UPDATED: So after posting this video, I was expecting some help from the community and I got it. Right now the more elegant solution to this issue is using going back into Sony S-Gamut3.cine and then transforming to rec.709. You can find the template PowerGrade here shorturl.at/ajqX7
doing this will limit your working luminance to 350 nits here's my settings IDT: input: Slog3 Sgamut3 output: Dwg DI Tonemapping: off Gamut mapping: off ODT: input :DWG DI output: Rec709 gamma 2.4 TonaMapping: Davinci Tonemapping 10000max-input-100max-output (switch to Luminance Mapping to have more 'primary'color reproduction) GamutMapping: Saturation Compression (optional) Apply Forward OOTF: on
@@DannyGan you're right. it doesnt match the only way to get that match is to moveback from dwg to slog then slog to 709 it is more complicated but technically better than adjusting hue vs hue
Thanks for the video! About Rec709a for color output, the thing is change the contrast a lot. I'm grading on a Mac with a color reference monitor which is set to Rec709 2.4. If I change the output in DR to Rec709a, change a lot. So I'm just guessing you do that to grande in the Imac Monitor? I wante to understand the reason. Thank you
UPDATED:
So after posting this video, I was expecting some help from the community and I got it.
Right now the more elegant solution to this issue is using going back into Sony S-Gamut3.cine and then transforming to rec.709.
You can find the template PowerGrade here shorturl.at/ajqX7
doing this will limit your working luminance to 350 nits
here's my settings
IDT:
input: Slog3 Sgamut3
output: Dwg DI
Tonemapping: off
Gamut mapping: off
ODT:
input :DWG DI
output: Rec709 gamma 2.4
TonaMapping: Davinci Tonemapping 10000max-input-100max-output (switch to Luminance Mapping to have more 'primary'color reproduction)
GamutMapping: Saturation Compression (optional)
Apply Forward OOTF: on
I followed your exact settings but the colour reproduction doesn't seem correct.
@@DannyGan you're right. it doesnt match
the only way to get that match is to moveback from dwg to slog then slog to 709
it is more complicated but technically better than adjusting hue vs hue
Why didn't I think of that! Sandwiching the DWG totally works, and its technically correct. Thanks for your help!
I tried today on DVR 19. Both DWG->709 and DWG->SLOG->709 look identical to me. I can't confirm whether they fixed it or not.
It only appears at a certain luminance and hue like in this sample. But if it doesn’t appear then you can ignore.
Short version: use "hue vs hue" to rotate the hue of red and "hue vs sat" to add some selective saturation.
I’m afraid it’s not that simple, I wish it was. Yellows are almost non-existent so you’d have to recover it.
Muchas gracias.
Thanks for the video! About Rec709a for color output, the thing is change the contrast a lot. I'm grading on a Mac with a color reference monitor which is set to Rec709 2.4. If I change the output in DR to Rec709a, change a lot. So I'm just guessing you do that to grande in the Imac Monitor? I wante to understand the reason. Thank you
what's your export settings! 😊
Quicktime H.264 for RUclips
Appreciate your knowledge ❤
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hey , danny k can you show us the node tree, and explain how you set it up ?
SIMPLE NODE TREE for Any User Level | Visionary Powergrade Template | DaVinci Resolve 18 Tutorial
ruclips.net/video/sNliaFMPTBI/видео.html
The GOAT
Have you tried in cst out tone mapping types to match?
Yes, I did all possible combinations. Do share if you have a solution 😄
Do you ever notice a loss of saturation when you output gamma 2.4 vs Rec709a??
Not that I know of, could be due to many factors
To save you time; the best export settings are Rec709 + sRGB
hey whatever works!
@@DannyGan You are goated, I just use windows sir
thank u! 🤟🏼