Thank you for watching my tutorial! If you found it helpful, please give it a thumbs up and subscribe for more content like this. Have any questions or topics you want me to cover in future videos? Leave a comment below, and I'll be sure to address them. Let's create something amazing together! 🌟
@@seancloutier2577 Great question! I've come across Waqas Qazi's toolkit in his ads, as well. However, I haven't personally used it myself, so I can’t provide a firsthand opinion on its effectiveness or value. In my channel, I make it a point to discuss and recommend tools and resources only when I have direct experience with them. This ensures that any advice I give is based on my own usage and observations. I hope you understand. If you decide to try the QT Look DNA, I’d love to hear about your experience!
@@MediabeeColorLab well I just spent the morning playing around with Qazi's QT DNA DCTL....it works very well from what I can see...I am not a professional by any means...but I applied the Kodak film look...played 10 mintues with the dials and was very happy with the look on my 10bit 27 in Benq monitor...not sure how long it would have taken if I had to spend with the Davinci tools turning and adjusting...😁 also I tried the Mononode for skin tones...they work extremely well but one DCTL costs $300 Canadian which is a bit expensive...my current project does not require extensive skin stone work so I might just hold off...
@@seancloutier2577 Hey! That sounds like an exciting morning! I’m glad to hear that you found the QT DNA DCTL effective and that it met your expectations, especially with the Kodak film look. It's great when you can achieve the desired results without too much hassle-just a few tweaks here and there, and you’re set! Regarding the Mononode DCTL for skin tones, I agree that the price can be steep, especially when your current project doesn't require extensive skin tone adjustments. It might be worth considering it for future projects where the need justifies the investment. But overall I can say that it has a key role in my workflow in almost all projects!! So I highly recommend it! Anyway, thanks for sharing your experience-it’s always helpful to hear how different tools perform in real-world applications!
Amazing video! I would love to see a video where you achieve a close result to this just with the built-in tools. Also, I sometimes find it hard to know in what cases I need to use some techniques, like the depth map in this video, so a video on where to use certain techniques would be amazing. Thanks for sharing such value-packed videos.
Thank you for the kind words and for suggesting such a relevant topic! I actually have a tutorial that covers achieving similar results using only the built-in tools of DaVinci Resolve. You can watch it here: ruclips.net/video/EmCpfIzPCkc/видео.html . I hope it provides the insights you're looking for. Your suggestion about when and how to use specific techniques like the depth map is noted. Thanks again for your support and for sparking this great idea!
Thank you so much for your feedback! I'm thrilled to hear that you found the video helpful and informative. Understanding the 'what' and 'why' behind color grading not only enhances your skills but also deepens your appreciation of the craft. If you have any more questions or need further clarification on any points, feel free to ask. Happy grading, and I look forward to sharing more content with you!
Thanks for the awesome feedback! Yes, I do have tutorials on my channel that focus exclusively on DaVinci Resolve's built-in tools. I've also noted your interest in tutorials featuring less-than-perfect lighting scenarios. Stay tuned, and be sure to check out my existing content for more tips and tricks!
Thanks for the nice video. I have one stupid question. I am new in Resolve coming from Premiere Pro. In color tab, i can not seem to find the length of the clip that i am color correcting. In premier pro it was right there. In resolve all i see is 2 timecodes one is up right and the second is down right of the clip and both show the "timeline time" but not the Clip time or length. Is this normal? Thanks!
Love this tutorial! thank you very much! Have a question. If the luts that I have are no meant for DWG color space, can I add the Lut after the Output CST? I noticed that if I add the LUT before the output CST the look is too strong.
You're welcome, and thanks for reaching out with your question! Yes, you can certainly add the LUT after the Output Color Space Transform (CST) if your LUTs are not designed for the DWG color space. Always make sure to place LUTs in the color space for which they were specifically designed.
Hey, thanks! To add a DCTL in DaVinci Resolve, go to Project Settings, then the Color Management tab, and click Open LUT Folder. Place your .dctl file in the opened folder under the DCTL subdirectory (create one if it doesn’t exist). Back in Resolve, click Update Lists to refresh, then apply the DCTL on the Color Page by right-clicking a node, selecting DCTL, and choosing your file.
Really helpful video thanks! Coudl you clarify what you done around the 4min 40 second mark about changing the exposure and how they key box revealed an exposure image?
Thanks for watching! At the 4:40 mark, I used the qualifier tool in DaVinci Resolve. You can find it in the bottom left corner of the Viewer window in color page. By selecting it, I was able to point at specific areas of the image, and as I hovered over different parts, the luminance values appeared in the waveform. From there, I adjusted the exposure using the 'Global' slider in the HDR panel to fine-tune the overall brightness. Hope this helps!
@@MediabeeColorLab I always struggle to isolate just the skin as the background and other objects in the scene also get highlighted, is there a video you can recommend that can help me fix this?
@@Zainaussaleem ruclips.net/video/On1i9LqJMbY/видео.html I recommend watching this tutorial. If you still have questions, please feel free to comment and ask more questions. Hope it helps!
What I loved about your video: You give details that other creators don't, like the typical range of skin tones in the waveform. Very useful! What could be improved: When you apply the techniques you mention, you don't show clearly what you're doing, so it's difficult to learn. Like when you adjust the skin tones in the waveform, the POV is still punched in and I don't know what you're actually doing to adjust them.
@@Sean-gf7ky Thank you so much for your feedback! I’m glad you found the details about skin tones helpful. I’ll definitely work on making my demonstrations clearer in future videos, showing more of the actual steps and adjustments. Your input is valuable and helps me improve. Thanks again!
