1972 Davinci was born. It has been the Industry standard for color ever since. Having spent a short 40 years in motion picture transportation I walked the halls of many edit facilities. The originals being film. This program is nothing short of amazing. A beginner can start for free. While I can't join now you are on my list. I am cutting Bmpcc 4 and 6k atm. As I mentor young film makers that I recommend you to often. I also know the value of this compared to schools. One of my first ventures was a S video tape project. A young man had just spent 15k on film school for six months training. He directed for my project and got the first cut. He acknowledged in three weeks practical training with me he learned much more than his time in school. Learn the color grading for a living and you should have time to follow your dreams....
So true, Quazi. Agree 100% that this video--like others that show important but sometimes more subtle concepts--must be watched more than once. I often use the left & right arrow keys to go forward or back a few seconds in the video. So easy to use to hear something again. Did I really understand that??? No? OK. Go back and hear it again! It is really there! Lovin' it, Quazi.
Thank you so much for your content. I'm learning so much. Also, best laugh out loud moment is at 2:15. Just that one moment made me want to tune in and watch everything. I've watched a lot of tutorials on DaVinci and Color Grading but your content takes the cake. I can apply what you are teaching a very tangible way. Thank you.
I don’t understand how you (and others) can use Rec.709 Gamma 2.4 when delivering to RUclips. The only way I can get accurate colors is to use sRgb. Can you explain? Thanks!
Wow, after watching nearly a dozen videos on colorspace this one is the first that made it simple and actually gave me direction on how to setup my next project. Thanks!
The loss in range from applying the rec709 lut in the beginning of a node tree really is like getting a pre-taxed paycheck because either way, rec709 will take its cut now or later. Great analogy (until the refunds because you don’t get more color space for a finished project in the following spring, but still an apt analogy for the relevant portion). Also, I’m a big fan.
Thanks a lot Waqas, you changed the way i look color grading, still saving up for your online courses, South African Currency is something else,,,Thank you for your effort
i would really love to see a video about how to color grade braw footage from blackmagic pocket 6K in Davincci Resolve. How to set CST and things like that. Did you make this already?
Excellent walkthrough of the power of DaVinci Wide Gamut. Thanks so much for taking the time for putting this together for us. Yes, would love to see more videos on the power of the Wide Gamut setting.
Amazing video & analogy. For me it begs the question though, let's say all I want is to output a rec709 video for streaming platforms, what are the pros of using wide gamut in that case? Wouldn't that mean that the monitoring would be gorgeous and then the end result will be washed out when exported? What would be the pros of using wide gamut if you know you only want to output in a more limited color space?
Exactly my thoughts. According to what I've seen on Filmmaker's Academy, matching your color space to your camera and doing everything manually from there is a must. I believe high-end users actually create multiple versions for multiple releases, but I'm not sure on the specifics of that process.
@@jaylewis2611 When you say "matching your color space to your camera" - do you mean convert your LOG footage to Rec709? Because the way I understand the configuration explained in this video, the trick is that you work in wide gamut and set your *output* color space to Rec709 or whatever you need it to be. Meaning you can create something more vibrant that will look the best it can in each of the possible output color spaces. If you produce a mellow look in wide gamut, it will likely be within the range of Rec709 and not need to be adjusted in any way. If you create something insanely colourful, the colours in your output will only look as vibrant as the set output color space allows - just as they will only look as vibrant as the screen allows, but can potentially grade for more vibrancy so they can look better in larger output color spaces. If you output to Rec709, it's the same result as you're already getting, but with less risk of clipping somewhere along the way in your workflow. From what we saw in the demonstration here (which we are viewing in sRGB on RUclips), it seems that this process might even do appealing roll-offs for areas that are out of range for the target color space. Even if it doesn't, your result would not look any more washed out than working in Rec709 to begin with. What happens is that the greener greens and the redder reds (etc.) that are not part of the small Rec709 colour space are instead displayed as the closest colour that is part of the colour space. So instead of the red light being even more red in the center, it would be the same red all over, which is probably what you would surrender to working in Rec709 anyway. I'm not quite sure if "output" in Resolve also refers to the display, which would mean if you set output to Rec709, you see exactly what you'll get in your Rec709 delivery. Your work is not going to look any worse using this process, it just has the potential to look better. The two advantages I see are: 1. Anything extreme you might do at any point in the process is far less likely to fall apart and cause artefacts down the road, 2. If you deliver the project to larger colour spaces in the future you don't need to redo your work, but rather just change the output colour space (unless you graded it on a display that only displays Rec709 and thus didn't make proper use of any potential beyond that).
@@dinoschachten you have a solid understanding of the process. Everything you said is true to the best of my knowledge; most colorists work in the widest possjble gamut, and then output according to delivery needs. However, this inherently involves an algorithmic transformation that merely attempts to preserve the artistic intent, and does not simply clip out those shades that sit outside the display space. That would naturally include parts of the frame being blotched out. Therefore, the outcome might be unsatisfactory, but it will leave you with the option to deliver in HDR without doing a trim pass. For that reason, I believe top-end colorists (talking feature-grade) painstakingly regrade in each delivery format.
@@jaylewis2611 Honestly that's the part I'm not entirely sure about: Does Resolve do an algorithmic transformation, or just map colours that are outside of the target space to the ones closest to them? Would be interesting to follow both workflows (Rec709 right from the start vs. DWG processing, only delivering as Rec709 in the end) and compare. I recall viewing photos I edited on my iMac's P3 display on older displays that I believe didn't even cover full sRGB. It doesn't look terrible, but in some areas gradient areas fade into one colour given that some of the shades are outside the capability of the display. I imagine the conversion from DWG to Rec709 (if no transformation happens) should look similar, which - now that I think about it more thoroughly - could pose problems in some extremely coloured shots. Still not sure about what DaVinci actually displays on the viewers if you set the output colour space to what you need to deliver. If the viewer shows the output colour space, it certainly produces the expected result upon delivery, but then you're absolutely right again: At least some re-grading would be required if you change the target colour space to accommodate the latitude of larger target colour spaces and not have the result look a bit dim or flat in those.
