@@DarrenMostyn BJ is 1000% correct. If you were representative of the approach of most instructional, we'd all be exponentially better off. RUclips can be a wasteland and you are a great reprieve 🙏
Wow!!! I've watch this Color Management video, the Grading A7SIII video, and a couple of others. I've learned so much. Hands down, this is the best DaVinci Resolve channel.
this worked well for me. simple channel blending for consistency and no bleed through. swap blue channel +50% green with 100% blue from the first blue node and you get Kodachrome in a rec709 colorspace.
Thanks for making this video, this is exactly what I was looking for when I started using Resolve 6 months ago, I couldn't find much on it so had to teach myself. Hopefully this will be very helpful for anyone starting out today.
I don't usually comment, but this is by far most beginner friendly, and straight to the point tutorial, without any course selling advertisement, i appreciate this alot💯❤️
Thanks for an awesome beginners explanation. Even though I know most of the color management things I still enjoy watching even your basic videos as there is often something i've learned in the past from you. So thank you. I would champion my support if you do more advanced videos in any capacity!! Thanks Darren!
You are very welcome Chris. Thank you so much for the kind words, really appreciate it when I get just nice messages of appreciation as I put a lot of work into these episodes. Thanks again. your support is appreciated and noted - Darren.
As an absolute beginner, your videos have been an incredible resource and eye opener. There are so many videos that do all this manually, from what feels like dated experience rather than trusting the science and new technology that Resolve brings to the table.
I used to think DR color managed was the way to go - till I dug much deeper and determined that some color pipelines, like RED's IPP2, is broken in a few ways (and unlikely to be fixed by BMD for obvious reasons). I now use node-based color management and can't believe how much better our workflow has become. Love your videos Darren!
Hi Derek. Yes, agreed, CST is better way to go...my recommend of RCM in this video is for beginners here and the CST route once you get used to what it is doing...I appreciate you are an advanced user, but I show both ways in this video. If I was doing an advanced RCM video I would be showing Node based CST operations as in my own personal workflow. I think i was pretty transparent about that in this video and that I use CST's - good to hear from you as always, All the best.. Darren.
Hey @@DarrenMostyn - not sure I agree. CST is different from using LUTs for example. There are known limitations with IPP2 in DR. Only way around it is to use LUTs that you actually generate within REDCine-X PRO application and tack on that LUT at the end of your node tree. Try your CST method and tell me where you can find your Decoder Settings (Output tone map & Highlight roll off) that are powerful tools within the IPP2 tree. See what I'm saying? Ask me how many hours I worked on resolving that! :)
@@derekjcooper Hi Derek. I know this is an issue you have as we have spoke before on this. This will transpire into a resolve advanced color management forum thread before we know it and that is not the place for this - this is a beginners video and the information is to encourage new users and beginners to start taking colour management steps to improve their workflow. You are an advanced user. There are many issues with RCM that are in the public domain but I still feel the majority of users, especially new users will only benefit from. Respect your contribution but best kept to an advanced forum I think. All the best, Darren.
As a user of another well-known editor starting with the letter "P," I love your path. This workflow is exceptional and the instruction provided is truly remarkable. It's incredibly beneficial when it comes to achieving footage consistency. Currently, I have two distinct Canon camera setups along with GoPros, and this method has been an absolute lifesaver. I anticipate that once I upgrade to matching camera bodies in the future, the process will become even smoother. Until then, I'm incredibly grateful for the assistance this workflow provides.
Thanks mate , I am new to resolve after moving over from Adobe and have been struggling with davinci with my grading but now having watched your video. Life in Davinci has become enjoyable and so much a easier. Your tutorial are the most easy to understand and are the most comprehensive. Thanks you very much , truly appreciated 👍
Dude WOOW...I`ve been watching so many color grading videos and nobody explained it like you...hands down the best job demystifying the whole thing....
Another great video, Darren. I have done countless presentations over the years and attended/listen to countless presentations on a wide range of topics (video/photography and others). I am continually amazed how well you explain often complex concepts by breaking them down to a level everyone can understand. I now understand Resolve color management better than ever before. Thank you.
I am from South Africa. All I can say is wow, never stop doing this and God bless you. The info you provide especially an in depth look into your process so that the rest of us can succeed and become professional colorists......SELFLESS...
Thanks for this! Another super helpful bit of clarification. If you do do a follow-up, be great to see the correct way to apply the DR Film Looks when using colour management.
I just started using Resolve a week ago and I want to say your tutorials are like gold! Not just going from step to step but clearly explaining the why. This is awesome stuff!
@@DarrenMostyn I have one follow up question. I own a Sony a7s3 and sometimes use Joel Famularo Phanom LUTs. How would I best deal with managing color for LUTs that do the transform from SLOG3 to REC709 when applied?
This was awesome Darren, thanks! Can’t wait for your intermediate part 2 where you’ll talk about which adjustments are best before/after the CST node and why! =). Keep it up, I watch all your stuff even when it’s things I know!