Yes thank you for this tutorial. I agree with Sean. Better to stay wide so we can see where the cursor goes. Could you let me know where the cursor went to toggle the image to black & white for exposure adjusting?
It's a very clear and accessible guide, but some things and tools remained unclear to me. For example, when you were making changes to the exposure node, it was unclear to me that you clicked so that the range was dynamically displayed on the vectoroscope, and some other things too :(
Thank you for your feedback and for pointing out those areas of confusion in the tutorial. I apologize for the oversight with the zoom on the vectorscope, which made it difficult to see my use of the qualifier tool to check exposure on the subject's face. I've addressed this in more recent tutorials, ensuring a better balance between the scope and the other tools, so you can see the full process more clearly. I encourage you to check out these newer tutorials for a clearer demonstration of the technique. Thanks again for watching and for your constructive comments-they really help improve the quality of the tutorials!
Glad you liked the tutorial. Here are my color management settings if that's what you mean: Davinci YRGB, Davinci WG/Intermediate, Rec 709 Gamma 2.4 Please let me know if you want to know anything else.
I use separate nodes for halation/bloom and the Kodak film look so I can toggle each effect on and off to see the differences they make individually. Also, I can play with the global output more freely. However, using halation and bloom in the same node as Kodak 2383 would also work. It all depends on your workflow and what suits best for your needs. Cheers!
Thank you for the kind words! For the master color timeline settings: Color Science: DaVinci YRGB Timeline Color Space: DaVinci Intermediate Output Color Space: Rec709 Gamma 2.4 Let me know if you have any other questions! 😊
@@BeenDraggin410 Thank you! Great question. For Sony cameras, when shooting in 4K/HD, it’s generally recommended to set the in-camera detail level to -5 or lower (or even turn it off completely if possible). This helps avoid over-sharpening artifacts and gives you more flexibility to add detail and sharpness in post-production. Let me know if you have any other questions!
@@BemandYangOfficial Thanks for asking! Different cameras have unique color profiles and sensor capabilities, which can affect the final look of the footage. To maintain a consistent tone, you might need to adjust the tone mapping and other settings accordingly when using a different camera. It’s important to fine-tune based on the specific characteristics of each camera.
If you are talking about the LUT I used in the tutorial, it's a paid LUT developed by Cullen Kelly. So I cannot share the LUT itself, but here is the link in case you want to purchase it: procolor.ist/voyager-lut-pack/
@@directorjayalex thank you! I use separate nodes for different effects so I can toggle them on and off to see the difference they make. Just a personal choice.
Hi, great question. Here is my master project level color management settings: Color Science: Davinci YRGB Use separate color space and gamma (unchecked) Timeline color space: Davinci WG/Intermediate Output color space: Rec 709 Gamma 2.4 Master settings should match the specs of the footage. In my case it was Ultra HD, 25 fps Hope this helps!
Thank you for your interest. At the moment, I am not offering LUT packs. However, I am continuously working on developing new resources and updates. Please stay tuned for future releases and updates by following my channels. If you have any specific needs or questions in the meantime, feel free to reach out.
Unfortunately, most of the clips I use in my tutorials are sourced from Artgrid, which means I can’t share them due to copyright restrictions. However, I’ll keep this in mind and make an effort to incorporate royalty-free footage in some of my future tutorials, so I can share those clips for practice. Thanks for your understanding!
I would convert to Rec. 709 BEFORE applying halation, LUTS, effects, and skin tones. The only thing before CST is HDR adjustments. Why do you do everything before CST?
Thanks for your question! I understand your approach and it’s a valid one. In my workflow, though, I prefer to set Dehancer Pro to work in DaVinci Wide Gamut (Davinci WG) because it integrates better with the other adjustments I make in that broader color space before condensing to Rec. 709. This method maintains the integrity and quality of the effects like halation and others directly within the space they're designed to function most effectively. Regarding LUTs, the key is knowing the design intent behind each LUT. Some are specifically tailored for log or wide gamut inputs and some for cinelog, and using them appropriately can make a significant difference in the outcome. This strategic placement of color space transformations and effects allows for more creative control and nuanced results, which is essential in professional color grading. I appreciate your perspective and am always open to discussing different workflows. It's these kinds of conversations that push our craft forward!
Great question! If your footage is shot on a normal phone in a standard profile, you can still enhance it through color grading. Start by adjusting your contrast, saturation, and brightness to bring out more details and depth. Consider using color correction tools to balance out the colors and achieve the desired mood. For color management, ensure your project settings match your footage’s color space, like sRGB or Rec. 709, to maintain color consistency across devices. Tools like DaVinci Resolve offer various options for improving non-log footage and managing colors effectively. Keep experimenting with different settings to see what works best for your specific video! If you need more detailed guidance, feel free to ask. Happy grading!
Parallel nodes in DaVinci Resolve are used to apply multiple color corrections or effects simultaneously to an image without affecting each other. This is particularly useful when you want to isolate and work on different aspects of the image, such as skin tones, shadows, and highlights, independently within the same node tree. By using parallel nodes, you can maintain the integrity of each correction, allowing for more flexibility and creative control over the final image. And thank you for your question! It's clear there's a lot of interest in understanding node trees and the functions of different types of nodes in DaVinci Resolve. We'll consider creating a detailed tutorial that focuses specifically on node trees, including parallel nodes and more, to help demystify these powerful tools and enhance your color grading skills. Stay tuned!