@@dinoschachten that's as far as I got watching BMD's color management instruction video. Maybe you should take 30 minutes to see if it answers your questions too.
Thank you for posting! Been shooting half heartedly with BMPCC4K in BRAW and struggling with my 2014 laptop.. just got the Mac Mini M1 and its night and day easier to edit/grade with. Working in Davinci wide gamut is the “It” I have been searching for. Well yeah, just moved up from 8 bit C4K 150mbps.. so its all fairly magical to me. Just did some very very very minor grading with my my own footage and just your insight to how to set up the working environment really made my life easier and results where better and faster. I’m only scratching the surface of grading with BRAW. Have done LOG prores and years ago color film negative and slide color printing.. this BRAW is almost bringing back the darkroom experience, but with motion pictures and no extensive lab work and rotoscoping. :)
Thank you for the detailed explanation and what DWG is doing. Im working on FLOG2 and since DR doesnt have profile for Flog2, I was using the lut profiles Fuji has given in their website. Not until now. I'm using Panasonic V-log/Flog for the input color space than Arri Log C as it shifts the skin tones to green
Yes please im struggling to get the image i see in Davinci Wide Gamut exported in a right way! It looks so different (darker and warmer) on other screens then my HDR screen. I understand that you can't get it the same but it's such a big difference that my clients complain about the colors and brightness.
Hey Qazi, really need that explanation about nodes. Would really appreciate if you do a video about that specific topic! Thankyou so much for all your videos!
Holy crap this is #amazing, wish I had tried this a out few weeks ago, just installed the 17 beta and re-graded some concert footage shot a few weeks ago with an A7iii and AX700 in 4K SLog2 (ETTR) and a couple of different ISOs and WB settings throughout after watching this video, I was finding with the original process having the image break apart and get blotchy on me as good old 8-bit can do trying to get it all to match up and was a time consuming process, updated to managed and DaVinci Wide Gamut and did a basic re-grade in half the time and it seems to let you push more like a raw/12-bit workflow, will be using this from now on! Thanks for the video!
Your videos always blow my mind and I always learn so much. It's really amazing how much you can do with so few nodes. I'm still learning and sometimes I forget to keep it simple and end up overcomplicating it.
@@theqazman But we have a Gamma shift on Mac between Davinci Resolve viewer (Color tab) with Wide Gamut settings Rec709, Gamma 2.4 is different from export file (with Same as Project settings in Deliver tab ) and open in QuickTime player file((( I'm try to use all variations with export settings and color management settings too on my MacBook on M1 with calibrated built-in display
Going in-depth like you do regarding color management, could you provide a suggestion for all users grading on a Mac who want to export primarily for RUclips who require a 1-1-1 tag instead of a 1-2-1 what the settings must look like in the project setting --> color management when using DR Wide Gamut and also in the delivery tab :O THIS WOULD BE HUGE!
Great tutorial. It would be really helpful to show how far you can push something in the new Davinci WG and how that would hold up under different deliverables; H.264...etc
Wonderful explanation thank you so much, but one point was missing for me, I would love to know how you deliver these colors accurately for RUclips or braodcast?
DR 17 Stable is out today.... I've just apply those settings in DR. IT blews my mind!! I'm using Sony a7iii with HLG. You can tweak the image even more!! This makes me love my a7iii more!! Thanks Qazi!!
I have Resolve 17.4.2 but there is no "Davinci Wide Gamut" in Color Processing Mode. The only wide option I have got is "HDR Davinci Wide Gamut Intermediate" Anyone can help?
Great video! Question, if my Macbook Pro display supports up to P3, then should I even be using Davinci Wide Gamut? Also, what’s the difference between Davinci YRGB Color Managed and Davinci YRGB? It seems that color managed screws up shadows a bit when switching between them.
Wow this new Wide Gamut feature is really gamechanger man! Thanks for the awesome info you shared with us! I have a question, I previously used the Color space transform to turn my Slog2 to Rec709, And the Noise reduction and primaries node i created were before the CST Node! but with this method, Davinci applies the wide gamut automatically behind the scene, So we have a more contrasty shot (which in the color space transform scenario we were able to bring up shadows or recover highlights before the CST node so it wouldn't be destructive), The question i have with this new davinci wide gamut feature is that, does it allow to recover the highlights or bring up the shadow details without any sacrifice like the color space transform?? This the only thing that worried me! 😅 Thank you so much again man!
This is absolutely brilliant. Thank you so much for sharing this. And yes, I've love to see more of this. THOUGHT: Since more independent films and docs are being shot on iPhones, I'd love to see what you'd do with footage from the iPhone 12 Pro Max--Dolby Vision and Log V2 from Filmic Pro.
Having an example of grading of shot done on Iphone 12 with Filmic Pro in Log V3 would be awesome. I've been watching all videos of this channel and tried applying the learnings to Filmic Pro clips, but I'm not sure I'm configuring the colors properly.
Hey great video! but i have a problem i used yrgb color managed proxy, i created proxys i color grade them and when i export them they was looking very bad and dark the proxys are flat with no contrast at all and i graded them but after those settings was aplied on totally different looking file what is the solition? Thanks
Thanks for the awesome tutorial. Question for you. I recently invested in a benqsw71 to use with my iMac. I calibrated the monitor to Rec-709, I have toggled on “use mac profiles for viewers” as well as 10 bit. What I can’t seem to understand is, do I need to be editing in the “rec-709a” color space that was designed for Mac? My understanding was that this option will match tags for viewing in QuickTime and RUclips. If so, how this affect my final product?