@@DarrenMostyn Yeah, also curious why the CST node was the fourth one and not the first one! In my undestanding of your under 10 min explanation, the color management is sort of doing a "first invisible node" that transforms the LOG footage into 709, in order to be read to receive a more creative look... Am I wrong?
Darren, you are a great educator. You explain the concepts so well. You go to true in depth details. I love your tutorials. Request: Struggling to apply cinematic Rec709 luts on 8 bit HLG3/BT2020 clips converted to Rec709 timeline they DaVinci managed color workflow. The colors and brightness contrast simply falls apart the LUT is for Rec709 clip though (not log gamma). Any practical tutorial on how to apply cinematic Rec709 LUT on 8 bit footage is highly appreciated. Thanks
I don't usually comment on any video, but I am blown away by how simple you explained this. I am a complete beginner just delving into if I should be shooting in Log or not which lead me to looking into colour management. I love that this video gets straight into it, explains what the video is about, no silly graphics or intro etc. Genuinely felt like I was listening to a teacher in a class. Absolute breath of fresh air for youtube, you let the content speak for itself which got me to subscribe and like the video, you did not need to ask. Many thanks for sharing your knowledge with us all!
Don't care that you told me not to watch it, I did anyway and still found it entertaining and educational! Thanks as always for a great video Darren. One question actually too. If you had a timeline full of clips that were shot in a LOG colour space, which I consider HDR, would you not want to set the Colour Processing Mode in RCM to HDR instead of SDR and then Output to SDR Rec709? I've worked with BMPCC 6K Pro footage this way and assumed that it gave me the right feeling in the controls and ensured I was making the most of the HDR footage. Cheers
Hi Alex. Yes would be better, however this was just a beginners guide so not elaborated yet...idea was to keep it simple. As you know this is the tip of the iceberg for color management - i didn't want to make a 1 hour video (minimum time to explain it all IMO) as they exist already. I also knew these questions would come up. I'll do a more advanced one soon. Thanks, Darren.
@@DarrenMostyn fair enough! As you say, simple is good, even for me! 🤣 Good to know that actually you can use both methods and get good results. Thank you and chat soon hopefully!
@@AlexCameron-Depiqd LOG doesn't mean it's HDR. HDR is a post process not an aquisition, however LOG is an important part of the HDR pipeline and is required, ideally with a camera with minimum 13 stops of dynamic range. Yes, be good to catch up again soon. All the best.
Spot on Darren. So many videos out there that go through the process robotically without explaining the "why" of the process, you however, have clearly removed the cloud of confusion others have created. Thank you
You should make a very short video explaining to people why you can’t do this kind of color correcting in premier pro. I’ve gotten several friends that say … just color correct in premier pro. They have no clue that Resolve is in a different world. Maybe make some really short video comparing the two… So I can send it to these clueless people. Lol.
Man I just keep getting more amazed at how much of a powerhouse DaVinci is, and you did a really good job cutting to the chase here. Nicely done! I recently found out from my eye doctor that I’m mildly red color deficient, so there are certain shades of red and green that my eyes struggle with. My boss at work would tell me that sometimes my subject’s face would have a green hue to it after I did some coloring on it, and this workflow seems to really help me get my colors more accurate (and I’m paying closer attention to my vectorscope). My boss tells me my colors are looking better lately too. So kind of an odd question here. Have you ever worked with someone who may deal with any certain levels of color blindness? If so are there any other methods/tips you could give them?
But if you're using the colour management, all your nodes will be after, not before, no?? Unlike when you put the colour management at the end of the node tree. Confused on that point!
Correct. He's saying if you're not too fused about node trees and just want to get your images looking good immediately use the color management so when you load all your clips in they'll already look correct, not that washed out log look.
This was exactly what I was looking for. All the other videos I watched to try and resolve (no pun intended) my color issues involved using all kinds of LUTs, Input Profiles, and grading in an unmanaged workflow. These quick settings were exactly what I needed to get good color the way my camera shoots it. I'm not making atmospheric indie films so this is just what I need for now!
Hey Darren, great video! I’m curious how you would apply this setup when using footage that is not in a LOG format. For example, I film on a Canon 5DIV with no log, so I use the neutral color profile on the camera. I seem to see a lot of information about working with log footage but what about footage shot on DSLR without a LOG option? Along the same lines, working on a Mac, would you use a color space of 709-A? Thanks man, keep up the awesome work! 😁👍
Hi Jason. Just simply BYPASS on the Input Colour Space and grade by eye/scopes. I dont use colour space of REC709A as I have an external professional monitor connected to a dedicated blackmagic IO card - its not then required. Thanks for the kind words, Hope you are well. Darren.