Yes, you can certainly try applying similar settings on your iPhone 8 Plus, though the capabilities and results might differ due to the hardware limitations of older devices. The iPhone 8 Plus supports basic color correction and grading, but the adjustments may not be as refined or extensive as on more recent models or specialized software. Be mindful to adjust your expectations and proceed with subtler enhancements to avoid over-processing, which can lead to image degradation on older phones. Hope this helps!
So much great info clearly presented - EXCELLENT! (Wish this had been available a few years back when I started the confusing journey into Resolve 😂) Love that you covered adding depth map nodes - been pondering best way to incorporate that into my work flow. QUESTION: Why a separate node for Dehancer Pro’s halation & bloom?) Thanks much & hittin’ subscribe! Cheers
Thank you so much for the kind words and for subscribing! I'm glad you found the tutorial helpful. As for your question, I use separate nodes for halation/bloom and the Kodak film look so I can toggle each effect on and off to see the differences they make individually. Also, I can play with the global output more freely. However, using halation and bloom in the same node as Kodak 2383 would also work. Cheers!
@@nuttawatkorkiattakul3303 Yes, RED footage is different from a7III in terms of color science. RED captures more color information with greater bit depth, allowing for more detailed and precise color grading. While a7III footage is still good, it’s more compressed, which can limit your flexibility in post-production
I would work with a no name record, not RED camera, in order to show the steps.... Also using additional programs that are paid is not OK for a step by step color grading, but commercials for some companies :).
@@geodrone7643 Thank you for the feedback! This was my first tutorial, and I forgot to mention upfront that I used paid plugins. I completely understand your point, and in my future tutorials, I made sure to clarify when any paid tools or plugins were used right from the start. I always aim to provide as much transparency as possible and appreciate your understanding!
¡Claro! Para lograr un color similar al que muestro en el tutorial usando la Sony a6000, te recomendaría primero grabar en el perfil de imagen S-Log2 o S-Log3, si está disponible. Aunque la a6000 no tiene los perfiles S-Gamut avanzados de cámaras más profesionales, S-Log2 aún te proporcionará un rango dinámico más amplio para trabajar en la corrección de color. Una vez que tengas tu material, usa un nodo CST (Transformación de Espacio de Color) en DaVinci Resolve para convertir de S-Log2 a Rec.709 o el espacio de color de tu preferencia. Desde ahí, puedes ajustar los tonos de color, especialmente en los tonos de piel y sombras, para lograr el look frío y cian que estás buscando. También puedes trabajar con los controles de temperatura y tinte en los ajustes primarios para acercarte al look. Si necesitas más ayuda con los pasos específicos, no dudes en preguntarme.
@@LeandroHolman ¡Tienes razón! La Sony A6000 no tiene perfiles logarítmicos como S-Log. Sin embargo, aún puedes obtener excelentes resultados utilizando el perfil de imagen "Neutral" o "Cine" y reduciendo el contraste y la saturación en la cámara. Esto te dará una imagen más plana con la que trabajar durante la corrección de color. Después de eso, puedes seguir los mismos pasos que mencioné antes, utilizando un CST o ajustes manuales para refinar el look. Aunque no es lo mismo que trabajar con material logarítmico, este enfoque aún te ofrece más flexibilidad en la postproducción. ¡Déjame saber si tienes alguna otra pregunta!
@@LeandroHolman ¡Tienes toda la razón! La Sony a6000 no tiene perfiles logarítmicos como S-Log2 o S-Log3. Sin embargo, para lograr un look similar, te recomiendo grabar con el perfil de imagen 'Neutral' o 'Cine,' que te dará una imagen más plana. Luego, en DaVinci Resolve, puedes aplicar una ligera curva o usar herramientas de corrección de color para ajustar el contraste y el color, logrando un look más cinematográfico y acercándote a los tonos fríos y cyan. Si necesitas detalles adicionales, ¡avísame!
Thank you for your interest! Unfortunately, the log footage I used in this tutorial is copyrighted, and I'm unable to share it publicly. Thank you for your understanding.
@@azymight correct. For a 10% discount you can use the code MEDIABEE10. If you don’t want to buy it, feel free to check out my other tutorials where I focus on Davinci Resolve’s built in tools exclusively.
Thank you for your feedback! I try to strike a balance between introducing powerful tools and keeping things accessible. I'll make sure to include more tutorials that focus on the basics without relying on plugins in the future. Your input is really valuable, and I appreciate you being part of the community!
While a part of this tutorial is done with a plugin, there is a lot done with Resolves built in tools and really great techniques shown spot on. Thanks 🙏
@@legrandamineofficial4184 Sorry to hear about the issues with your computer. Running DaVinci Resolve can be demanding, especially on mid-range PCs. You might want to look into optimizing your system or consider upgrading certain components for a smoother experience. Good luck!
@@officiallyKage Thanks for the feedback! You’re right-this tutorial is geared more towards those with some experience. I didn’t label it as a beginner tutorial purposes , but I appreciate your input and will keep that in mind for future content!
@@MediabeeColorLab didn’t mean it as any criticism…. Just a warning to those only starting out. I for one, am not completely new to grading therefore I found it extremely useful… there’s definitely aspects I picked up for the first time
@@RKKY-mf7fe thanks for the feedback. You may wanna check out my other tutorials on the channel, some of them focus on only Davinci Resolve’s built-in tools.