Hello Qazi, I would like to know how the exported files with this color space are going to look at Quicktime. I have my calibrated LG 32wk95U and my Macboor Air M1 retina display and all these years I was experiencing color shift and gamma issues after exporting my projects and playing them on Quicktime player and also Safari/RUclips. I solved all these when Blackmagic announced REC709-A with Resolve 16. Then I had a mtach from what I was seeing in Resolve viewer and Quicktime/Safari/RUclips etc. Now with Davinci Wide Gamut, Quicktime shows a tremendous difference between Resolve viewer and Quicktime. My monitor is calibrated with x-Rite i1Display Pro Plus at SRGB D65 Gamma 2.2. To be able to see the same color/gamma between the viewers don't I have to calibrate my monitor to the same color space? Ofc that cannot be because there is no such color profile to calibrate a monitor and in my case that I don't have an external monitor connected via "Intensity 4k card" for example how can I color grade in that color space and be able to see w/o color/gamma issues? I admire your work, keep it coming!!! Thx!!
Hi Qasi, that's amazing. Now one question, since we now can work in a wider color gamut, do we still have to cripple our eizo screens down to rec709 or would it be better to edit in the screens full gamut and then just export for rec709 and check the result on the rec709 setting of the screen? Greetings from Munich Dennis
@@krischanrudolph6005 thanks a lot rudolph. I tried to callibrate my eizo cx271 to 709 but the results are just super useless. It works great for print but i definetly do smtng wrong for video.
@@krischanrudolph6005 i tried two different ways, first as you just guessed with color navigator and an i1 display Pro which is nearly one year old. Second (several) trial was to use dispcal (thinknthats the name), then dispcal through resolve. And i also tried connecting my display using an intensity pro 4K. No matter what i do, the colors always look wrong to my eye, not nearly as they were in nature. And i am very, very picky when it comes to white balance and color chart stuff. And where ever i watch the final movie, iPad, Macbook, Notebook (also calibrated), the colors are massively different. Maybe you have a clou on what to do?
Such a nice video! What if im shooting on Canon R5 Rec2020 Clog3... I cant seem to find input color space that matches? I only get cinema gamut Clog3. Im using atomos Ninja V and the HDMI output of the canon is limited to sending rec2020, Therefore i'm not able to shoot in Cinema gamut and Clog3.
Great video. Please give us more on this. In particular how do the standard Lift Gamma Gain Color wheels change their behavior. Second question: for Dolby Vision HDR footage from the iPhone 12 Pro, DaVinci is sets the Input Color space and Gamut automatically to Rec.2100 and HLG. Unfortunately that looks terrible on a Rec.709 Output timeline. Usually when I grade this in the DaVinci YRGB color space, I use a Color Space Transform node, with Rec.2100 for the Color space, and Gamma set to Gamma 2.4 (or Timeline) to get the right Gamma. I guess I can do this in DaVinci Wide Gamut by overriding the Input Color Space for the iPhone, and then manually add the Color Space Transform node. But it would be great if there was an appropriate Input Color Space for this footage. Am I missing something? Many thanks!
@@joaomestre2584 I guess in the colour window, right click on the video clip where you will find input colour space. But before that you've to go to colour management under project settings and change colour science to Davinci YRGB colour managed.
Another great video with high quality content from you! I have a question though; since you work on Mac too, have you tried set your ODT to Rec0709-A in order to get more consistency in your exports compared to setting it to gamma 2.4?
This is great, thank you, but it's easy to do on footage that's perfectly shot. I'm finding that both the color transform mode and the Input Color approach both, at best, give me "a look" that I may not necessarily want. Like if I sort of want the LOG look. Or want to dial back the contrast that Davinci adds, I don't see how other than the contrast slider and that, with my admittedly very basic understanding, is kind of "fake contrast" isn't it?
Hello Qazi. Thanks a lot for your very helpfull vidéos that I watch since 2 days now to improve my workflow on Davinci. For some reason I can't see "DaVinci Wide gammut" color processing mode on Davinci color management page (Davinci 17.4.1 free version). The only option closer is "HDR DaVinci Widegamut intermediate"... Is it new to 17.4.1 or do I miss something? Thanks again for your tutorials!
Hi Qazi! Awesome video! I wanna ask you something, I have a Canon EOS R which shoots in input colour space rec709/Canon Log 1 how can I set it up? Because on the media tab, when I click on Input colour space, I only see Canon Cinema Gamut/Canon Log 1 Thanks in advance!
Thank you for all these informative and cutting edge videos. Ive been having issue with my SAMSUNG TV when changing to to DaVinci YRGB and DaVinci wide gamut. I have 3 monitors in my studio set up and the 2 main ACER monitors seem fine but the SAMSUNG creates this HIGH HIGH grainy DEF noisy image. Then when I change it back to default settings (YRGB and REC.709) it returns back to normal. Just curious as to whats going on here. Thank you again
Hi. Great video! When I render the video with the settings you suggest I get a 1-2-1 Color Space. If I upload this to RUclips the contrast and colors totally change as if it’s converting it to 1-1-1. Any advice on render settings to overcome this. Thanks!
Nice. Hey, Qazi, I watched the MC pitch and at the end I did not see the link to the complimentary powergrade. The end just had the rate part -- which I rated tops -- and then launched into the "sign up" part. Would like to try the PG. How can I get it?
Is it normal to require pulling the exposure way way down after setting up the wide gamut space? This made my BRAW footage to bright at first, but I brought down the exposure in the raw settings and wow, I feel like I can get even more highlight recovery now!
Thanks for this Qazi! although I’m struggling to understand who this is directed to. If I’m coloring on a monitor calibrated to rec.709 & my final output is in rec.709, would it make sense for me to use Davinci Wide Gamut as opposed to SDR rec.709 as my color management? Can a budget caliber monitor get use out of this or is this only for people grading on crazy expensive professional caliber monitors.
