Cheers mate, yes there is a video being made very soon about the colour slice tool. I'm going to do a comparison of that tool vs paid DCTL's to see how each one works. Hopefully be up soon. cheers again.
I'm pretty sure everyone should have it, free version or paid. Highlight your node, right click. Scroll all the way down to composite mode and choose luminosity. Surely it has to be there right? Let me know if not and I'll think of a way around it.
Ahhhh ok, sorry I forgot that. That's great, for you and me. For me, because I'm going to give away free Arri footage and show a grade using split tones and density. Cheers for the both of us 🥂
Now with the addition of the Color Slice Tool in DaVinci, would you recommend using that to achieve "density" instead of using the RGB Mixer & DCTL examples you just showed us?
If you don't own the dctl I would say, colour slice is good. If you own a good dctl, I would still with that. I use dctl for grading. I never use the colour slice tool
Hi! if you use CST to work in a larger color space, shound't you set up in Davinci color settings the timeline color space in Davinci wide gamut and the output color space in rec 709? Thanks!
Not when using node CST. But there is something I forgot to mention. If your footage is raw or braw. You need to make sure it's set up properly in the Raw tab You don't need an initial cst as resolve does it for you
@@GreenGoatProductions So the timeline color space is right settled in rec 709 because what i see in the timeline is the final CST conversion in rec 709 right? Thanks!
@RiccardoGiberti I think I get what you mean. The video shows it. But basically you work in a wide colour space then export out as a rec709. But you can set up your resolve colour management in settings and not use a cst if you like.
as shown at 2;40👆 minutes time on this video, i cant find blending mode option clicking right on node in Resolve. do i need to enable it from somewhere ?
@@GreenGoatProductionsOk, thanks! Another question, where exactly were you limited by rec709 in grading this? Im moving from final cut which I understand is rec709 in the timeline as well, but I have never really felt limited by the colorspace yet. So just trying to understand. And isnt the last node active all the time? Then arent you viewing rec709 anyway when grading in this example?
Good question. It's a bit tricky to explain, but think of it like a bigger bucket. You can fit more in, which gets jammed into a smaller bucket at the end. Everything that happens before the last CST is working in a wider colour space. You can do a test where you can push your image to the top of the whites (don't clip) with DaVinci wide gamut. Change it to rec 709 and you'll see you have less latitude. Hope that helps, sorry for the poor explanation.
@@GreenGoatProductions Yeah, but if you keep the last node active all the time, as in the video, then what is the point? Then you always view in rec709 anyway?
This is really interesting, the RGB Mixer technique is really great. One question though, does the RGB Mixer node need to be added before or after a specific node? Or it doesn't really matter?
Well it needs to be added after the first cst and before the last. Towards the later end of your node tree I'd say. Don't put it in a parallel mixer, you may have funky results. Have tried but some things don't work well in a mixer. Cheers for question 🤟 and watching
Hi, great information. I just wonder about something. I guess your timeline color spec should be Davinci Wide Gamut and not Rec 709 at 2.15 min. because the nodes you are working on are in Wide Gamut. That's what I have learned from Cullen Kelly. Cheers Richard
Thanks for the comment. The video is correct. Your last node should be outputting to rec709 gamma 2.4. Your first colour space transform should be DaVinci wide gamut. Thanks for watching and commenting 🤟
@@GreenGoatProductions That's correct. Perhaps you did not get my point. The first node is wide gamut and the last node from Wide Gamut to Rec 709 gamma2.4. But the timeline color space you are working on is than in fact Wide Gamut. You are not working on Rec 709 because only on the last node it becomes Rec 709 for export. That's what I learned from Cullen Kelly and Darren Mostyn the colorist. Cheers Richard
This is not to be rude, but I think they may be a little confused. Thr time line node is the node and it's setup for rec709 output. Same as Cullen Kelly And Darren Mostyn
I rly do not understand... in some tuts CST stays in start in enother at the end in other enother there are several of them.. I also have BMPC 6k and in every tut CST making in different ways... I realy do not know which one of them is correct.... and its only BMPC and what about other cams??? it is tottaly hell... how do I can be sure about what I need in this or that camera? ... sorry for emotions and bad english..
Your English is good mate, don't worry. Your first cst is for your camera to DaVinci wide gamut or any other space you want to work in. Your last node should be another cst. Taking your colour space to rec 709 gamma 2.4 or 2.2. the only thing that ever changes is your first cst in terms of what camera you're using. I have videos on colour management with certain cameras on my channel. Bmpcc6k is coming up. Hope this helps.