@@DarrenMostyn awesome, thanks for the info! That’s kind of what I do now but wanted to see what you thought. Making sure I’m in the right track. I’m always learning! 😜😁👍 My background is photography so I approach color in a similar way to the way I edit photos. 📸
@@DarrenMostyn Hi Darren. I may be wrong but I think the question being asked there wasn’t really “would *you* use Rec709A” but rather “should someone with a Mac use Rec 709A”? I too would like to know the answer as I edit on an M1 Macbook Air and have read that Mac displays use this slight variation of Rec709.
@@arnoldsnodgrass2953 Hi Arnold. You need to be calibrated to be accurate else you are 'hoping' all is good. Rec 709 Gamma 2.4 is a broadcast standard, or P3 variants , but REC709-A is not on any broadcast deliverable sheet I have ever seen. If it is a MAC profile that emulates then fine, but I can't compromise in my job so i have to use calibrated REC709 2.4 monitor with a dedicated IO card to ensure broadcast compliance and best grading experience for my clients. I don't grade on a macbook air so maybe I'm not the best person to ask - to me it's a compromise. Hope you understand, I can't answer your question honestly as its not in my experience. I do hear that Ipad Pro has a very good colour profile so maybe that is emulated on macbook air....sorry for vague answer - I just don't work like that. Hope that helps a bit..? All the best, Darren.
my gosh man, I can't express how valuable your content has been, you should be teaching this at university, you're an excellent teacher, this video should be titled "watch this BEFORE you color grade ANYTHING in davinci resolve 18", thank you so so so much
I think (beginner here) that the implication in the 'Order of Operations' section is that you don't need to - by using this 'colour managed' approach the editing, fusion and colour adjustments you make are all then made in the source color space, then the final step is the output conversion... But if you are doing node based CSTs then it would look more like what you ask. Darren has stated in other responses that the node based CST is preferable in some ways.
But what if the source colour space is restricted (Rec709) vs Davinci Wide Gamut? Surely it is best to convert from camera with a CST to DWG grade and then add a CST for the output?@@AndyHooper
He wanted to highlight both techniques in their own respective video. the video that explains the process that you mention is found here ruclips.net/video/CtSBVKmHkjU/видео.htmlsi=m3vbwnRWPATJ707l
This immediately helped me, someone who is nowhere near understanding of the color page, get my footage looking much better and matching well across my cameras! I was always concerned about taking different cameras on a shoot, and did so for a wedding gig a bit ago. Thankfully someone else was in charge of the editing for that gig, but I'm going back through it now for practice, and getting my images to match between the A and B cam was getting to me. This has gotten them looking much closer to each other. I will definitely be going through your other videos to see what else I can learn!
Amazing! Just perfect, no words. Do a complete course! I would be even willing to pay for it as a donation for my greatfulness. This is a perfect tutorial.
I was really impressed with so much transmission of knowledge, without complicated terms, I think that speaking beautifully is knowing how to be clear, and you helped me to understand this. Greetings from Brazil.
Thanks for this video, Chris. There are so many videos out there that don’t accurately describe what’s going on, leading people just getting into DaVinci astray. You’re doing fantastic work, thanks a bunch
I've been struggling to color correct in Resolve since I switched to it and I feel like this tutorial finally cracked the code to help me understand. Thank you so much.
Been studying resolve for awhile and I got to say your channel has always been spot on and even for starters like me I am able to understand the tools and functions of resolve. Thank you so much for this fast and direct to the point tutorial!!
Darren Mostyn, you're the bomb. You're previous video on how to properly apply the Film LUTs in Resolve was so freaking helpful. Thanks for making that.
Darren, I have been watching a ton of vids on the color page and now I finally understand what I need, the colormanaged rec 709 SDR gamma 2.4 in the settings. Thank you. I can now calibrate my Benq for rec 709. Then my colors have their starting point . Some of these other RUclips vids would be starting with the other cameras and using that color space transfer and I was getting lost . Thanks for the clarity, you are a great instructor.
Thank you, you are amazing! I haven't before seen anyone with your combined understanding of the workflow/science and the verbal ability to get it across like this. Very thankful to have found your channel! 🙏
You're very welcome Kim. Glad you found my channel too! Enjoy my curated playlists. Subscribe to my free email list too - lots of free stuff and notifications bout upcoming events. bit.ly/2RrjvpN
I really appreciate you for this. I'm beginning to understand Resolve and this has helped me see my mistakes in colour management. I really never understood colour management until this video. Thank you .
Beautifully well explained, absolutely my favorite teacher, this is how you should make tutorials. This channel is one of the best actually it is the best when it comes to color grading. Best teacher! Thank you Darren.
This is one of the best 15 min description of DR color mgmt I've seen. Thank you! I'm back on Resolve after a hiatus editing sound, so this was a very nice refresher to get my head back in it.