No,if your monitor is calibrated to rec 709 color space you wont be able to see the colors of Resolve wide gammut anyway..you need a wide gammut display to be able to see more colors or probably an imac would also be able to display more colors because it is calibrated to Dci P3 colorspace
I realy love ur pc setup and ur colour grading ...I actually use Adobe premiere Pro but i watch ur video only for colour grading ...I really love ur colour grading...thank u so much 😊
LOVE THIS. And I'd love to see more techy stuff-you explain it much better than PDFs do. One thing I haven't been able to figure out is FPE inside of a managed workflow (this or ACES). Is there any way to do that here? My understanding is that technical LUTs like Kodak 2383 are specifically targeted for a color space (P3/Rec.709). So is there a no-LUT workaround for film emulation in color-managed workflows? Thanks!
Qazi, thank you! Anyway I see you (17.04) change temp in that is there any reason why not doing in raw metadata ( where you can change in there)? I am asking because if trying to work in proxies on raw footage raw metadata is disabled? Is this step colour temp good method?
Thanks for the video tutorial and example. I like using this method within Resolve, but when I export from Resolve to use the clips in FCPX, the colors loose saturation and seem to shift a bit, any suggestions?
Nice, but how about footage recorder in a Canon EOS R5? Which color space should I choose? Because there is NO "Cinema EOS Original/BT.709/Canon Log 1" nor "Neutral/BT.2020/Canon Log1", I'm struggling with that.
Hey Qazi, this is great stuff, I’m new to DaVinci trying to figure out if I continue with Adobe Premier Pro or shift over to DaVinci, I’ll be posting a video soon on trying to work through HDR calibration in terms of recording game footage, it’s a real pain to a newcomer. I could use some advice and assistance I’ll post a link once I get it uploaded.
Great video, had to upgrade to 17 after this, but I think there is a gamma shift when working in DWG, and having 'use Mac colour profiles for displays' set to on in preferences. On a MacBook Pro Retina P3 display everything is way too dark when I switch to DWG. if I disable 'use Mac colour profiles for displays' in preferences the image seems to be a lot brighter. Am I missing something here or just not understanding which one to use?
Did some reading on the Blackmagic forums and I think I've answered my question; there is a gamma shift between an internal MacBook display, and a reference monitor when connected with a Blackmagic card, and having 'use Mac colour profiles for viewers' selected. From what I've read this is to accomodate for Quicktime not reading Resolves tagging correctly and shifting the gamma, so if you are using a MacBook you can select this option to have a 'consistent' viewing pipeline between Resolve and Quicktime. If anyone reads this and can confirm this that would be much appreciated.
Hi your work is amazing but somehow I am let behind in this one because stuck in color science where I find Davinci color management (I am using Resolve 15) but after that I cannot find the Davinci white gamut because version 15 is different from yours?
My footage shot in 10 bit from my Fuji Xt4 looks darker than it should, and I have no idea what I'm doing wrong. I see fixes for macs, but not windows. It looks fine in the windows media player, but once imported my blacks get crushed.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
1972 Davinci was born. It has been the Industry standard for color ever since. Having spent a short 40 years in motion picture transportation I walked the halls of many edit facilities. The originals being film. This program is nothing short of amazing. A beginner can start for free. While I can't join now you are on my list. I am cutting Bmpcc 4 and 6k atm. As I mentor young film makers that I recommend you to often. I also know the value of this compared to schools. One of my first ventures was a S video tape project. A young man had just spent 15k on film school for six months training. He directed for my project and got the first cut. He acknowledged in three weeks practical training with me he learned much more than his time in school. Learn the color grading for a living and you should have time to follow your dreams....
Yes please more of this.
You know it, brother. 😀💪🏽
DAVE!!! We miss you!
hey dave, your are really cool!
So true, Quazi. Agree 100% that this video--like others that show important but sometimes more subtle concepts--must be watched more than once. I often use the left & right arrow keys to go forward or back a few seconds in the video. So easy to use to hear something again. Did I really understand that??? No? OK. Go back and hear it again! It is really there! Lovin' it, Quazi.
You said it. 💪🏽
Waqas Qazi is an absolute color grading Super Hero!
Thank you so much for your content. I'm learning so much. Also, best laugh out loud moment is at 2:15. Just that one moment made me want to tune in and watch everything. I've watched a lot of tutorials on DaVinci and Color Grading but your content takes the cake. I can apply what you are teaching a very tangible way. Thank you.
I don’t understand how you (and others) can use Rec.709 Gamma 2.4 when delivering to RUclips. The only way I can get accurate colors is to use sRgb. Can you explain? Thanks!
Wow, after watching nearly a dozen videos on colorspace this one is the first that made it simple and actually gave me direction on how to setup my next project. Thanks!
Happy to help brother.
We love the shirt!!!! 😂
Yeah I like to content of the videos, but the shirts give them an extra !
Sadly, I am a LUT bitch... 😅
This is absolutely game changer and will lessen the time spent on editing, thanks man
The loss in range from applying the rec709 lut in the beginning of a node tree really is like getting a pre-taxed paycheck because either way, rec709 will take its cut now or later. Great analogy (until the refunds because you don’t get more color space for a finished project in the following spring, but still an apt analogy for the relevant portion).
Also, I’m a big fan.
Thanks a lot Waqas, you changed the way i look color grading, still saving up for your online courses, South African Currency is something else,,,Thank you for your effort
You're welcome. Can't wait to have you in FCM.
No need to search outside of your youtube channel to learn something new about Davinci Resolve 😎 Thanks Qazi, appreciate your videos! 🤘
This video just in the first 9 minutes saved me from so much headaches, thank you!!
i would really love to see a video about how to color grade braw footage from blackmagic pocket 6K in Davincci Resolve. How to set CST and things like that. Did you make this already?
Excellent walkthrough of the power of DaVinci Wide Gamut. Thanks so much for taking the time for putting this together for us. Yes, would love to see more videos on the power of the Wide Gamut setting.
Thanks brother and will do.
