2.4 vs the 1000nit max to which he set it when using Davinci Intermediate/Davinci Wide Gamut.
That is a fair point however doesn't alter what the timeline colour space is for - I got unlucky I guess as was trying to show that the curves are color space aware only in RCM, had I adjusted temperature for eg you would see that the DWG makes a difference beyond the 100 - 1000 nits. A very hard episode to make this one. Thanks anyway James. The INPUT to TIMELINE does work in a larger colour space and not just nit level. All the best. Darren
@@DarrenMostyn You do great work! Serious props to you for making these videos and sharing them. Yes, this was a tough one. I realize the gamut also makes a difference. It's just that difference wasn't what was being demonstrated in the brightness changes to the image on screen in your video. Resolve itself shouldn't be defaulting to conflating gamut and gamma, and instead should default to having them as separate attributes (and Resolve should also be using the correct term transfer function instead of persisting in labelling it gamma). Too many users never realize because the separation of those distinct attributes remains hidden behind a check box.
I'll just say this: un. real. You seem to be rushing things, but this is oh so important so, man, take all your time, please. This is gold gold gold. What I mean is that people have all this gear that is available to many of us and by just using it wrong, to begin with, and then not understanding the basics of post work... Well, you, Sir, make it so simple with your tutorials that it just blows my mind. I sincerely thank you for all your time and effort, Sir! ps. I personally do not work with color managed workflow but still found this video very informing.
Darren, I have worked in production for a long while now. Your videos are on an another level, especially here on YT. Well done.
A life saver, I've been doing it all wrong for ages and been getting bogged down with lots of tutorials. Thanks so much.
Glad i could clarify it for you. It easy once you get the hang of it.
I had to watch it maybe three times to stick with me since I'm still at exploring colour grading, but every video I watch of your channel I feel like I'm closer to becoming a great colourist such as yourself! Awesome video Darren, thank you so much for sharing all your knowledge about it!
+1 Great teacher but this one vid needs a few rewinds.
Just two words, Absolute fantastic,
thank's Darren
Honestly this was something I didn’t know that I didn’t know, thank you for enlightening me.
Great content, and I appreciate how to the point you explained everything.
Great demonstrations as well!
Glad to hear it! Appreciated Arthur.
exactly only Darren wishes us to understand, the others are protecting their jobs, whilst flattering their own egos.
Been using DVR Studio for a 2/3 years now after stepping up from photography into also doing videography, and although I've been learning as I go, doing ok, colour grading to what looks ok, creating ok results, this video has just unlocked the true starting point with colour space and grading......and I've only just sought to seek this out since getting my first really good screen, a Benq monitor.
Must have watched it 2 or 3 times till the penny absolutely dropped, my problem being that DVR doesn't want to recognise F-Log so have to choose it as an input colour space in the file.....but its easily done selecting all.
Huge thanks for this, its really appreciated as it now feels like I'm doing things properly with colour and not just guessing and hoping.
For my thesis/research paper, I am still comparing color handling and approaches in different software and production environments. Its really frustrating to see many aspects are really only documented in terms of workflow steps and not in terms of exact technical nuance. (Critique is not geared towards you, but towards software/hardware manufacturers, including Blackmagic. You are working with what we got, I like your work.) In my current view of the analysis, multi-software color management needs more momentum towards open architectures and completely published profiles, better technical and theoretical agreements (keywords: relative and absolute scene-referred, color management systems vs workflows and color appearance models and the idea of what a "neutral digital image" is), as well as consistent use and implementation of labels describing any arbitrary operation that changes the appearance of color (directly and indirectly).
Well, Davinci follows standards very well.
@@lolerie I would suggest try using specific color appearance models or workflows in your color management approach (e.g. TCAM2), or try using BM camera profiles/transforms in software outside of Resolve. Or try using OCIO in Resolve. I can might agree many different standards are met, but its always a question what variable we are testing. And Davinci/BM, like many others, is definitely not a golden standard regarding documenting or publishing the exact math & algorithms applied.. especially regarding "color management"
@@BlackPantherElite well, ACES 1.3 should be very good, using CAMs in production is very dangerous though (latest big things is Oklab space, then CIECAM16 and IPT are all quite unstable, IPT of dolby vision maybe less so).
@@lolerie depends on your vantage point, but ACES, even 1.3, most definitely is not even being used in big productions but reversed, as Kevin demonstrated the working group in a meeting. I can also document this after numerous interviews with supes and tds on productions, but you are free to use what ever you want. My other points regarding OCIO implementation and publishing of profiles and other important info still stands. Our survey analyzed roughly 400 workflows in different production environments. But we are just analyzing and evaluating, not giving recommendations.