So Happy I discovered your channel. This saves a Ton of time and I'd say, ridiculously assigning Color Space Transform nodes to every clip on every new project (like the three other channels I watched after yours tell you to do, 🙄). You're the difference between a RUclipsr and a real industry professional. Thank You for this, ❤❤❤. --Jason ✌🏻&❤
I'm in the process of switching from Vegas Pro to Resolve and your tutorials are fantastic. You're a really good presenter and editor of what info is relevant and what is not. And no long intros about what pedestrian thing happened this afternoon in your life -> "so, without any further ado....let's get into it!" -> 30 second animated intro with stock royalty free music -> I kill myself. So thank you!
Great explanation in simple to understand language. Seeing the couple of different ways to tackle the same thing and the benefits/drawbacks to each is a huge help.
Darren, this is so spot on. Although I've been using DVR for a while, this is the best explaination I've seen. No faf and drama. Simple but good teaching.
Darren, every time I see one of your videos, I wonder why I didn't come to your channel sooner. If I had seen this a year ago, it would have saved me so much time. Absolute legend! I wonder how many of my shots have looked worse than they should because I added a CST node early in my node tree.
Your Videos make me feel like I'm using cheat codes for colour grading 😅 ... So many features which I've never explored and after you show them here, it feels like some secret revealed 😄.
This is great! I used to grade for exposure, then for color balance, then look. Shooting in BRAW and DNG this makes the pipeline much easier. Thank you!
Thank you, first video I have watched that is straight to the point, full of information, things I just did not know and really helps with simplifing work flow. Simply Brilliant Darren. thank you! Keep up the great work.
brand new to the space -- appreciate the brevity yet user friendly summary / tutorial. Gets me up and running from my footage without guessing. Thanks! Enjoying your channel & other DaVinci videos I've watched over the past couple of days.
I thoroughly enjoyed watching that. I have watched countless "so-called" Resolve Tutorial Experts taking me down all sorts of dead ends and rabbit holes of miss information and confusion. You have distilled in 15 minutes, what has taken me a couple of years to grasp through trial and error by watching presenters in RUclips Land. Basically, the penny only fully drop when I began watching your channel. And only then, because I'd put in the effort to figure out who was blowing smoke up my proverbial, with their pseudo expertise/babble. I'm still afraid of CST nodes, and I am more than happy to go into the Colour Management settings. However I only have one camera to work with, and don't have the luxury of juggling many different cameras with all their individual colour spaces to create a final project for the Big Boys that come knocking on your door.
![Watch these 25 mins to FULLY Understand Color Management [Beginners Guide]](http://i.ytimg.com/vi/AAeZKZ5feGA/mqdefault.jpg)
![Watch these 25 mins to FULLY Understand Color Management [Beginners Guide]](/img/tr.png)
This is how all tutorials should be done. No waffling, no intro clip and no begging at the beginning.
Thank you. Appreciated. Thats how I always want it to be!
👏 well said!
@@DarrenMostyn BJ is 1000% correct. If you were representative of the approach of most instructional, we'd all be exponentially better off.
RUclips can be a wasteland and you are a great reprieve 🙏
Yeah usually half their videos are about their so called master class and through the whole video they only talk about to buy the product
@@DarrenMostyn Dear Darren, you nailed this to perfection, I am a great fan.
As an absolute newb: thank you! I'm struggling with starting a YT channel and no-nonsense tutorials like these are saving my sanity. Gracias!
Wow!!! I've watch this Color Management video, the Grading A7SIII video, and a couple of others. I've learned so much. Hands down, this is the best DaVinci Resolve channel.
Glad you like it. There are some playlists on my channel to help with levels and edit v color. Im also doing a livestream tuesday 7pm bst.
@@DarrenMostyn I'm in
@@DarrenMostyn Hello teacher, your tutorial is just like a master class, I have learned a lot, thank you so much.
this worked well for me. simple channel blending for consistency and no bleed through. swap blue channel +50% green with 100% blue from the first blue node and you get Kodachrome in a rec709 colorspace.
Thanks for making this video, this is exactly what I was looking for when I started using Resolve 6 months ago, I couldn't find much on it so had to teach myself. Hopefully this will be very helpful for anyone starting out today.
I don't usually comment, but this is by far most beginner friendly, and straight to the point tutorial, without any course selling advertisement, i appreciate this alot💯❤️
Thanks for an awesome beginners explanation. Even though I know most of the color management things I still enjoy watching even your basic videos as there is often something i've learned in the past from you. So thank you. I would champion my support if you do more advanced videos in any capacity!! Thanks Darren!
You are very welcome Chris. Thank you so much for the kind words, really appreciate it when I get just nice messages of appreciation as I put a lot of work into these episodes. Thanks again. your support is appreciated and noted - Darren.
As an absolute beginner, your videos have been an incredible resource and eye opener. There are so many videos that do all this manually, from what feels like dated experience rather than trusting the science and new technology that Resolve brings to the table.
I used to think DR color managed was the way to go - till I dug much deeper and determined that some color pipelines, like RED's IPP2, is broken in a few ways (and unlikely to be fixed by BMD for obvious reasons). I now use node-based color management and can't believe how much better our workflow has become. Love your videos Darren!