Hey Qazi
Amazing video & analogy. For me it begs the question though, let's say all I want is to output a rec709 video for streaming platforms, what are the pros of using wide gamut in that case? Wouldn't that mean that the monitoring would be gorgeous and then the end result will be washed out when exported? What would be the pros of using wide gamut if you know you only want to output in a more limited color space?
Exactly my thoughts. According to what I've seen on Filmmaker's Academy, matching your color space to your camera and doing everything manually from there is a must. I believe high-end users actually create multiple versions for multiple releases, but I'm not sure on the specifics of that process.
@@jaylewis2611 When you say "matching your color space to your camera" - do you mean convert your LOG footage to Rec709? Because the way I understand the configuration explained in this video, the trick is that you work in wide gamut and set your *output* color space to Rec709 or whatever you need it to be. Meaning you can create something more vibrant that will look the best it can in each of the possible output color spaces. If you produce a mellow look in wide gamut, it will likely be within the range of Rec709 and not need to be adjusted in any way. If you create something insanely colourful, the colours in your output will only look as vibrant as the set output color space allows - just as they will only look as vibrant as the screen allows, but can potentially grade for more vibrancy so they can look better in larger output color spaces. If you output to Rec709, it's the same result as you're already getting, but with less risk of clipping somewhere along the way in your workflow.
From what we saw in the demonstration here (which we are viewing in sRGB on RUclips), it seems that this process might even do appealing roll-offs for areas that are out of range for the target color space. Even if it doesn't, your result would not look any more washed out than working in Rec709 to begin with. What happens is that the greener greens and the redder reds (etc.) that are not part of the small Rec709 colour space are instead displayed as the closest colour that is part of the colour space. So instead of the red light being even more red in the center, it would be the same red all over, which is probably what you would surrender to working in Rec709 anyway. I'm not quite sure if "output" in Resolve also refers to the display, which would mean if you set output to Rec709, you see exactly what you'll get in your Rec709 delivery.
Your work is not going to look any worse using this process, it just has the potential to look better.
The two advantages I see are: 1. Anything extreme you might do at any point in the process is far less likely to fall apart and cause artefacts down the road, 2. If you deliver the project to larger colour spaces in the future you don't need to redo your work, but rather just change the output colour space (unless you graded it on a display that only displays Rec709 and thus didn't make proper use of any potential beyond that).
@@dinoschachten you have a solid understanding of the process. Everything you said is true to the best of my knowledge; most colorists work in the widest possjble gamut, and then output according to delivery needs. However, this inherently involves an algorithmic transformation that merely attempts to preserve the artistic intent, and does not simply clip out those shades that sit outside the display space. That would naturally include parts of the frame being blotched out. Therefore, the outcome might be unsatisfactory, but it will leave you with the option to deliver in HDR without doing a trim pass. For that reason, I believe top-end colorists (talking feature-grade) painstakingly regrade in each delivery format.
@@jaylewis2611 Honestly that's the part I'm not entirely sure about: Does Resolve do an algorithmic transformation, or just map colours that are outside of the target space to the ones closest to them? Would be interesting to follow both workflows (Rec709 right from the start vs. DWG processing, only delivering as Rec709 in the end) and compare. I recall viewing photos I edited on my iMac's P3 display on older displays that I believe didn't even cover full sRGB. It doesn't look terrible, but in some areas gradient areas fade into one colour given that some of the shades are outside the capability of the display. I imagine the conversion from DWG to Rec709 (if no transformation happens) should look similar, which - now that I think about it more thoroughly - could pose problems in some extremely coloured shots. Still not sure about what DaVinci actually displays on the viewers if you set the output colour space to what you need to deliver. If the viewer shows the output colour space, it certainly produces the expected result upon delivery, but then you're absolutely right again: At least some re-grading would be required if you change the target colour space to accommodate the latitude of larger target colour spaces and not have the result look a bit dim or flat in those.
@@dinoschachten that's as far as I got watching BMD's color management instruction video. Maybe you should take 30 minutes to see if it answers your questions too.
You teach - I trust - you deliver - I love you
Love you back
Thank you for posting! Been shooting half heartedly with BMPCC4K in BRAW and struggling with my 2014 laptop.. just got the Mac Mini M1 and its night and day easier to edit/grade with. Working in Davinci wide gamut is the “It” I have been searching for. Well yeah, just moved up from 8 bit C4K 150mbps.. so its all fairly magical to me. Just did some very very very minor grading with my my own footage and just your insight to how to set up the working environment really made my life easier and results where better and faster. I’m only scratching the surface of grading with BRAW. Have done LOG prores and years ago color film negative and slide color printing.. this BRAW is almost bringing back the darkroom experience, but with motion pictures and no extensive lab work and rotoscoping. :)
1st color gamut course. Very clear and usefull. Thank you.
😀
Thank you for the detailed explanation and what DWG is doing. Im working on FLOG2 and since DR doesnt have profile for Flog2, I was using the lut profiles Fuji has given in their website. Not until now. I'm using Panasonic V-log/Flog for the input color space than Arri Log C as it shifts the skin tones to green
Thanks for this man!
Create a Video about Color Management and Exporting to "what you see is what you get"
Yes please im struggling to get the image i see in Davinci Wide Gamut exported in a right way! It looks so different (darker and warmer) on other screens then my HDR screen. I understand that you can't get it the same but it's such a big difference that my clients complain about the colors and brightness.
THE RUclips DaVinic Resolve Color guru.
Yes, yes, yes...more of this, PLEASE!!!!
You got it 😀💪🏽
Waqas Qazi Hey Quazi why have you never talked about ACES?
Love your energy makes it easy for learning and grasping new knowledge.
Hey Qazi, really need that explanation about nodes. Would really appreciate if you do a video about that specific topic! Thankyou so much for all your videos!
Bro can't spell it out any clearer. Link in the description. Watch it.
