Great video, please remember that the chips DCTL is Rec 709, so to illustrate your point, you needed to put a CST node after the chips DCTL taking it from REC 709 to DWG then the JP_2499 node or DWG-REC 709 CST Node. That's why the vectorscope was all over the place.I hope I am making sense? Your point still made perfect sense.
Hey, I loved you video. It'd be great if you let us know how to mimic the look on our own using built-in tools of resolve, because I feel then it'd be great way of learning the entire curve of it and understanding it would give more flexibility to play with it
Very interesting video, thanks for providing more of a professional perspective. I dislike the trend of color grading only on a single shot and not showing it in the context of a project. Keep up the great work!
Enjoyed the video. Building better look adjustments is a subject that I have trouble grasping, but you explain things so well that I am picking it up little by little. Thank you so much! I have an off-topic question. What equipment or software do you use to record your Resolve screen? It's so crisp and clear.
@@BarrettKaufmanYou're welcome, Barrett. Thank you for answering my question. The screen recording looks great. Do you have any tutorials explaining and using the Color Warper?
I'm a simple man. I see Barrett Kaufman, I click. One of my favourite voices in color grading today. I know each video isn't a generic, "let's create this look from your favorite movie" or "cinematic color grade". Your videos are more thoughtful. More approach based. Definitely not something I would have gravitated to during my earlier years of understanding this stuff. But as I become a little bit more seasoned, the other voices just don't appeal to the stage where I'm at anymore. This is more intermediary to advanced. It's not about creating a look it about how to think about these concepts in a systematic approach. Plus you always bring new interesting nuggets and ideas and tools i don't hear or see anyone talk about. So you've already built that trust in my mind after watching all your videos that when your drop something, you definitely have something new and fresh to say.
Could you please share your vectorscopes qnd RGB Chips settings so we can have a similar representation of the chips? I'm not getting lines coming from the center like you are. Thanks
A question for a future video - at what point do you feel like your "done" with the color grade? As a colorist with just a few years experience I sometimes struggle with the feeling that I have'nt done enough of a big change from the original material to impress my clients. But then of course I also don't want to "overgrade". Do you have any tips for finding the balance here?
What up player. First, thank you for this video. Question: does the jp2499 convert it to rec 709/g2.4 or no? I’ve only used davjncis CST. Please advise.
SO many dang options and opinions out there it is mind boggling. I have been contemplating moving completely over to DR from FCPX and right when I was setting all my custom keyboard short cuts and starting to get a hand on it, the Color management now seems to be a "problem". I work with 99% Sony S-log, my own camera. And I want to the best and easiest way to do "simple" cuts and have correct color management. can anybody link a really good simple and proper video to learn that? So many people talk about CST in and outs but most do not mention what their project setting color management is so it makes it basically useless or more confusing. Now watching this video I am even more confused as you are suggesting some other Out color profile than the Standard.PS> I am on Mac and there are many options as to whether the out should be 709-A or standard 709 and 2.4 gamma etc etc etc.. Thanks for any simple suggestions.
THE BENEFIT OF CUMULATIVE SMALL CHANGES --- that is, each small change is perhaps barely noticeable. (I CHECK SCOPES FREQUENTLY to identify those small changes and to direct one's eye to small changes that are sometimes otherwise hard to identify within a busy image.) Have you thought about the masterpieces of Pointilism (developed by Georges Seurat and Paul Signac, late 19th century) that rely on OPTICAL MIXING of colors? Love your deep-dive and use of DCTLs and test charts. TEST CHARTS, for me, DEMONSTRATE AND VALIDATE MORE CONVINCINGLY than sometimes effusive but vague proclamations of how great some effect is. THANKS!
I think that people might get the wrong idea about this - to me the actual display transform shouldn't be skewing hues to bend to anything. Your display should be calibrated and the colors and saturation should be uniform. What you are doing here is just adding a look. In most cases the Resolve transform is and should be just performing math and not affecting the look. If I decide to transform to a different media display - I want everything to remain as I see it on myt calibrated display. I see that you like it and it looks cool, but a DCTL ( for a look ) and then the Resolve transform gets you to where you want as well. Granted I man not familiar with the JP2499, but the last thing I want is any transform adding a look or bending hues at a higher saturation. But if it works for you then obviously that's great - but color management is not about "Looks". I think that especially people learning that will only make them more versatile, and understand it more. So really subjective, but still interesting. But I prefer to have the math and mechanics separate and work the looks to the scenes and keep the display output to match the calibration and not bend the trace all over.