Hi Derek. Yes, agreed, CST is better way to go...my recommend of RCM in this video is for beginners here and the CST route once you get used to what it is doing...I appreciate you are an advanced user, but I show both ways in this video. If I was doing an advanced RCM video I would be showing Node based CST operations as in my own personal workflow. I think i was pretty transparent about that in this video and that I use CST's - good to hear from you as always, All the best.. Darren.
Hey @@DarrenMostyn - not sure I agree. CST is different from using LUTs for example. There are known limitations with IPP2 in DR. Only way around it is to use LUTs that you actually generate within REDCine-X PRO application and tack on that LUT at the end of your node tree. Try your CST method and tell me where you can find your Decoder Settings (Output tone map & Highlight roll off) that are powerful tools within the IPP2 tree. See what I'm saying? Ask me how many hours I worked on resolving that! :)
@@derekjcooper Hi Derek. I know this is an issue you have as we have spoke before on this. This will transpire into a resolve advanced color management forum thread before we know it and that is not the place for this - this is a beginners video and the information is to encourage new users and beginners to start taking colour management steps to improve their workflow. You are an advanced user. There are many issues with RCM that are in the public domain but I still feel the majority of users, especially new users will only benefit from. Respect your contribution but best kept to an advanced forum I think. All the best, Darren.
As a user of another well-known editor starting with the letter "P," I love your path. This workflow is exceptional and the instruction provided is truly remarkable. It's incredibly beneficial when it comes to achieving footage consistency. Currently, I have two distinct Canon camera setups along with GoPros, and this method has been an absolute lifesaver. I anticipate that once I upgrade to matching camera bodies in the future, the process will become even smoother. Until then, I'm incredibly grateful for the assistance this workflow provides.
Thanks mate , I am new to resolve after moving over from Adobe and have been struggling with davinci with my grading but now having watched your video. Life in Davinci has become enjoyable and so much a easier. Your tutorial are the most easy to understand and are the most comprehensive. Thanks you very much , truly appreciated 👍
Thank you so much. Really good to hear. Appreciated. New episode out this week for sure.
Dude WOOW...I`ve been watching so many color grading videos and nobody explained it like you...hands down the best job demystifying the whole thing....
Glad it was helpful! Welcome to the channel. darren
Another great video, Darren. I have done countless presentations over the years and attended/listen to countless presentations on a wide range of topics (video/photography and others). I am continually amazed how well you explain often complex concepts by breaking them down to a level everyone can understand. I now understand Resolve color management better than ever before. Thank you.
Good to hear Daniel and glad you re enjoying my other videos too!
I am from South Africa. All I can say is wow, never stop doing this and God bless you. The info you provide especially an in depth look into your process so that the rest of us can succeed and become professional colorists......SELFLESS...
Thank you Yves. Really appreciated.
Thanks for this! Another super helpful bit of clarification. If you do do a follow-up, be great to see the correct way to apply the DR Film Looks when using colour management.
I just started using Resolve a week ago and I want to say your tutorials are like gold! Not just going from step to step but clearly explaining the why. This is awesome stuff!
Great to hear thanks Tyrone!!
@@DarrenMostyn I have one follow up question. I own a Sony a7s3 and sometimes use Joel Famularo Phanom LUTs. How would I best deal with managing color for LUTs that do the transform from SLOG3 to REC709 when applied?
speak to Joel Famularo - they are his luts.@@TyroneLT I never used them so cant say what they are doing.
This was awesome Darren, thanks! Can’t wait for your intermediate part 2 where you’ll talk about which adjustments are best before/after the CST node and why! =). Keep it up, I watch all your stuff even when it’s things I know!
Will do. Thanks.
@@DarrenMostyn Yeah, also curious why the CST node was the fourth one and not the first one! In my undestanding of your under 10 min explanation, the color management is sort of doing a "first invisible node" that transforms the LOG footage into 709, in order to be read to receive a more creative look... Am I wrong?
thanks!! Finally someone explaining not too quick but also not like I'm a 4 years old, just perfect education!
Darren, you are a great educator. You explain the concepts so well. You go to true in depth details. I love your tutorials.
Request: Struggling to apply cinematic Rec709 luts on 8 bit HLG3/BT2020 clips converted to Rec709 timeline they DaVinci managed color workflow. The colors and brightness contrast simply falls apart the LUT is for Rec709 clip though (not log gamma). Any practical tutorial on how to apply cinematic Rec709 LUT on 8 bit footage is highly appreciated. Thanks
I don't usually comment on any video, but I am blown away by how simple you explained this. I am a complete beginner just delving into if I should be shooting in Log or not which lead me to looking into colour management. I love that this video gets straight into it, explains what the video is about, no silly graphics or intro etc. Genuinely felt like I was listening to a teacher in a class. Absolute breath of fresh air for youtube, you let the content speak for itself which got me to subscribe and like the video, you did not need to ask. Many thanks for sharing your knowledge with us all!