@@theqazman I did, but it keeps connecting to broadcast. Not displaying anything, is it bcs too many people watching?
thank you for making this. really nice explanation. I would love to see a full take on how best to use the HDR wheels
That is probably next
Josh, send Qazi some more of your amazing ZLog footage and see how Qazi uses it with some HDR wheels
Holy crap this is #amazing, wish I had tried this a out few weeks ago, just installed the 17 beta and re-graded some concert footage shot a few weeks ago with an A7iii and AX700 in 4K SLog2 (ETTR) and a couple of different ISOs and WB settings throughout after watching this video, I was finding with the original process having the image break apart and get blotchy on me as good old 8-bit can do trying to get it all to match up and was a time consuming process, updated to managed and DaVinci Wide Gamut and did a basic re-grade in half the time and it seems to let you push more like a raw/12-bit workflow, will be using this from now on!
Thanks for the video!
Thats awesome and yes much more forgiving.
it's always pleasing experience to watch your videos. really wanna take your courses
Thanks. What are you waiting for? 😜💪🏽
Your videos always blow my mind and I always learn so much. It's really amazing how much you can do with so few nodes. I'm still learning and sometimes I forget to keep it simple and end up overcomplicating it.
Thank you brother. It takes time and practice.
WOW! I don't know about DWG - Thank you! Save in Color Management this as "Default new project settings" for my BMPCC4K
Let's go!
Hey. I also shoot a lot with the pocket 4k. Do you notice some visible increments using DWG?
@@theqazman But we have a Gamma shift on Mac between Davinci Resolve viewer (Color tab) with Wide Gamut settings Rec709, Gamma 2.4 is different from export file (with Same as Project settings in Deliver tab ) and open in QuickTime player file((( I'm try to use all variations with export settings and color management settings too on my MacBook on M1 with calibrated built-in display
Going in-depth like you do regarding color management, could you provide a suggestion for all users grading on a Mac who want to export primarily for RUclips who require a 1-1-1 tag instead of a 1-2-1 what the settings must look like in the project setting --> color management when using DR Wide Gamut and also in the delivery tab :O THIS WOULD BE HUGE!
Great tutorial. It would be really helpful to show how far you can push something in the new Davinci WG and how that would hold up under different deliverables; H.264...etc
Yeah that's the tip I'm looking for. Maybe not even an exact answer but something that points me in the right way.
This is the video I’ve been waiting for.
Great vid. Tested it out on a couple projects and it worked a charm.Thx
Is it possible to avoid gamma shift to Instagram ? What I see on monitor is always different from ig
Wonderful explanation thank you so much, but one point was missing for me, I would love to know how you deliver these colors accurately for RUclips or braodcast?
Thank u for demystifying colour mgmt! Gonna be re-watching this a ton of times.
Let's go!
DR 17 Stable is out today.... I've just apply those settings in DR. IT blews my mind!! I'm using Sony a7iii with HLG. You can tweak the image even more!! This makes me love my a7iii more!! Thanks Qazi!!
You're welcome
Great tutorial, Qazi! Definitely more vids like this. And I’ll definitely be watching this a couple more times! 😁
Thank you Jeff. Appreciate you, always.
Thank you so much for the effort you put into creating these amazing tutorials. I have learned so much since I started watching you. Keep creating!
Awesome! Can you do an episode on RUclips HDR? I'm facing problems exporting properly from DaVinci...
Using these new tools on my current projects shot BRAW with POCKET4K. Really awesome stuff.
Awesome
I have Resolve 17.4.2 but there is no "Davinci Wide Gamut" in Color Processing Mode. The only wide option I have got is "HDR Davinci Wide Gamut Intermediate"
Anyone can help?
Thanks Qazi for another 🔥 vid!! Your work is awesome.
You're welcome
Can you please make a tutorial on sony fx3 footage ??? From beginning to end ( color management to finishing)
Great video! Question, if my Macbook Pro display supports up to P3, then should I even be using Davinci Wide Gamut? Also, what’s the difference between Davinci YRGB Color Managed and Davinci YRGB? It seems that color managed screws up shadows a bit when switching between them.
Wow this new Wide Gamut feature is really gamechanger man! Thanks for the awesome info you shared with us! I have a question, I previously used the Color space transform to turn my Slog2 to Rec709, And the Noise reduction and primaries node i created were before the CST Node! but with this method, Davinci applies the wide gamut automatically behind the scene, So we have a more contrasty shot (which in the color space transform scenario we were able to bring up shadows or recover highlights before the CST node so it wouldn't be destructive), The question i have with this new davinci wide gamut feature is that, does it allow to recover the highlights or bring up the shadow details without any sacrifice like the color space transform?? This the only thing that worried me! 😅 Thank you so much again man!
same doubt here 🥶
This is absolutely brilliant. Thank you so much for sharing this. And yes, I've love to see more of this.
THOUGHT: Since more independent films and docs are being shot on iPhones, I'd love to see what you'd do with footage from the iPhone 12 Pro Max--Dolby Vision and Log V2 from Filmic Pro.
FilmicPro now has 10-bit Log V3!
Having an example of grading of shot done on Iphone 12 with Filmic Pro in Log V3 would be awesome. I've been watching all videos of this channel and tried applying the learnings to Filmic Pro clips, but I'm not sure I'm configuring the colors properly.
Hey great video!
but i have a problem
i used yrgb color managed proxy, i created proxys i color grade them and when i export them they was looking very bad and dark
the proxys are flat with no contrast at all and i graded them
but after those settings was aplied on totally different looking file
what is the solition?
Thanks
Always learning from you Waqas!
Let's go brother 💪🏽
Finally the video i was waiting for. Thank you so much!!
You got it
Thanks for the awesome tutorial. Question for you.
I recently invested in a benqsw71 to use with my iMac. I calibrated the monitor to Rec-709, I have toggled on “use mac profiles for viewers” as well as 10 bit. What I can’t seem to understand is, do I need to be editing in the “rec-709a” color space that was designed for Mac? My understanding was that this option will match tags for viewing in QuickTime and RUclips.