@@PuthethuKollam Thanks for your comment, Puthethu! We appreciate your input. We use Rec. 709 because it is still the most widely accepted standard for broadcast and streaming platforms, ensuring compatibility across a wide range of devices and displays. While Rec. 2020 and 10-bit color are becoming more common, especially on higher-end devices, not all screens and platforms fully support these standards yet. We aim to provide the best viewing experience for the broadest audience possible. However, we are continually evaluating new technologies and will incorporate Rec. 2020 in future projects as it becomes more universally supported.
@@PuthethuKollam You are absolutely right ! We currently focus on Rec. 709 for broad compatibility, but we recognize the growing demand for HDR content. We’re planning to incorporate HDR and Rec. 2020 in future projects to enhance the experience for those with compatible screens. Thanks for your feedback!
@@PuthethuKollam You’re right! New TVs do handle HDR to Rec. 709 conversion; yet, we prioritize maintaining control over the final output quality. We’re exploring HDR content for future releases to fully utilize advanced displays. Thanks for your feedback again!
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
Thank you for watching my tutorial! If you found it helpful, please give it a thumbs up and subscribe for more content like this. Have any questions or topics you want me to cover in future videos? Leave a comment below, and I'll be sure to address them. Let's create something amazing together! 🌟
I have done that already
@@nollybosttv 🙏
I give this man an immediate "thumbs up" when the video starts because I know ill enjoy the content
@@gabequezada2066 thanks so much 😊🙏❤️
this is a fantastic video...the pacing, the explanations...great work.
Thank you so much! Glad you found it helpful.
@@MediabeeColorLab out of curiousity what do you think of Waqas Qazi the toolkit he sells. Is it anygood. I was thinking of the QT look DNA
@@seancloutier2577 Great question! I've come across Waqas Qazi's toolkit in his ads, as well. However, I haven't personally used it myself, so I can’t provide a firsthand opinion on its effectiveness or value. In my channel, I make it a point to discuss and recommend tools and resources only when I have direct experience with them. This ensures that any advice I give is based on my own usage and observations. I hope you understand. If you decide to try the QT Look DNA, I’d love to hear about your experience!
@@MediabeeColorLab well I just spent the morning playing around with Qazi's QT DNA DCTL....it works very well from what I can see...I am not a professional by any means...but I applied the Kodak film look...played 10 mintues with the dials and was very happy with the look on my 10bit 27 in Benq monitor...not sure how long it would have taken if I had to spend with the Davinci tools turning and adjusting...😁 also I tried the Mononode for skin tones...they work extremely well but one DCTL costs $300 Canadian which is a bit expensive...my current project does not require extensive skin stone work so I might just hold off...
@@seancloutier2577 Hey! That sounds like an exciting morning! I’m glad to hear that you found the QT DNA DCTL effective and that it met your expectations, especially with the Kodak film look. It's great when you can achieve the desired results without too much hassle-just a few tweaks here and there, and you’re set!
Regarding the Mononode DCTL for skin tones, I agree that the price can be steep, especially when your current project doesn't require extensive skin tone adjustments. It might be worth considering it for future projects where the need justifies the investment. But overall I can say that it has a key role in my workflow in almost all projects!! So I highly recommend it! Anyway, thanks for sharing your experience-it’s always helpful to hear how different tools perform in real-world applications!
Amazing video! I would love to see a video where you achieve a close result to this just with the built-in tools. Also, I sometimes find it hard to know in what cases I need to use some techniques, like the depth map in this video, so a video on where to use certain techniques would be amazing. Thanks for sharing such value-packed videos.
Thank you for the kind words and for suggesting such a relevant topic! I actually have a tutorial that covers achieving similar results using only the built-in tools of DaVinci Resolve. You can watch it here: ruclips.net/video/EmCpfIzPCkc/видео.html . I hope it provides the insights you're looking for. Your suggestion about when and how to use specific techniques like the depth map is noted. Thanks again for your support and for sparking this great idea!
the best tutorial I,ve seen this year ,so great .Thank you for Sharing.
Glad it was helpful! Thanks!
This came together quite nicely!
❤🙏 Glad you like it!
Great video and thank you for sharing. I will try your structure and method on my next project. 😊subscribed !
@@neilfullframe Thanks you! Happy to hear you found it useful. Best of luck with your next project! 😊
Loved this tut. So informative and clean
Thanks so much!! I am glad you found it helpful and informative.
this was the best da vinci color grade video ive ever watched. what and why's.
Thank you so much for your feedback! I'm thrilled to hear that you found the video helpful and informative. Understanding the 'what' and 'why' behind color grading not only enhances your skills but also deepens your appreciation of the craft. If you have any more questions or need further clarification on any points, feel free to ask. Happy grading, and I look forward to sharing more content with you!
Great video! What if you don't have the Dehancer effect what is a substitute ?
Amazing, thank you so much for this!
@@deepcutsoundtracks thanks for watching it and for the comment 🙏
Fantastic video! Do you have any tutorials without Dehancer and perhaps with production that doesnt have the most "perfect" lighting?😎
Thanks for the awesome feedback! Yes, I do have tutorials on my channel that focus exclusively on DaVinci Resolve's built-in tools.
I've also noted your interest in tutorials featuring less-than-perfect lighting scenarios. Stay tuned, and be sure to check out my existing content for more tips and tricks!
you are the best, thank's bro
Thank you 🙏
very helpful when you mentioned why you were doing something like lowering impact on halation etc
@@GuinnessFL glad to hear you found it helpful. Thanks for the comment
thank you so much, i learn from you. please be continue
Thank you! A new tutorial will be coming shortly ☺
Thumbnail had me thinking Aunt May was about to get blown up. W video though.