Cheer mate, you can buy the plugin from mononodes.com . I'm not sponsored by him or even know him, I just think his plugin is great. Thanks for watching and commenting.
No mention of the new slices feature? Then why does your title call attention Resolve 19? There’s now a built-in density feature you skipped completely.
Yeah fair point. This video was made before that feature came out. I can see what that might be confusing. This is just another way to do density. It works differently to the slices feature. Good point though
@@GreenGoatProductions just the smaller player in the color page. I'm just giving you a hard time about not making it as big as possible for the video. Z key makes it fit the window.
Yeah kind of. If you wanted to use RGB for saturation with HSV. Take off channel 1 and 3 by right clicking that node. Have a play around with it then. You'll get better results
AWESOME TRICKS DENSITY Consider the practical applications of the different color spaces HSV, HSL, LAB, YUV and others. You can do interesting things there too. Thanks
Always helpful and informative. Thanks!
Cheers mate, thx for watching and commenting. Next video is a great one on grading under a film lut.
Next week I'll show you how to colour grade using a film emulation lut
i didn't know this was a thing, untill I saw this. Thanks for using the free version of resolve to!
Yeah it's great
Awesome vid! Any chance you'll do a vid like this one about that new color slice tool? Maybe an example for cinematic density adjustments?
Cheers mate, yes there is a video being made very soon about the colour slice tool. I'm going to do a comparison of that tool vs paid DCTL's to see how each one works. Hopefully be up soon. cheers again.
Looking great, unfortunately just don't have that "composite mode" option underneath "add matte" when I right click on the node
I'm pretty sure everyone should have it, free version or paid. Highlight your node, right click. Scroll all the way down to composite mode and choose luminosity. Surely it has to be there right? Let me know if not and I'll think of a way around it.
@@GreenGoatProductions same problem here! anyone found a workaround?
Are you in the timeline node or the clip node? It might not work when you're working in the timeline node.
@@GreenGoatProductions ok, my fault, I did not understand it was a feature of 18.5 version😅
Ahhhh ok, sorry I forgot that. That's great, for you and me. For me, because I'm going to give away free Arri footage and show a grade using split tones and density. Cheers for the both of us 🥂
Now with the addition of the Color Slice Tool in DaVinci, would you recommend using that to achieve "density" instead of using the RGB Mixer & DCTL examples you just showed us?
If you don't own the dctl I would say, colour slice is good. If you own a good dctl, I would still with that. I use dctl for grading. I never use the colour slice tool
@@GreenGoatProductions Thanks. I do have the Mononodes DCTL
@justalittledaf yeah me to, great products.
A helpful and easy thing to add to my node tree. Cheers
Cheers mate
Hi! if you use CST to work in a larger color space, shound't you set up in Davinci color settings the timeline color space in Davinci wide gamut and the output color space in rec 709? Thanks!
Not when using node CST. But there is something I forgot to mention. If your footage is raw or braw. You need to make sure it's set up properly in the Raw tab
You don't need an initial cst as resolve does it for you
@@GreenGoatProductions So the timeline color space is right settled in rec 709 because what i see in the timeline is the final CST conversion in rec 709 right? Thanks!
@RiccardoGiberti I think I get what you mean. The video shows it. But basically you work in a wide colour space then export out as a rec709. But you can set up your resolve colour management in settings and not use a cst if you like.
I used this trick the other day, it works so well!
She works like a treat
as shown at 2;40👆 minutes time on this video, i cant find blending mode option clicking right on node in Resolve. do i need to enable it from somewhere ?
If you don't have it, you probably have an older version of resolve. Give it an update and update and it should be all good.
Why use cst? Why not just the inbuilt gen5 lut on the node?
Good question. The cst is used so you can work in a wider colour space. Then the last node you use a cst to output as a rec 709
@@GreenGoatProductionsOk, thanks! Another question, where exactly were you limited by rec709 in grading this? Im moving from final cut which I understand is rec709 in the timeline as well, but I have never really felt limited by the colorspace yet. So just trying to understand. And isnt the last node active all the time? Then arent you viewing rec709 anyway when grading in this example?
Good question. It's a bit tricky to explain, but think of it like a bigger bucket. You can fit more in, which gets jammed into a smaller bucket at the end. Everything that happens before the last CST is working in a wider colour space. You can do a test where you can push your image to the top of the whites (don't clip) with DaVinci wide gamut. Change it to rec 709 and you'll see you have less latitude. Hope that helps, sorry for the poor explanation.
@@GreenGoatProductions Yeah, but if you keep the last node active all the time, as in the video, then what is the point? Then you always view in rec709 anyway?