If so, how this affect my final product?
I am interested to find an answer to this as well.....
You are the best teacher
Thank you.
Very quick and awesome I can't believe you can grade it that fast
You know it 💪🏽
thank you for this!
still having issues seeing what I see on my timeline on my exported video. used your settings here and there seems to be a shift.
*O MY GOD! This is a great discovery for me, thank you!*
Hello Qazi, I would like to know how the exported files with this color space are going to look at Quicktime. I have my calibrated LG 32wk95U and my Macboor Air M1 retina display and all these years I was experiencing color shift and gamma issues after exporting my projects and playing them on Quicktime player and also Safari/RUclips. I solved all these when Blackmagic announced REC709-A with Resolve 16. Then I had a mtach from what I was seeing in Resolve viewer and Quicktime/Safari/RUclips etc. Now with Davinci Wide Gamut, Quicktime shows a tremendous difference between Resolve viewer and Quicktime. My monitor is calibrated with x-Rite i1Display Pro Plus at SRGB D65 Gamma 2.2. To be able to see the same color/gamma between the viewers don't I have to calibrate my monitor to the same color space? Ofc that cannot be because there is no such color profile to calibrate a monitor and in my case that I don't have an external monitor connected via "Intensity 4k card" for example how can I color grade in that color space and be able to see w/o color/gamma issues? I admire your work, keep it coming!!! Thx!!
This video is a game changer. But resolve has changed how the wide gamut settings look. Could you do an updated video on this? Thanks Qazi!!
Will do
Extremely helpful! Thanks for creating & sharing!
Really good work, dude. I'm concerned about your placement of near-field monitors, but that's just picking nits .... Hah! Very cool piece!
What about for MacBook users ?
Hi Qasi, that's amazing. Now one question, since we now can work in a wider color gamut, do we still have to cripple our eizo screens down to rec709 or would it be better to edit in the screens full gamut and then just export for rec709 and check the result on the rec709 setting of the screen? Greetings from Munich Dennis
I would be surprised if this was so as long as you can afford the storage and your system can handle this. Can't wait for a new 3080ti
Because the Output Color Space is still Rec709 you wanna calibrate your monitor for Rec709 as well. Greetings from Köln
@@krischanrudolph6005 thanks a lot rudolph. I tried to callibrate my eizo cx271 to 709 but the results are just super useless. It works great for print but i definetly do smtng wrong for video.
@@RetroPixel_analog How did you calibrate exaclty? With eizo colornavigator I guess. What probe did you use and how old was it?
@@krischanrudolph6005 i tried two different ways, first as you just guessed with color navigator and an i1 display Pro which is nearly one year old.
Second (several) trial was to use dispcal (thinknthats the name), then dispcal through resolve.
And i also tried connecting my display using an intensity pro 4K.
No matter what i do, the colors always look wrong to my eye, not nearly as they were in nature. And i am very, very picky when it comes to white balance and color chart stuff.
And where ever i watch the final movie, iPad, Macbook, Notebook (also calibrated), the colors are massively different.
Maybe you have a clou on what to do?
Which color space and/or gamut is for the Canon Log Rec.2020 Neutral Matrix of the EOS R5?
you are so genius man, thank you so much !!!
Excellence as always. Thanks Qazi!
You're welcome
Great content! Thank you very much! Mario, from Brazil!
I Love your tutorials! Thank you Qazi! I think i might updating davinci to 17 now too :)
You're welcome
Such a nice video! What if im shooting on Canon R5 Rec2020 Clog3... I cant seem to find input color space that matches?
I only get cinema gamut Clog3. Im using atomos Ninja V and the HDMI output of the canon is limited to sending rec2020, Therefore i'm not able to shoot in Cinema gamut and Clog3.
Great video. Please give us more on this. In particular how do the standard Lift Gamma Gain Color wheels change their behavior.
Second question: for Dolby Vision HDR footage from the iPhone 12 Pro, DaVinci is sets the Input Color space and Gamut automatically to Rec.2100 and HLG. Unfortunately that looks terrible on a Rec.709 Output timeline. Usually when I grade this in the DaVinci YRGB color space, I use a Color Space Transform node, with Rec.2100 for the Color space, and Gamma set to Gamma 2.4 (or Timeline) to get the right Gamma. I guess I can do this in DaVinci Wide Gamut by overriding the Input Color Space for the iPhone, and then manually add the Color Space Transform node. But it would be great if there was an appropriate Input Color Space for this footage. Am I missing something? Many thanks!
Dude, you are the BOSS! Is it possible to change the default Input Color Space? In my case it is N-log.
Is there any way of doing this but keeping it flat so you still can have more space and flexibility to add colour yourself into it.
Waiting for this answer too
do you mean color grading
I think if you right click, go to input color space and select bypass, it keeps the image flat
@@vellamovisuals Right cick on what?
@@joaomestre2584 I guess in the colour window, right click on the video clip where you will find input colour space. But before that you've to go to colour management under project settings and change colour science to Davinci YRGB colour managed.
Another great video with high quality content from you!
I have a question though; since you work on Mac too, have you tried set your ODT to Rec0709-A in order to get more consistency in your exports compared to setting it to gamma 2.4?
Would love to get an answer regarding this too!
do a All American or Snowfall Look! that would be so cool!
I'll check them out
This is great, thank you, but it's easy to do on footage that's perfectly shot. I'm finding that both the color transform mode and the Input Color approach both, at best, give me "a look" that I may not necessarily want. Like if I sort of want the LOG look. Or want to dial back the contrast that Davinci adds, I don't see how other than the contrast slider and that, with my admittedly very basic understanding, is kind of "fake contrast" isn't it?
Great content! Love this video, lots of work!
Great vid. I have a benQ PD3220u what colour setting should I change to see this colour range ? I guess it’s a dumb question ?