Haha, I love this comment! Aunt May definitely knows how to bring the drama, right? Glad you enjoyed the video-thanks for watching and for the laugh!
Thank you so much for sharing, i watched it more than 5 times already. please can you do another one for Blackmagic footage? 🙏
@@nollybosttv thank you, I will grade Blackmagic footage in the coming weeks 👍☺️
@@MediabeeColorLab 🙏
@@nollybosttv ❤️
Proffesional
Thank you!
Thanks for the nice video. I have one stupid question. I am new in Resolve coming from Premiere Pro. In color tab, i can not seem to find the length of the clip that i am color correcting. In premier pro it was right there. In resolve all i see is 2 timecodes one is up right and the second is down right of the clip and both show the "timeline time" but not the Clip time or length. Is this normal? Thanks!
6:28 bro sees atoms 😭🙏
Thanks for the compliment ☺🧡
good work
@@ColoristParesh thank you!
Helloo..Nice grade!
which camera was used for the shoot?
Thanks!! It was RED Epic Mysterium-X, as far as I remember.
@@MediabeeColorLab Can i achieve this with Blackmagic 6k pro!
Ty , more tutorial plz , u explain very good.
@@cloquefff2677 thank you, more tutorials are coming
can tou share lut what did you use ?
Thanks for your interest! In this tutorial I used Cullen Kelly's Voyager LUT Pack. You can check it out here: procolor.ist/voyager-lut-pack/
Love this tutorial! thank you very much! Have a question. If the luts that I have are no meant for DWG color space, can I add the Lut after the Output CST? I noticed that if I add the LUT before the output CST the look is too strong.
You're welcome, and thanks for reaching out with your question! Yes, you can certainly add the LUT after the Output Color Space Transform (CST) if your LUTs are not designed for the DWG color space. Always make sure to place LUTs in the color space for which they were specifically designed.
Awesome! Thank you so much for your time and knowledge!
THANKS BRO 🌹
Thank you for watching!
very good, how can i add a DCTL ?
Hey, thanks! To add a DCTL in DaVinci Resolve, go to Project Settings, then the Color Management tab, and click Open LUT Folder. Place your .dctl file in the opened folder under the DCTL subdirectory (create one if it doesn’t exist). Back in Resolve, click Update Lists to refresh, then apply the DCTL on the Color Page by right-clicking a node, selecting DCTL, and choosing your file.
Really helpful video thanks! Coudl you clarify what you done around the 4min 40 second mark about changing the exposure and how they key box revealed an exposure image?
Thanks for watching! At the 4:40 mark, I used the qualifier tool in DaVinci Resolve. You can find it in the bottom left corner of the Viewer window in color page. By selecting it, I was able to point at specific areas of the image, and as I hovered over different parts, the luminance values appeared in the waveform. From there, I adjusted the exposure using the 'Global' slider in the HDR panel to fine-tune the overall brightness. Hope this helps!
@@MediabeeColorLab I always struggle to isolate just the skin as the background and other objects in the scene also get highlighted, is there a video you can recommend that can help me fix this?
@@Zainaussaleem ruclips.net/video/On1i9LqJMbY/видео.html
I recommend watching this tutorial. If you still have questions, please feel free to comment and ask more questions. Hope it helps!
Good job!
Thanks!
Great video. I was wondering what your master color settings are in your project settings? Thank you so much for the tutorial.
Thanks. Here are my settings:
Color Science - Davinci YRGB
Timeline Color Space - Davinci WG/Intermediate
Output Color Space - Rec 709 Gamma 2.4
I had a feeling you were in YRGB but wanted to make sure. Thanks for your prompt response...
@@CineMakMedia You are welcome!
How many nodes u want? YES
your works are really great and you are explaining really good man! ı just wanna ask how can we reach the luts?
@@mertkem7846 thanks so much for your kind words.
Here is the link to purchase the luts:
procolor.ist/voyager-lut-pack/
What I loved about your video: You give details that other creators don't, like the typical range of skin tones in the waveform. Very useful!
What could be improved: When you apply the techniques you mention, you don't show clearly what you're doing, so it's difficult to learn. Like when you adjust the skin tones in the waveform, the POV is still punched in and I don't know what you're actually doing to adjust them.
@@Sean-gf7ky Thank you so much for your feedback! I’m glad you found the details about skin tones helpful. I’ll definitely work on making my demonstrations clearer in future videos, showing more of the actual steps and adjustments. Your input is valuable and helps me improve. Thanks again!
@@MediabeeColorLab I can't wait for your next tutorial. This one made it clear you really know what you're doing.
@@Sean-gf7ky 🙏❤️
Yes thank you for this tutorial. I agree with Sean. Better to stay wide so we can see where the cursor goes. Could you let me know where the cursor went to toggle the image to black & white for exposure adjusting?
It's a very clear and accessible guide, but some things and tools remained unclear to me. For example, when you were making changes to the exposure node, it was unclear to me that you clicked so that the range was dynamically displayed on the vectoroscope, and some other things too :(
Thank you for your feedback and for pointing out those areas of confusion in the tutorial. I apologize for the oversight with the zoom on the vectorscope, which made it difficult to see my use of the qualifier tool to check exposure on the subject's face. I've addressed this in more recent tutorials, ensuring a better balance between the scope and the other tools, so you can see the full process more clearly. I encourage you to check out these newer tutorials for a clearer demonstration of the technique. Thanks again for watching and for your constructive comments-they really help improve the quality of the tutorials!