Totally get where you are coming from. And I agree with a lot of it! The really tricky part is that, in the end, all color management has some element of a subjective look built into it. ACES, Davinci, Baselight, all have different methods of solving the scene to display journey. So while I do want much of my creative intent to be separate from the color management. I also don't want to ignore that how I color manage does have creative impacts Appreciate your comment!
Like Barrett said, all color management will be subjective to a point. For instance, ACES adds a lot more contrast to the image. I think the DCTL and the CST have 2 ways of mapping the out of gamut colors. There is no way to not alter them in any way, or you would be just clipping them. So how do you want to translate those bright saturated areas to rec709? There is a choice to be made here, with JP2499 being an interesting alternative to the CST in my opinion.
@@marinacgmb I only suggested to keep them separate - a look is subjective and a color transform is objective. You are more flexible in my opinion having them separate steps. If I have an overall look, I prefer to be able to take that look into any color management and yes, some will look better or worse, but I can change the look if it is required without having to go to a different color management. It's a preference that most colors that I know do. Obviously lots of opinions and ways.
Hey Jim , 2499 has a color management component to it that transform to different displays to it, this parts just applies the same math that you would find on any spec for displays , so no skews are applied in that state. The other part of 2499 is the way to get from scene to display, which has many ways to be done, all with their own look(as much as other DRTs say they don't have a look), for that reason I made so user could have a say on the base rendering so they don't have to fight it during grading. You should try 2499 , I am pretty sure you will like it when you try it
Great video, please remember that the chips DCTL is Rec 709, so to illustrate your point, you needed to put a CST node after the chips DCTL taking it from REC 709 to DWG then the JP_2499 node or DWG-REC 709 CST Node. That's why the vectorscope was all over the place.I hope I am making sense? Your point still made perfect sense.
Great thanks- I really was looking for a tute on making the pallet cohesive and as an editor YES to the horizontal view 👍
Hey, I loved you video. It'd be great if you let us know how to mimic the look on our own using built-in tools of resolve, because I feel then it'd be great way of learning the entire curve of it and understanding it would give more flexibility to play with it
I loved the hue grouping insight! Curious to learn more about this (and your thinking, colour theory, etc. behind it).
Awesome, thank you!
Very interesting video, thanks for providing more of a professional perspective. I dislike the trend of color grading only on a single shot and not showing it in the context of a project. Keep up the great work!
Sure thing!
Great breakdown of your look and comparison of options. Nice work!
Thanks Gedaly!
For me, it was the look breakdown, after that it was the DRT examples. Overall, super nice video, and will be trying the JP2499 asap!
Good to hear! Thanks
Enjoyed the video. Building better look adjustments is a subject that I have trouble grasping, but you explain things so well that I am picking it up little by little. Thank you so much!
I have an off-topic question. What equipment or software do you use to record your Resolve screen? It's so crisp and clear.
@@Matt-t9p Thank you! I use OBS
@@BarrettKaufmanYou're welcome, Barrett. Thank you for answering my question. The screen recording looks great.
Do you have any tutorials explaining and using the Color Warper?
I'm a simple man. I see Barrett Kaufman, I click. One of my favourite voices in color grading today. I know each video isn't a generic, "let's create this look from your favorite movie" or "cinematic color grade".
Your videos are more thoughtful. More approach based. Definitely not something I would have gravitated to during my earlier years of understanding this stuff. But as I become a little bit more seasoned, the other voices just don't appeal to the stage where I'm at anymore. This is more intermediary to advanced. It's not about creating a look it about how to think about these concepts in a systematic approach.
Plus you always bring new interesting nuggets and ideas and tools i don't hear or see anyone talk about. So you've already built that trust in my mind after watching all your videos that when your drop something, you definitely have something new and fresh to say.
Appreciate the kind words! That is great to hear!
Could you please share your vectorscopes qnd RGB Chips settings so we can have a similar representation of the chips? I'm not getting lines coming from the center like you are. Thanks
I believe for the vectorscope lines you need to set the RGB Chips as "Continuous Exposure" in the DCTL settings
A question for a future video - at what point do you feel like your "done" with the color grade? As a colorist with just a few years experience I sometimes struggle with the feeling that I have'nt done enough of a big change from the original material to impress my clients. But then of course I also don't want to "overgrade". Do you have any tips for finding the balance here?
Love this! I'll keep it mind for future content
What up player. First, thank you for this video. Question: does the jp2499 convert it to rec 709/g2.4 or no? I’ve only used davjncis CST. Please advise.