And your point on not using CAMs - take a look at what ACES does and wants to do, their documentation, RRT, transform concept, and discussions on ACEScentral are quite telling.
@@BlackPantherElite ACES 1.3 is literally 20 or so standards of SMPTE, Davinci released 1.3 support first! It is used by MANY many people. In Hollywood too. In other countries too. In fact look it up on RUclips.
I cant thank you enough for how helpful this is. I've been having issues for ages and following along with this video has helped solve all the problems I was having. Thank you so much for all your free content.
thank you i finally after lot of tutorial understoud the logic of that
Great Tutorial, could you please give a brief explanation of why there’s such a big difference when setting the output gammas when working natively on mac screens (macbooks), since the only colourspace that gives accurate results is rec.709-A and all the others are way off in contrast ?
Same question
Sos realmente un fenómeno, Darren! Te deseo la felicidad.
Thank you. And wish you happiness too.
I've been doing a lot of research on this exact subject and have found it hard to keep up, but this video REALLY helped clear things up for me and I m so glad I've subscribed! Definitely will be referring back to this from time to time and thank you for making this and thank you for explaining this is a concise way!
Glad it was helpful. I work hard to give the best explanations I can based on real broadcast scenarios that I come across every day. Happy to share. Apprectiate your kind comments and of course your subscription shows appreciation the best for me.
Darren, thanks for bein existed man, you made everything easier and smooth to us. god bless your work
Thanks Baher
Hi Darren, what a great explanation on such a underrated topic.
To be honest, it took me more than a year to get familiar with the concept of the 3 different color spaces and what those are about.
In the meantime, I tend do prefer the non-managed color science DaVinci YRGB, timeline colors space ARRI-Log C (for it's lovely highlight rolloff) to deliver in Rec709 Gamma 2.4
Absolutely brilliant. I've been under the impression that when not working in a managed environment one needed to set the timeline colour space to the input colour space and then use CSTs to set your work up. Thank you for opening my eyes. 🙏🏻
large subject - but hope this helped the basics! Timeline color space CAN match input colour space, especially good if one colour space only - so for eg. if you work Arri only - you can set timeline as Arri, but still need to set input colour space. Hope that makes sense. All the best
Darren
Thanks for this Darren! Great explanation.
So, question: (for the sake of brevity, Rec 709 Gamma 2.4 = Rec while DaVinci Wide Gamut Intermediate = DWGI)
Let's assume source is BRAW from a Pocket 4K. Timeline is set to Rec and my output is set to Rec. It makes sense that everything will look the same from timeline to display. Same color space. So I push the exposure on the clouds like you did and get clipping. Right.
Now change the timeline like you did to DWGI and the clipping on the monitor changes.
This makes sense with a larger color space.
However, this is where it's not making sense: If my output is still Rec, how does the larger timeline color space back off on the clipping and then deliver this to a Rec output color space including more detail than the Rec timeline was able to do?
Does my question make sense? It seems like the Rec output should reintroduce that clipping.
The transforms that davinci uses to step down from a big colorspace and dynamic range to a smaller colorspace and dynamic range are rolling off highlights to preserve detail, which the curves or HDR wheels don't do on their own.
Thanks a lot for showing me doing it wrong for so long. I never had the pretention of being a colorist, but I was very frustrated to see my range so limited.
This channel is a pure gift to the filmmakers community! I'll apply that right away into my next edit.
Thank you
Thanks! You did a great job with this and I hope I understood correctly. So, can you please clarify that the view and corrections seen in a wide gamut timeline will correctly translate to a REC 709 output? Also, I think I've broken the code with the help of other videos I've watched but a common complaint is the difference in saturation seen in output files when compared to the timeline. I'm referring to using the Mac OS.
Yes, correct, but the MAC oSX thing is something else. see this video maybe to help ruclips.net/video/miMFE95G0kU/видео.html
@@DarrenMostyn Thanks, that was helpful and got right to the issue and fix!
Unbelievably helpful tutorial. I'm a beginner and you have broken this down really well. Very easy to follow along, thankyou Darren.
Glad it was helpful!
Hi Darren. Love your stuff, but I have a bit of an issue with this one. Mainly what you did is really a demo of the HDR to SDR tone mapping, not anything to do with color gamut sizes.
The highlight detail you see coming back is because switching over to Davinci WG/Intermediate automatically switches the default "Timeline working luminance" to "HDR 1000". Which is moving your luminance ceiling up, and tone mapping it back down to the 100 nit output. But if you set the working luma back to "SDR 100" it will look exactly the same in both Rec709 or Davinci WG working space. And alternatively, staying in a Rec709 working space and just switching the working luminance to HDR 1000 will give you identical tone mapping.