Thank you so much for this great tutorial! What are your timeline setting please ?
Glad you liked the tutorial. Here are my color management settings if that's what you mean:
Davinci YRGB, Davinci WG/Intermediate, Rec 709 Gamma 2.4
Please let me know if you want to know anything else.
@@MediabeeColorLab Thank you so much!!
Thank you so much
@@Jonbontabas very welcome 🙏
would love a tutorial on how to achieve similar without lut
Thanks for your input. Noted. I will try to address different features of Davinci Resolve in future videos.
Where can I get the cruces lut ..I love your color grade it’s what I’ve always wanted to create
@@kushkelvine thank you! Here is the link for the LUT pack:
procolor.ist/voyager-lut-pack/
Very good
Thank you!
great
and 🙏🙏🙏🙏🙏
@@dyneechide glad you like it, thanks ☺️
Very beautiful !!Why use 2 dehencer node ?
I use separate nodes for halation/bloom and the Kodak film look so I can toggle each effect on and off to see the differences they make individually. Also, I can play with the global output more freely. However, using halation and bloom in the same node as Kodak 2383 would also work. It all depends on your workflow and what suits best for your needs.
Cheers!
Beautiful video. By the way what are your master color timeline inputs from the bottom right settings I didn’t see that in the video
Thank you for the kind words! For the master color timeline settings:
Color Science: DaVinci YRGB
Timeline Color Space: DaVinci Intermediate
Output Color Space: Rec709 Gamma 2.4
Let me know if you have any other questions! 😊
@ no problem keep up the great work one more question if I am shooting with a Sony camera. What should my in camera detail level be set to for 4K/HD
@@BeenDraggin410 Thank you! Great question. For Sony cameras, when shooting in 4K/HD, it’s generally recommended to set the in-camera detail level to -5 or lower (or even turn it off completely if possible). This helps avoid over-sharpening artifacts and gives you more flexibility to add detail and sharpness in post-production. Let me know if you have any other questions!
@@MediabeeColorLab thank you I really appreciate it 🔥🔥
@@BeenDraggin410 ☺👍
wooow
@@-semayawikine thanks
@@MediabeeColorLab please make for BMPCC 6k pro
@@-semayawikine You may want to check this tutorial: ruclips.net/video/MLp2KZzzJSM/видео.html
Here we use BMPCC 6K footage.
hi man,
what kind of LUT are you using there? can you share them?
I use one of the Voyager LUTs by Cullen Kelly in this tutorial. You can get the whole Voyager LUT pack here:
procolor.ist/voyager-lut-pack/
can you suggest me some websites to download footages like this....thanks
@@captainaves-p7k my go-to website for raw footage is Artgrid. All the best,
@@MediabeeColorLab Thanks a lot
@@captainaves-p7k You are welcome!
same settings using different camera? or have different tone mapping if using different camera?
@@BemandYangOfficial Thanks for asking! Different cameras have unique color profiles and sensor capabilities, which can affect the final look of the footage. To maintain a consistent tone, you might need to adjust the tone mapping and other settings accordingly when using a different camera. It’s important to fine-tune based on the specific characteristics of each camera.
wow
🙏
Can you Provide This Lut?
If you are talking about the LUT I used in the tutorial, it's a paid LUT developed by Cullen Kelly. So I cannot share the LUT itself, but here is the link in case you want to purchase it:
procolor.ist/voyager-lut-pack/
how to cst for sony s log3 ,the why we want to aply two cst front and last what is the use pls explain another video
@@oummaoruride6596 thanks for asking. I will explain it in another video 👍
How do I download this clip to practice with?
artgrid.io/clip/533366/old-age-together-dating-relationship
Great video man, but why are you adding Separate "Dehancer" plug ins to do different things ???
@@directorjayalex thank you! I use separate nodes for different effects so I can toggle them on and off to see the difference they make. Just a personal choice.
Can we get this shot without coloring?
Hi, thanks for your question. It is from Artgrid. Here is the link to it:
artgrid.io/clip/533060/table-laptop-thinking-sitting
what is master , project level color management settings for this project ???
Hi, great question. Here is my master project level color management settings:
Color Science: Davinci YRGB
Use separate color space and gamma (unchecked)
Timeline color space: Davinci WG/Intermediate
Output color space: Rec 709 Gamma 2.4
Master settings should match the specs of the footage. In my case it was Ultra HD, 25 fps
Hope this helps!
i need this footage
You can find it in Artgrid.io , look for Stockbusters' collection.
I would like to request a LUT purchase.
Thank you for your interest. At the moment, I am not offering LUT packs. However, I am continuously working on developing new resources and updates. Please stay tuned for future releases and updates by following my channels. If you have any specific needs or questions in the meantime, feel free to reach out.
hi, if possible can you please put some footages for practice
Unfortunately, most of the clips I use in my tutorials are sourced from Artgrid, which means I can’t share them due to copyright restrictions. However, I’ll keep this in mind and make an effort to incorporate royalty-free footage in some of my future tutorials, so I can share those clips for practice. Thanks for your understanding!
@MediabeeColorLab please, in future if possible, will be much helpful
I would convert to Rec. 709 BEFORE applying halation, LUTS, effects, and skin tones. The only thing before CST is HDR adjustments. Why do you do everything before CST?
Thanks for your question! I understand your approach and it’s a valid one. In my workflow, though, I prefer to set Dehancer Pro to work in DaVinci Wide Gamut (Davinci WG) because it integrates better with the other adjustments I make in that broader color space before condensing to Rec. 709. This method maintains the integrity and quality of the effects like halation and others directly within the space they're designed to function most effectively.