The rec709 is the last node. Anything before that is a wider colour space.
why all gets black white whenn I check monochrome ?
Did you change your node to luminosity?
@@GreenGoatProductions ouu I missed this part🤦♂ thank you!
Hahaha all good mate
This is really interesting, the RGB Mixer technique is really great. One question though, does the RGB Mixer node need to be added before or after a specific node? Or it doesn't really matter?
Well it needs to be added after the first cst and before the last. Towards the later end of your node tree I'd say. Don't put it in a parallel mixer, you may have funky results. Have tried but some things don't work well in a mixer.
Cheers for question 🤟 and watching
@@GreenGoatProductions I understand that part, thank you. However, I was actually directing my question to nodes in between the cst's
Hi, great information. I just wonder about something. I guess your timeline color spec should be Davinci Wide Gamut and not Rec 709 at 2.15 min. because the nodes you are working on are in Wide Gamut. That's what I have learned from Cullen Kelly.
Cheers Richard
Thanks for the comment. The video is correct. Your last node should be outputting to rec709 gamma 2.4. Your first colour space transform should be DaVinci wide gamut.
Thanks for watching and commenting 🤟
@@GreenGoatProductions That's correct.
Perhaps you did not get my point. The first node is wide gamut and the last node from Wide Gamut to Rec 709 gamma2.4. But the timeline color space you are working on is than in fact Wide Gamut. You are not working on Rec 709 because only on the last node it becomes Rec 709 for export. That's what I learned from Cullen Kelly and Darren Mostyn the colorist.
Cheers Richard
This is not to be rude, but I think they may be a little confused. Thr time line node is the node and it's setup for rec709 output. Same as Cullen Kelly And Darren Mostyn
I rly do not understand... in some tuts CST stays in start in enother at the end in other enother there are several of them.. I also have BMPC 6k and in every tut CST making in different ways... I realy do not know which one of them is correct.... and its only BMPC and what about other cams??? it is tottaly hell... how do I can be sure about what I need in this or that camera? ... sorry for emotions and bad english..
Your English is good mate, don't worry. Your first cst is for your camera to DaVinci wide gamut or any other space you want to work in. Your last node should be another cst. Taking your colour space to rec 709 gamma 2.4 or 2.2. the only thing that ever changes is your first cst in terms of what camera you're using. I have videos on colour management with certain cameras on my channel. Bmpcc6k is coming up. Hope this helps.
Thank you very much.. how can I get DCTL plugin ?
Cheer mate, you can buy the plugin from mononodes.com . I'm not sponsored by him or even know him, I just think his plugin is great. Thanks for watching and commenting.
Amazing video !! Can we get the footage? 🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼
Not this footage, but there's some footage coming up that you'll be able to download. Thx for watching and commenting
@@GreenGoatProductions tyy 🙌🏼🙌🏼🙌🏼🙌🏼🙌🏼
👍
No mention of the new slices feature? Then why does your title call attention Resolve 19? There’s now a built-in density feature you skipped completely.
Yeah fair point. This video was made before that feature came out. I can see what that might be confusing. This is just another way to do density. It works differently to the slices feature. Good point though
Great video, I subscribe today :D thank you
Cheers mate 👍
Great video mate, thank you
Cheers for watching
This is awesome! Thank you!
Cheers mate, appreciate that. Next week I'll show you the grade for it.
Nice - but dude you gotta hit the z key to fit the image to the full height of the player!
Cheers mate, I'm not sure what you mean about the player. Ctrl F makes it full screen but maybe I'm missing what you mean ?
@@GreenGoatProductions just the smaller player in the color page. I'm just giving you a hard time about not making it as big as possible for the video. Z key makes it fit the window.
@_trismegistus ahhhh ok, ha, Cheers mate. Nice tip and cheers for the comment
What exactly does film density mean?
Hard to explain. It gives your colours a fuller look to them. By adding or subtracting light. Hope that makes sense.
@@GreenGoatProductions Thanks! Is that similar to using HSV to change saturation? With HSV I can't change each of the RGB channel though.
Yeah kind of. If you wanted to use RGB for saturation with HSV. Take off channel 1 and 3 by right clicking that node. Have a play around with it then. You'll get better results
earned a sub from me 🙏🏽🙏🏽🔥🔥
Cheers mate 🤟
Yeah Boi!
Yeah Indeed
Nice vid, hoping for a grading video next time!
Next one is using a film emulation lut. It's a good one
AWESOME TRICKS DENSITY Consider the practical applications of the different color spaces HSV, HSL, LAB, YUV and others. You can do interesting things there too. Thanks
Yeah solid point mate. Resolve has endless possibilities.