That is a fair point however doesn't alter what the timeline colour space is for - I got unlucky I guess as was trying to show that the cureves are color space aware only in RCM, had I adjusted temperature for eg you would see that the DWG makes a difference beyond the 100 - 1000 nits. A very hard episode to make this one. Thanks anyway Jeremy. The INPUT to TIMELINE does work in a larger space and not just nit level. All the best. Darren
I don't see the point if the final output is constrained to what it would be with a Rec709 timeline? What am I missing?
@@davidpringuer3553 my thoughts exactly
Does the automatic working luminance at HDR 1000 affect the export - when uploading to RUclips the gamma has shifted and everything is a lot brighter/washed out and colour shift :(
Geez. This was great. I especially liked your subsequent tutorial on CST...that video is pure gold on a starting workflow. Thank you so much.
This is nuts 🌰. I scratched my head so much recently, working on CGI projects. Between ACES and Davinci color spaces and all this mystery I was going more and more down to the rabbit hole.
But you just enlightened me!
glad it helped you.
Tank you so much for this clarification. You are the best coloriste teacher ever!!!!!
You are very welcome. Glad you found my channel. darren.
I had to rewatch a couple time, but this video is GOLDEN, You just saved my life. Thank you so much
Amazing! This changed my world.
Me searching the internet for answers. Right when I give up at midnight. I see this. All of my questions are answered! 🙏
This helped me to figure out why I was getting different export results from two different computers running Divinci Reslove. One had the timeline color space set to rec 709 Scene and the other was rec 709 2.4 gamma. Thanks for the well-thought-out and clear explanation. You're a lifesaver!!
Having watched the video and not quite comprehending everything, I still don't understand the difference or when to use which one (2.4 gamma or Scene). Can you clarify when to use which, and for what purpose?
Thank you! I have been so lost on this topic for a while until now!
wow. im impressed with the quality of information, production and didatics! Thank you
Glad you liked it!
Thanks man, now this video is on my bookmark. Will watch this again and again until I understand it fully.
This explanation is better than the manual. Thank you!
DARREN, you're the boss! good job on this one!!!! Thank you so much!
You're very welcome! Glad it helped Fabio.
“This will all make sense in a minute” - gave me a chuckle 😂 great explanation, thanks Darren
Fantastic! The Professor does it again. As another "Adobe Abandoner" I can't tell you how much your videos are easing my learning curve. This one super clear and well done. Your delivery kept me with you as you progressed. Thank you!
You're very welcome!thank you
I know I have commented on other videos. Thank you so much I concur with your other subscribers, you are without doubt the best teacher / explainer on youtube in this area. Your lack of pretension and pseudo-elitism is very refreshing, it is a complicated business. You however make it accessible to anyone who wants to know and cares to pay attention. Other very well known and respected in their field colourists and editors, would lead one to believe that this area is akin to a religious cult. The only way to become proficient requires the sacrifice of the first born and giving tithes of all one's worldly wealth for a few crumbs of information handed over in such a way to demonstrate their skills yet actually teach obscurely.
A whacked out hyperbolic rant you may think, but no. A simple illustration of what I mean is that YOU Darren actually explain very well opaque concepts and methods that are clearly understood by the end.
One of the key factors is, that along with your clear verbal and visual tutorial ...
YOU USE A MAGNIFIER SO WE CAN SEE THE INTERFACE AND READ THE MENUS ETC.
Other leaders in this field on youtube do not, and I don't care how big one''s monitor may be, no matter how much one may pause and rewind, they are illegible, rendering the tutorial virtually useless.
While the golden boy of colour upsells the viewer to their course on the subject, sneering at those who may not want to shell out the cash as not dedicated enough to get good at the skills. And of course don't forget to buy their professional exclusive LUTs, which when bought and paid for are reminiscent of the Emperor's new clothes, obviously you can't see the difference as you're not using a calibrated reference monitor like the author, there maybe a grain of truth in that, but I call shenanigans. It is in their interest not to give away too much for free, and to maintain an elitist position.
Basically thank you very much mate, you are truly appreciated. As a small bonus it is refreshing to hear an accent that is not from the USA to go with it, just for a change 🙂
Appreciate the kind words and glad to hear you are enjoying my content. Wish you all the best, Darren
Oh, this was a great delightful content for colour management. Thanks a lot.
Glad you enjoyed it!
This a very well put together video, full of lessons, coming from an wise person, who have mastered in media creation.. Hats off.
Thank you, appreciated
Thank you for simplifying this Darren.