Regarding LUTs, the key is knowing the design intent behind each LUT. Some are specifically tailored for log or wide gamut inputs and some for cinelog, and using them appropriately can make a significant difference in the outcome. This strategic placement of color space transformations and effects allows for more creative control and nuanced results, which is essential in professional color grading. I appreciate your perspective and am always open to discussing different workflows. It's these kinds of conversations that push our craft forward!
We need this footage
@@backbench-9824 It is a copyrighted clip, so I cannot share it unfortunately. But you may check out Artgrid.io 😉
@@MediabeeColorLab Thanks
@@MediabeeColorLab can you tell me this footage name please
@@backbench-9824 It is by Stockbusters. You may use the keywords "Beautiful Elderly Woman"
@@MediabeeColorLab Thank you so much
what if my footage is not shot in log ? in normal phone?
Great question! If your footage is shot on a normal phone in a standard profile, you can still enhance it through color grading. Start by adjusting your contrast, saturation, and brightness to bring out more details and depth. Consider using color correction tools to balance out the colors and achieve the desired mood. For color management, ensure your project settings match your footage’s color space, like sRGB or Rec. 709, to maintain color consistency across devices. Tools like DaVinci Resolve offer various options for improving non-log footage and managing colors effectively. Keep experimenting with different settings to see what works best for your specific video! If you need more detailed guidance, feel free to ask. Happy grading!
When and why parallel nodes are created?
Parallel nodes in DaVinci Resolve are used to apply multiple color corrections or effects simultaneously to an image without affecting each other. This is particularly useful when you want to isolate and work on different aspects of the image, such as skin tones, shadows, and highlights, independently within the same node tree. By using parallel nodes, you can maintain the integrity of each correction, allowing for more flexibility and creative control over the final image.
And thank you for your question! It's clear there's a lot of interest in understanding node trees and the functions of different types of nodes in DaVinci Resolve. We'll consider creating a detailed tutorial that focuses specifically on node trees, including parallel nodes and more, to help demystify these powerful tools and enhance your color grading skills. Stay tuned!
but sir i have a iphone 8 plus can i apply this settings?
Yes, you can certainly try applying similar settings on your iPhone 8 Plus, though the capabilities and results might differ due to the hardware limitations of older devices. The iPhone 8 Plus supports basic color correction and grading, but the adjustments may not be as refined or extensive as on more recent models or specialized software. Be mindful to adjust your expectations and proceed with subtler enhancements to avoid over-processing, which can lead to image degradation on older phones. Hope this helps!
@@MediabeeColorLab thanks man and please also make video for older iphones we are waiting
So much great info clearly presented - EXCELLENT! (Wish this had been available a few years back when I started the confusing journey into Resolve 😂) Love that you covered adding depth map nodes - been pondering best way to incorporate that into my work flow.
QUESTION: Why a separate node for Dehancer Pro’s halation & bloom?)
Thanks much & hittin’ subscribe!
Cheers
Thank you so much for the kind words and for subscribing! I'm glad you found the tutorial helpful.
As for your question, I use separate nodes for halation/bloom and the Kodak film look so I can toggle each effect on and off to see the differences they make individually. Also, I can play with the global output more freely. However, using halation and bloom in the same node as Kodak 2383 would also work.
Cheers!
WHERE TO FIND DEHNACER plugin and the recommended lut
@@ekomfilmsandmusicvideoprod5571 you can visit their website here: www.dehancer.com/shop/video/davinci_resolve
@@ekomfilmsandmusicvideoprod5571 here is the link to the LUT pack: procolor.ist/voyager-lut-pack/
I can't find the beds you're using at all, I'm following the tutorial very well but when I get to the beds I'm stuck.
Could you please clarify what you mean by "beds"? Thanks
Does file from red different from A7Siii that much?
@@nuttawatkorkiattakul3303 Yes, RED footage is different from a7III in terms of color science. RED captures more color information with greater bit depth, allowing for more detailed and precise color grading. While a7III footage is still good, it’s more compressed, which can limit your flexibility in post-production
ขอพิกัดสั่งซื้อdctl
You can find them here: mononodes.com/dctls/
I would work with a no name record, not RED camera, in order to show the steps....
Also using additional programs that are paid is not OK for a step by step color grading, but commercials for some companies :).
@@geodrone7643 Thank you for the feedback! This was my first tutorial, and I forgot to mention upfront that I used paid plugins. I completely understand your point, and in my future tutorials, I made sure to clarify when any paid tools or plugins were used right from the start. I always aim to provide as much transparency as possible and appreciate your understanding!
Como puedo lograr este miso color o algo parecido con una sony @6000?
¡Claro! Para lograr un color similar al que muestro en el tutorial usando la Sony a6000, te recomendaría primero grabar en el perfil de imagen S-Log2 o S-Log3, si está disponible. Aunque la a6000 no tiene los perfiles S-Gamut avanzados de cámaras más profesionales, S-Log2 aún te proporcionará un rango dinámico más amplio para trabajar en la corrección de color.
Una vez que tengas tu material, usa un nodo CST (Transformación de Espacio de Color) en DaVinci Resolve para convertir de S-Log2 a Rec.709 o el espacio de color de tu preferencia. Desde ahí, puedes ajustar los tonos de color, especialmente en los tonos de piel y sombras, para lograr el look frío y cian que estás buscando.
También puedes trabajar con los controles de temperatura y tinte en los ajustes primarios para acercarte al look. Si necesitas más ayuda con los pasos específicos, no dudes en preguntarme.