Thank you - appreciated. Enjoy your resolve journey and check out my curated beginners playlist too. All the best, Darren,
Yes, no fluff, just quality instruction. Darren is a real pro.
@@denveraspen Thank you!! Darren.
Don't care that you told me not to watch it, I did anyway and still found it entertaining and educational! Thanks as always for a great video Darren. One question actually too. If you had a timeline full of clips that were shot in a LOG colour space, which I consider HDR, would you not want to set the Colour Processing Mode in RCM to HDR instead of SDR and then Output to SDR Rec709? I've worked with BMPCC 6K Pro footage this way and assumed that it gave me the right feeling in the controls and ensured I was making the most of the HDR footage. Cheers
Good question.
Hi Alex. Yes would be better, however this was just a beginners guide so not elaborated yet...idea was to keep it simple. As you know this is the tip of the iceberg for color management - i didn't want to make a 1 hour video (minimum time to explain it all IMO) as they exist already. I also knew these questions would come up. I'll do a more advanced one soon. Thanks, Darren.
@@DarrenMostyn fair enough! As you say, simple is good, even for me! 🤣 Good to know that actually you can use both methods and get good results. Thank you and chat soon hopefully!
@@AlexCameron-Depiqd LOG doesn't mean it's HDR. HDR is a post process not an aquisition, however LOG is an important part of the HDR pipeline and is required, ideally with a camera with minimum 13 stops of dynamic range. Yes, be good to catch up again soon. All the best.
Spot on Darren. So many videos out there that go through the process robotically without explaining the "why" of the process, you however, have clearly removed the cloud of confusion others have created. Thank you
Glad it helped
You should make a very short video explaining to people why you can’t do this kind of color correcting in premier pro. I’ve gotten several friends that say … just color correct in premier pro. They have no clue that Resolve is in a different world. Maybe make some really short video comparing the two… So I can send it to these clueless people. Lol.
Just tell them yourself bro or show them
And a separate comment: I love your style (calm, explanatory - in contrast to excited/overhelming speech of many other youtubers/influencers).
Man I just keep getting more amazed at how much of a powerhouse DaVinci is, and you did a really good job cutting to the chase here. Nicely done!
I recently found out from my eye doctor that I’m mildly red color deficient, so there are certain shades of red and green that my eyes struggle with. My boss at work would tell me that sometimes my subject’s face would have a green hue to it after I did some coloring on it, and this workflow seems to really help me get my colors more accurate (and I’m paying closer attention to my vectorscope). My boss tells me my colors are looking better lately too.
So kind of an odd question here. Have you ever worked with someone who may deal with any certain levels of color blindness? If so are there any other methods/tips you could give them?
This is the best explanation of color management in Davinci resolve I’ve seen so far on the YT
But if you're using the colour management, all your nodes will be after, not before, no?? Unlike when you put the colour management at the end of the node tree. Confused on that point!
Correct. He's saying if you're not too fused about node trees and just want to get your images looking good immediately use the color management so when you load all your clips in they'll already look correct, not that washed out log look.
This was exactly what I was looking for. All the other videos I watched to try and resolve (no pun intended) my color issues involved using all kinds of LUTs, Input Profiles, and grading in an unmanaged workflow. These quick settings were exactly what I needed to get good color the way my camera shoots it. I'm not making atmospheric indie films so this is just what I need for now!
Hey Darren, great video! I’m curious how you would apply this setup when using footage that is not in a LOG format. For example, I film on a Canon 5DIV with no log, so I use the neutral color profile on the camera. I seem to see a lot of information about working with log footage but what about footage shot on DSLR without a LOG option?
Along the same lines, working on a Mac, would you use a color space of 709-A? Thanks man, keep up the awesome work! 😁👍
Hi Jason. Just simply BYPASS on the Input Colour Space and grade by eye/scopes. I dont use colour space of REC709A as I have an external professional monitor connected to a dedicated blackmagic IO card - its not then required. Thanks for the kind words, Hope you are well. Darren.
@@DarrenMostyn awesome, thanks for the info! That’s kind of what I do now but wanted to see what you thought. Making sure I’m in the right track. I’m always learning! 😜😁👍 My background is photography so I approach color in a similar way to the way I edit photos. 📸
@@JasonYadlovski as long as it looks good in the end is all that matters...many ways to get there! Thanks @Jason.
@@DarrenMostyn Hi Darren. I may be wrong but I think the question being asked there wasn’t really “would *you* use Rec709A” but rather “should someone with a Mac use Rec 709A”? I too would like to know the answer as I edit on an M1 Macbook Air and have read that Mac displays use this slight variation of Rec709.