I have SO much to learn. Kinda got this and a couple others of yours on repeat.
Thanks for your time creating this masterclass.
nah dude, your tutorials are just next level. Congrats
You are a true blessing
rewatched this one - So helpful
Wow. I really never did that before. I usually just jumped straight to cst without managing the colour space on the timeline nor did I ever add output colour space to my cst. I didn't know until just now. Thank you.
So if youre shooting with just 1 camera, shooting in the same color space, you could skip the CST step by setting up the color management section accordingly, neat!
correct
After countless hours, this finally demystifies the whole thing.
Great explanation. I'm still a little confused about this topic, but this explanation has already cleared up some confusion. Thank you.
Thank you so much. Very helpful. Helps a lot to understand what is what, because it's an area where I got easily confused as a beginner.
Glad it was helpful!
thank you, Darren....This was excellent
Yes! Thank you! Best colorspace explanation ever! Coming from a print background, this finally makes more sense for the overall workflow! Thank you very much!
It took me a long time ploughing through the internet and RUclips before I was able to put together all puzzle pieces of the Colour Management page. With your patient help, when you started this channel, I was able to understand what is probably the most fundamental first step in using Davinci Resolve, even for a hobbyist like me.
My little RUclips projects may not be any more interesting, but the sure are a lot more visually interesting thanks to you. 😀
Hey Frank, colour space management is one of those things that seems like it is simple at first and then gets confusing the further you go down the rabbit hole.
@@JimRobinson-colors Why, ho why, didn't I take the Blue Pill?🤣😂
Thanks again as ever Frank. Dont get too bogged down in it. Its simple if you want it to be and if you are advanced you can go down a whole world of parameters...but its simple really. This with my beginners colour management ruclips.net/video/c4AVwVdKTHc/видео.html should have you pretty much covered. All the best, Darren.
@@DarrenMostyn Yep, I’ve come to the conclusion of keeping things simple. Since learning about colour management, I actually prefer the colours that come straight out of the can from my Panasonic GH6 log profile. I just fluff up the exposure plus balance and that’s me done. That’s provided I did not mess up the white balance filming. 🫣
I only experiment with grading on my sunset episodes which is so subtle, I doubt anybody would even notice. Resolve has given me so much pleasure and entertainment tinkering with my filming projects that I have never once regretted buying the Studio version.
Hope it’s not too hot down your neck of the woods, especially over the next week.I’m not a fan of the heat.
I have watched a lot of tutorials about this, your's is the best! Finally somebody who explains both the project settings and CST workflows in one video!!! thank you
Glad it was helpful!
You are a king sir. Thank you very much for all
Brilliant... you are one of the best to teach Davinci Resolve...
Thank you Jeetin. Really appreciate that. Have you seen my free email link for some free stuff..? bit.ly/2RrjvpN
Regarding the grading exposure difference you demonstrated for Davinci Wide Gamut vs Rec.709 timeline color spaces, this doesn't actually clip the grade to the shallower timeline space (Rec.709 in this case). To demonstrate this, if you add a serial node after the exposure node that pushes the highlights beyond clipping, you can bring those highlights back without any loss of information by adjusting the exposure back. This means Resolve is always using high-precision representation of the footage irrespective of the working space employed. The only practical difference in the timeline color space chosen is whether it previews what the clipping would look like - but again, it's not actually clipped if you adjust it back on a subsequent node.
The best video I've seen on this topic! Thank you so much!
Glad it was helpful!
Thank you, Darren. After searching a lot, I found several of your videos (this one and others) where you explain so cristal clear all the stuff related to the the color management and the CST. You have won another subscriber to your channel 🙂. Thanks a lot and I'll keep tunned to your upcomming videos.
Thank you for subscribing. Appreciated. Enjoy my curated playlists if you are stuck what to watch! I am running a 4 day LIVE masterclass (4 hours a day) starts in 10 days. link here if you want some information courses.darrenmostyn.com/aopcg-2023-nov/ . Aimed at beginners and covers steep by step all my techniques in a logical order including colour management and workflows and grading and balancing scenes in huge detail at a good pace. All the best, Darren
Hi Darren, thank you for your video, it's incredibly clear and really helpful!
I'm using RED footage and I have a doubt regarding some parameters, maybe you have an answer!
Projects Settings-->Color Management: I set the parameters like I understood watching your video. Ok.
Projects Settings-->Camera Raw-->Project Settings: what exactly am I setting in this panel?
I see again the parameters "Color science", "Color space" and "Gamma curve". Haven't I already set them in the Color Management panel?