Amazing video. My main question is how do you go about exporting in a different colour space if you've worked through the whole project as 709?
Hello Qazi. Thanks a lot for your very helpfull vidéos that I watch since 2 days now to improve my workflow on Davinci.
For some reason I can't see "DaVinci Wide gammut" color processing mode on Davinci color management page (Davinci 17.4.1 free version). The only option closer is "HDR DaVinci Widegamut intermediate"... Is it new to 17.4.1 or do I miss something?
Thanks again for your tutorials!
Hi Qazi! Awesome video! I wanna ask you something, I have a Canon EOS R which shoots in input colour space rec709/Canon Log 1 how can I set it up? Because on the media tab, when I click on Input colour space, I only see Canon Cinema Gamut/Canon Log 1
Thanks in advance!
Thank you for all these informative and cutting edge videos. Ive been having issue with my SAMSUNG TV when changing to to DaVinci YRGB and DaVinci wide gamut. I have 3 monitors in my studio set up and the 2 main ACER monitors seem fine but the SAMSUNG creates this HIGH HIGH grainy DEF noisy image. Then when I change it back to default settings (YRGB and REC.709) it returns back to normal. Just curious as to whats going on here. Thank you again
Wow sick! Super good! Gonna start the free training soon:)
Let's go!!! You'll love it.
Hi. Great video! When I render the video with the settings you suggest I get a 1-2-1 Color Space. If I upload this to RUclips the contrast and colors totally change as if it’s converting it to 1-1-1. Any advice on render settings to overcome this. Thanks!
Nice. Hey, Qazi, I watched the MC pitch and at the end I did not see the link to the complimentary powergrade. The end just had the rate part -- which I rated tops -- and then launched into the "sign up" part. Would like to try the PG. How can I get it?
Qazi, you're brilliant :)
Thank you
really great information. thank you
whenever I am grading file in davinci wide gamut space the colors always changes in the exported file ..please i need answer for this
Is it normal to require pulling the exposure way way down after setting up the wide gamut space? This made my BRAW footage to bright at first, but I brought down the exposure in the raw settings and wow, I feel like I can get even more highlight recovery now!
Can you please do a video on exporting/rendering from Davinci? My color looks always "washed off" for some reason...
Thanks for this Qazi! although I’m struggling to understand who this is directed to. If I’m coloring on a monitor calibrated to rec.709 & my final output is in rec.709, would it make sense for me to use Davinci Wide Gamut as opposed to SDR rec.709 as my color management? Can a budget caliber monitor get use out of this or is this only for people grading on crazy expensive professional caliber monitors.
No,if your monitor is calibrated to rec 709 color space you wont be able to see the colors of Resolve wide gammut anyway..you need a wide gammut display to be able to see more colors or probably an imac would also be able to display more colors because it is calibrated to Dci P3 colorspace
@@JohnAmaro_Official This!!!
I realy love ur pc setup and ur colour grading ...I actually use Adobe premiere Pro but i watch ur video only for colour grading ...I really love ur colour grading...thank u so much 😊
Thank you very much. 😀✊🏽
LOVE THIS. And I'd love to see more techy stuff-you explain it much better than PDFs do. One thing I haven't been able to figure out is FPE inside of a managed workflow (this or ACES). Is there any way to do that here? My understanding is that technical LUTs like Kodak 2383 are specifically targeted for a color space (P3/Rec.709). So is there a no-LUT workaround for film emulation in color-managed workflows? Thanks!
Did you ever figure a workaround for this? I am trying to edit in a Color Managed space, but I want to apply the 2383 as well!
Qazi, thank you! Anyway I see you (17.04) change temp in that is there any reason why not doing in raw metadata ( where you can change in there)? I am asking because if trying to work in proxies on raw footage raw metadata is disabled? Is this step colour temp good method?
Thanks for the video tutorial and example. I like using this method within Resolve, but when I export from Resolve to use the clips in FCPX, the colors loose saturation and seem to shift a bit, any suggestions?
Nice, but how about footage recorder in a Canon EOS R5? Which color space should I choose? Because there is NO "Cinema EOS Original/BT.709/Canon Log 1" nor "Neutral/BT.2020/Canon Log1", I'm struggling with that.
Hey Qazi, this is great stuff, I’m new to DaVinci trying to figure out if I continue with Adobe Premier Pro or shift over to DaVinci, I’ll be posting a video soon on trying to work through HDR calibration in terms of recording game footage, it’s a real pain to a newcomer. I could use some advice and assistance I’ll post a link once I get it uploaded.
Great video, had to upgrade to 17 after this, but I think there is a gamma shift when working in DWG, and having 'use Mac colour profiles for displays' set to on in preferences.
On a MacBook Pro Retina P3 display everything is way too dark when I switch to DWG. if I disable 'use Mac colour profiles for displays' in preferences the image seems to be a lot brighter.
Am I missing something here or just not understanding which one to use?
Did some reading on the Blackmagic forums and I think I've answered my question; there is a gamma shift between an internal MacBook display, and a reference monitor when connected with a Blackmagic card, and having 'use Mac colour profiles for viewers' selected. From what I've read this is to accomodate for Quicktime not reading Resolves tagging correctly and shifting the gamma, so if you are using a MacBook you can select this option to have a 'consistent' viewing pipeline between Resolve and Quicktime. If anyone reads this and can confirm this that would be much appreciated.
Hi your work is amazing but somehow I am let behind in this one because stuck in color science where I find Davinci color management (I am using Resolve 15) but after that I cannot find the Davinci white gamut because version 15 is different from yours?
My footage shot in 10 bit from my Fuji Xt4 looks darker than it should, and I have no idea what I'm doing wrong. I see fixes for macs, but not windows. It looks fine in the windows media player, but once imported my blacks get crushed.
Great result when you know what to do :)
I m glad i subb decades ago on your channel
Let's go! Much love.
new subscriber, amazing work