@@arnoldsnodgrass2953 Hi Arnold. You need to be calibrated to be accurate else you are 'hoping' all is good. Rec 709 Gamma 2.4 is a broadcast standard, or P3 variants , but REC709-A is not on any broadcast deliverable sheet I have ever seen. If it is a MAC profile that emulates then fine, but I can't compromise in my job so i have to use calibrated REC709 2.4 monitor with a dedicated IO card to ensure broadcast compliance and best grading experience for my clients. I don't grade on a macbook air so maybe I'm not the best person to ask - to me it's a compromise. Hope you understand, I can't answer your question honestly as its not in my experience. I do hear that Ipad Pro has a very good colour profile so maybe that is emulated on macbook air....sorry for vague answer - I just don't work like that. Hope that helps a bit..? All the best, Darren.
my gosh man, I can't express how valuable your content has been, you should be teaching this at university, you're an excellent teacher, this video should be titled "watch this BEFORE you color grade ANYTHING in davinci resolve 18", thank you so so so much
Thank you Nick. Very kind!
Great video. Quick Q: How come your not converting from camera to Davinci wide gamut color space and then grading that into dwg > rec709?
I think (beginner here) that the implication in the 'Order of Operations' section is that you don't need to - by using this 'colour managed' approach the editing, fusion and colour adjustments you make are all then made in the source color space, then the final step is the output conversion... But if you are doing node based CSTs then it would look more like what you ask. Darren has stated in other responses that the node based CST is preferable in some ways.
But what if the source colour space is restricted (Rec709) vs Davinci Wide Gamut? Surely it is best to convert from camera with a CST to DWG grade and then add a CST for the output?@@AndyHooper
He wanted to highlight both techniques in their own respective video. the video that explains the process that you mention is found here ruclips.net/video/CtSBVKmHkjU/видео.htmlsi=m3vbwnRWPATJ707l
This immediately helped me, someone who is nowhere near understanding of the color page, get my footage looking much better and matching well across my cameras! I was always concerned about taking different cameras on a shoot, and did so for a wedding gig a bit ago. Thankfully someone else was in charge of the editing for that gig, but I'm going back through it now for practice, and getting my images to match between the A and B cam was getting to me. This has gotten them looking much closer to each other. I will definitely be going through your other videos to see what else I can learn!
Amazing! Just perfect, no words. Do a complete course! I would be even willing to pay for it as a donation for my greatfulness. This is a perfect tutorial.
This is the most useful video on RUclips, period.
Sir Darren you are Truly a Teacher and not a instructor, keep it Up.
Thank you Michael....very kind!! Appreciated. Lots more here ruclips.net/p/PL6VNHhfsVYJacf4vtTgAyDUx9sW9pxONP
bro the moment my brain comprehended this, I felt a stream of bliss and satisfaction going through my body.
appreciated!
I was really impressed with so much transmission of knowledge, without complicated terms, I think that speaking beautifully is knowing how to be clear, and you helped me to understand this. Greetings from Brazil.
Glad it was helpful! Thank you kind words Elias.
best color management tutorial I have found on RUclips. Great Guy und Teacher!
As a beginner in DaVinci and color grading, this might be the best and most comprehensible video about color management out there. Thanks a lot !
Glad it was helpful!
Thanks for this video, Chris. There are so many videos out there that don’t accurately describe what’s going on, leading people just getting into DaVinci astray. You’re doing fantastic work, thanks a bunch
By 10 Minutes in the video I already understand the colour management. Thank you
Glad it was helpful!
I've been struggling to color correct in Resolve since I switched to it and I feel like this tutorial finally cracked the code to help me understand. Thank you so much.
Glad it helped!
Straight to the point with no fuzz. Best tutorials of DR in my opinion on YT. Thanks again for your clear explanations
you are welcome
Dear Darren, I´ve learned so much from your tutorials, I cannot thank you enough.
Thank you Oliver, appreciated!
I've watched the advanced first and got lost. This one I could grasp the concept much better. Thank you! This has won you a subscriber!
appreciate you subscribing. Thank you so much. Enjoy the rest of my channel. All the best Darren
Been studying resolve for awhile and I got to say your channel has always been spot on and even for starters like me I am able to understand the tools and functions of resolve.
Thank you so much for this fast and direct to the point tutorial!!
Glad to help Lance. Thank you for kind comments.
Darren Mostyn, you're the bomb. You're previous video on how to properly apply the Film LUTs in Resolve was so freaking helpful. Thanks for making that.
Darren, I have been watching a ton of vids on the color page and now I finally understand what I need, the colormanaged rec 709 SDR gamma 2.4 in the settings. Thank you. I can now calibrate my Benq for rec 709. Then my colors have their starting point . Some of these other RUclips vids would be starting with the other cameras and using that color space transfer and I was getting lost . Thanks for the clarity, you are a great instructor.
Glad I could help!
Thank you sir!
So pleasant to see someone CLEARLY explain this topic and dispense “Real World” advice.
Cheers!
An excellent clear explanation of the ‘cog wheel thingy that no one knows what it does’. Much appreciated as always.
Glad it helped for you.
Immensely important video for me to have stumbled onto. You've answered tons, Darren. Thank you.