Yep, it can convert from Davinci Intermediate to a number of display standards including Rec709 Gamma 2.4
@@BarrettKaufman you’re the man, thank you!
SO many dang options and opinions out there it is mind boggling. I have been contemplating moving completely over to DR from FCPX and right when I was setting all my custom keyboard short cuts and starting to get a hand on it, the Color management now seems to be a "problem". I work with 99% Sony S-log, my own camera. And I want to the best and easiest way to do "simple" cuts and have correct color management. can anybody link a really good simple and proper video to learn that? So many people talk about CST in and outs but most do not mention what their project setting color management is so it makes it basically useless or more confusing. Now watching this video I am even more confused as you are suggesting some other Out color profile than the Standard.PS> I am on Mac and there are many options as to whether the out should be 709-A or standard 709 and 2.4 gamma etc etc etc.. Thanks for any simple suggestions.
Here's something to get started ruclips.net/video/bV2BQ5M-DUw/видео.htmlsi=bZrt5v7c43wcWYAb
Hi, does the DRT you showed only work in DWG?
Bc if I try to use it with ACES it looks just as flat :/
I believe it has an ACES option, but I work in DWG so I haven't tested it
THE BENEFIT OF CUMULATIVE SMALL CHANGES --- that is, each small change is perhaps barely noticeable. (I CHECK SCOPES FREQUENTLY to identify those small changes and to direct one's eye to small changes that are sometimes otherwise hard to identify within a busy image.) Have you thought about the masterpieces of Pointilism (developed by Georges Seurat and Paul Signac, late 19th century) that rely on OPTICAL MIXING of colors? Love your deep-dive and use of DCTLs and test charts. TEST CHARTS, for me, DEMONSTRATE AND VALIDATE MORE CONVINCINGLY than sometimes effusive but vague proclamations of how great some effect is. THANKS!
👍🏻👍🏻
❤❤❤❤❤
Hi Barrett can you correct me please if I get ir right: SLOG3-DWG ___ FILMLUT ___ JP2499(rec709Conversion) ??
Yep!
I think that people might get the wrong idea about this - to me the actual display transform shouldn't be skewing hues to bend to anything. Your display should be calibrated and the colors and saturation should be uniform. What you are doing here is just adding a look. In most cases the Resolve transform is and should be just performing math and not affecting the look. If I decide to transform to a different media display - I want everything to remain as I see it on myt calibrated display. I see that you like it and it looks cool, but a DCTL ( for a look ) and then the Resolve transform gets you to where you want as well.
Granted I man not familiar with the JP2499, but the last thing I want is any transform adding a look or bending hues at a higher saturation.
But if it works for you then obviously that's great - but color management is not about "Looks". I think that especially people learning that will only make them more versatile, and understand it more.
So really subjective, but still interesting. But I prefer to have the math and mechanics separate and work the looks to the scenes and keep the display output to match the calibration and not bend the trace all over.
Totally get where you are coming from. And I agree with a lot of it!
The really tricky part is that, in the end, all color management has some element of a subjective look built into it. ACES, Davinci, Baselight, all have different methods of solving the scene to display journey.
So while I do want much of my creative intent to be separate from the color management. I also don't want to ignore that how I color manage does have creative impacts
Appreciate your comment!
Like Barrett said, all color management will be subjective to a point. For instance, ACES adds a lot more contrast to the image. I think the DCTL and the CST have 2 ways of mapping the out of gamut colors. There is no way to not alter them in any way, or you would be just clipping them. So how do you want to translate those bright saturated areas to rec709? There is a choice to be made here, with JP2499 being an interesting alternative to the CST in my opinion.
@@marinacgmb I only suggested to keep them separate - a look is subjective and a color transform is objective. You are more flexible in my opinion having them separate steps. If I have an overall look, I prefer to be able to take that look into any color management and yes, some will look better or worse, but I can change the look if it is required without having to go to a different color management. It's a preference that most colors that I know do. Obviously lots of opinions and ways.
Hey Jim , 2499 has a color management component to it that transform to different displays to it, this parts just applies the same math that you would find on any spec for displays , so no skews are applied in that state. The other part of 2499 is the way to get from scene to display, which has many ways to be done, all with their own look(as much as other DRTs say they don't have a look), for that reason I made so user could have a say on the base rendering so they don't have to fight it during grading. You should try 2499 , I am pretty sure you will like it when you try it
@@juanpablozambrano8906 Thanks for dropping in and sharing!
Damn lighting on your face is hot😂
May I ask what Lut（alabama） in the video
I only found jp2499
Hey! It's a custom LUT I built, but not publicly available