Thank you so much, please keep doing your amazing tutorials!
an incredible and audible topics. Luckily I found you, thanks the RUclips algorythmes
I dare this question concerning CST and Groups :
I used groups (Lightbox) for my files
(origin* = Panasonic Gammut V-Log / 8 bits)
then :
Settings projects :
----------------------------
Timeline : DaVinci YRGB
TIMELINE Color space : DWG / intermediate
TIMELINE Color space destination : Rec-709 Gamma 2.4
NODES :
----------------------------
- a CST input in : pre-clips (origin* to DWG)
- a color grading under DWG individualy (inbetween)
- a CST output in : post-clips (DWG to Rec 709.gamma 2.4)
this way it saves time.
Am I correct in the CST order nodes and settings projects ?
thanks to anyone hints and responses
yes this way works too! I keep it simple on my youtibe as this is further deep explanation, but you have got it correct! All the best, darren
Thanks for this - good that you showed the timeline colour space / input colour method first. You see so many people getting into tangles with CSTs unnecessarily.
Thank you so much Darren!! Explained with perfect simplicity!
Glad it was helpful!
So helpful, brilliant explanation. thanks Darren.
Wonderful, brilliant, thanks
thank you so much Darren. i appreciate your hard work.
Your British accent makes the video soothing and very easy to follow.
Its the only one I have so glad it works for you!
@@DarrenMostyn it reminds me of Philip Bloom.
When I irate got into davinci a few weeks ago,I loved it and I watched this video but coming from Final Cut Pro,it didn't make too much sense, now I have been learning more about davinci I came back to this video and realised a few or many things I had no idea about that definitely was hindering my gradet lol,thanks.
Thank you, by far the best youtube video on the subject!
Glad you think so!
Appreciate you taking the time to explain the alchemy of colour space. Once I've watched it through a couple of more times and tweaked my own settings I'll understand more. Thanks again. Ian
You are most welcome Ian. Hope it helps. This was always going to be a tough one to explain well...hope I've done that!
Thank you very much for sharing this video. My work doesn't involve video editing at all, but you've helped me recognize and solve a problem I had related to colour spaces.
You have helped me take my video quality from good to amazing. Ty for all of your videos!
The comments that mean so much to me are these ones! Thanks for sharing! Good luck on your journey with colour! Darren
Yep finally made sense! Thanks Mate, this is really valuable information!
Incredibly useful and well explained for a novice like me.
This is by far the best video I have seen on RUclips explaining this then I went down a rabbit hole on your channel man. I’m so glad I found it. You have brought my skills up into da Vinci turn out pretty feasible level. I left final cut, because it got limited and buggy so this just made my transition even easier. Thank you.
Thank you darren for sharing your knowledge!, really helpful, im this is my first year as a colorist trying to become better and better everyday, and your channel help me a lot! god bless
By the time you are reading this comment dear people, you probably just realized, that prior to this you have crawled through the offers of all those Dunnig-Kruger aka Armchair Experts and also probably, like I, are right now laying on the floor and thanking the universe, that there actually is a person in this world who know what he is talking about. Also, it appears to me, that there is a whole breed calling themselves "color grader", cause they missed out on all the basics, found a workaround and try to sell you their LUTs now.
Thank you mister, very much for this video.
Amen to that, sums up my feelings exactly.
Thank you for taking the time to show this
you are so welcome.
The education I’ve been waiting for!! 😮
great tip kinda makes sense why things were clliping fast
OMFG.. Luckily i found your channel Darren. I am a hobbyfilmer and just switched from FCPx to DR. AMAZING work man! ❤
Glad u found my channel too. Enjoy!
Wow! I just learned a TON. Thanks so much!
You are so welcome Juilen-Pier
This was excellent, definitely going to try this approach.
thanks Darren. You are the best
Thanks Darren!
My pleasure!
Darren, you should seriously consider making a masterclass or a course. The way you explain things is so simple to understand yet comprehensive simultaneously. There is no need to watch any other videos. Keep up the excellent work!
Few questions though.
1. You mentioned that clipping can potentially occur from larger timeline CS to smaller output CS. So how can you prevent that? What to look for? Should I just keep some extra room for highlights and shadows and not push them to the limit?
2. As you said, ideally you would match the input CS to the timeline CS if the footage is shot in one CS but if DWG color space is the largest, wouldn't it be logical to always change the timeline CS to DWG?
Thank you!
Thank you. Yes, you should sign up to my free email list to be kept up to date if I offer courses in the future. The link is in the description of every video I make. Yes, go from CS to DWG at the begging works in a CST workflow. See this video. ruclips.net/video/CtSBVKmHkjU/видео.html
I like how this one was explained. I just need to watch it again while editing on my PC
Glad you liked it.