@@MediabeeColorLab pero la sony @6000 no tiene perfiles logarítmicos!
@@LeandroHolman ¡Tienes razón! La Sony A6000 no tiene perfiles logarítmicos como S-Log. Sin embargo, aún puedes obtener excelentes resultados utilizando el perfil de imagen "Neutral" o "Cine" y reduciendo el contraste y la saturación en la cámara. Esto te dará una imagen más plana con la que trabajar durante la corrección de color. Después de eso, puedes seguir los mismos pasos que mencioné antes, utilizando un CST o ajustes manuales para refinar el look.
Aunque no es lo mismo que trabajar con material logarítmico, este enfoque aún te ofrece más flexibilidad en la postproducción. ¡Déjame saber si tienes alguna otra pregunta!
@@MediabeeColorLab la sony @6000 no graba en formato logaritmico :(
@@LeandroHolman ¡Tienes toda la razón! La Sony a6000 no tiene perfiles logarítmicos como S-Log2 o S-Log3. Sin embargo, para lograr un look similar, te recomiendo grabar con el perfil de imagen 'Neutral' o 'Cine,' que te dará una imagen más plana. Luego, en DaVinci Resolve, puedes aplicar una ligera curva o usar herramientas de corrección de color para ajustar el contraste y el color, logrando un look más cinematográfico y acercándote a los tonos fríos y cyan. Si necesitas detalles adicionales, ¡avísame!
I NEED DCTL PRESET CAN U SEND LINK?
@@pratikakaprillex we do not own the DCTL presets so we cannot share them. Thank you for your understanding 🙏
pls send log fortage
Thank you for your interest! Unfortunately, the log footage I used in this tutorial is copyrighted, and I'm unable to share it publicly. Thank you for your understanding.
so you need to buy dehancer
@@azymight correct. For a 10% discount you can use the code MEDIABEE10. If you don’t want to buy it, feel free to check out my other tutorials where I focus on Davinci Resolve’s built in tools exclusively.
hi sir I Need Cruces Luts Sir
You can buy it here: procolor.ist/voyager-lut-pack/
its all about plugging its not a good for beginners
Thank you for your feedback! I try to strike a balance between introducing powerful tools and keeping things accessible. I'll make sure to include more tutorials that focus on the basics without relying on plugins in the future. Your input is really valuable, and I appreciate you being part of the community!
While a part of this tutorial is done with a plugin, there is a lot done with Resolves built in tools and really great techniques shown spot on. Thanks 🙏
@@smepable thanks so much for your feedback 🙏 I’m glad you found it useful
@@MediabeeColorLabas a german Filmmaker i can say it is one of the best workflow videos. Thanks a lot!
@@VS99media Thank you so much!!~
this is awesome but way too advance for me...
Thanks for sharing it. Please let me know if you have any questions so I can help. All the best,
just a personal thought, it looks a little bit AI
Interesting... Thanks for sharing it.
My pc say : breath up, breath down, he is close davinci now 😅😅
Too much if you have a mid range pc😢😢😢
@@legrandamineofficial4184 Sorry to hear about the issues with your computer. Running DaVinci Resolve can be demanding, especially on mid-range PCs. You might want to look into optimizing your system or consider upgrading certain components for a smoother experience. Good luck!
This isn’t a beginner tutorial
@@officiallyKage Thanks for the feedback! You’re right-this tutorial is geared more towards those with some experience. I didn’t label it as a beginner tutorial purposes , but I appreciate your input and will keep that in mind for future content!
@@MediabeeColorLab didn’t mean it as any criticism…. Just a warning to those only starting out. I for one, am not completely new to grading therefore I found it extremely useful… there’s definitely aspects I picked up for the first time
@@officiallyKage Thanks for clarifying that! I’m glad you found the tutorial helpful. Please let me know if you have any questions in the future.
This was cool until I had to buy something
@@RKKY-mf7fe thanks for the feedback. You may wanna check out my other tutorials on the channel, some of them focus on only Davinci Resolve’s built-in tools.
I wonder why you guys output video to the ancient rec709? Even most mobile phones output videos in rec2020 10bit. Pathetic
@@PuthethuKollam Thanks for your comment, Puthethu! We appreciate your input. We use Rec. 709 because it is still the most widely accepted standard for broadcast and streaming platforms, ensuring compatibility across a wide range of devices and displays. While Rec. 2020 and 10-bit color are becoming more common, especially on higher-end devices, not all screens and platforms fully support these standards yet. We aim to provide the best viewing experience for the broadest audience possible. However, we are continually evaluating new technologies and will incorporate Rec. 2020 in future projects as it becomes more universally supported.
@@MediabeeColorLab but also think of the others who are using HDR screens and TVs?
And there is already built in Gamma correction for HDR10 to rec709 conversion in all TVs and other devices!!!
@@PuthethuKollam You are absolutely right ! We currently focus on Rec. 709 for broad compatibility, but we recognize the growing demand for HDR content. We’re planning to incorporate HDR and Rec. 2020 in future projects to enhance the experience for those with compatible screens. Thanks for your feedback!
@@PuthethuKollam You’re right! New TVs do handle HDR to Rec. 709 conversion; yet, we prioritize maintaining control over the final output quality. We’re exploring HDR content for future releases to fully utilize advanced displays. Thanks for your feedback again!
where can we download this fotage too follow this tutorial? can u please upload it ?
You can purchase and download it here:
artgrid.io/story/29333/beautiful-elderly-woman