Thank you, you are amazing! I haven't before seen anyone with your combined understanding of the workflow/science and the verbal ability to get it across like this. Very thankful to have found your channel! 🙏
You're very welcome Kim. Glad you found my channel too! Enjoy my curated playlists. Subscribe to my free email list too - lots of free stuff and notifications bout upcoming events. bit.ly/2RrjvpN
I really appreciate you for this. I'm beginning to understand Resolve and this has helped me see my mistakes in colour management. I really never understood colour management until this video. Thank you .
Many thanks for being concise , I learned more in ten minutes than in many endless tutorials . kind regards from France.
Glad it was helpful!
Best tutorial I've seen so far. Well done and thank you!
Beautifully well explained, absolutely my favorite teacher, this is how you should make tutorials.
This channel is one of the best actually it is the best when it comes to color grading. Best teacher! Thank you Darren.
Appreciated. thank you.
This is one of the best 15 min description of DR color mgmt I've seen. Thank you! I'm back on Resolve after a hiatus editing sound, so this was a very nice refresher to get my head back in it.
thanks
Thank you so much, you explained clearly what 2 hours of google/youtube research didn't do :)
You're welcome Paul. thanks for commenting, appreciated
Learnt quite a lot from this. Thank you, Darren.
So Happy I discovered your channel. This saves a Ton of time and I'd say, ridiculously assigning Color Space Transform nodes to every clip on every new project (like the three other channels I watched after yours tell you to do, 🙄). You're the difference between a RUclipsr and a real industry professional. Thank You for this, ❤❤❤. --Jason ✌🏻&❤
Glad I could help! Yes im a Pro Colorist first then youtuber. This is why I started my channel.
I'm in the process of switching from Vegas Pro to Resolve and your tutorials are fantastic. You're a really good presenter and editor of what info is relevant and what is not. And no long intros about what pedestrian thing happened this afternoon in your life -> "so, without any further ado....let's get into it!" -> 30 second animated intro with stock royalty free music -> I kill myself. So thank you!
Appreciate the kind words, glad you enjoying my channel.
Superb, concise treatment of complex topic at an appropriate level. My only regret is that I can apply only one Like!
Thanks for making that understandable, I am loving my journey with Davinci Resolve
Darren, te he entendido, tu esfuerzo ha merecido la pena. Gracias!!
One of the most useful DaVinci tutorials I've watched in ages. Thanks so much for clarifying this!
Glad it was helpful!
I think this was one of the first videos I watched and a good starting point for me. Thanks, Darren. Keep rocking
Thankful I watched this to save time on editing! Had no clue what to do with the color management option
You changed my video editing process in less than 15 mins really. I cant grat you enough for it
So welcome Bruno. Thank you for commenting, appreciated
I just subscribed to your channel because this video changed everything for me in the color editing world. Thank you so much.
Daren your content is priceless, there is so much garbage false information on the subject of color grading. I'm so glad ive found your channel.
Great explanation in simple to understand language. Seeing the couple of different ways to tackle the same thing and the benefits/drawbacks to each is a huge help.
Thanks Darren. Just making the switch from final cut to Resolve. Your tutorials are fantastic!
Mate, I've watched loads of color grade workflow videos, but this one is by far the best! Thanks for the great video!
Glad you enjoyed it and learned from it.! I work hard to make my tutorials easy to understand so I really appreciate the comment! All the best, Darren
Thank you darren this is the best video i ever seen. love you from India 🇮🇳
Thanks Harish. Glad you like it.
This is an amazing tutorial... Thank you so much, now we have more options! :D
Darren, this is so spot on. Although I've been using DVR for a while, this is the best explaination I've seen. No faf and drama. Simple but good teaching.
Darren, every time I see one of your videos, I wonder why I didn't come to your channel sooner. If I had seen this a year ago, it would have saved me so much time. Absolute legend! I wonder how many of my shots have looked worse than they should because I added a CST node early in my node tree.
Welcome aboard anyway, Glad you are enjoying the channel.
Your Videos make me feel like I'm using cheat codes for colour grading 😅 ... So many features which I've never explored and after you show them here, it feels like some secret revealed 😄.
I've watched this video twice this year. This is a great video.
Thanks
Thank you, finally I understand what is Resolve color management.
Pleased to hear it bob.
Thanks a lot, Darren! Your Davinci tutorials are probably the best on RUclips.
Glad you like them! Thank you, appreciated.
I was wondering this exact question the difference between both and bang! you answered my question!!!! thank you so much!
Best explanation of color space I have seen
Awesome! I know next to nothing about colour, this was really useful! Thanks!
Darren I want you to know that you have just made my year, that tutorial is the best I’ve seen.😂
Great to hear! Thanks max. Please share if u like! Playlists are on my channel too. Thank you. Appreciated
This is great! I used to grade for exposure, then for color balance, then look. Shooting in BRAW and DNG this makes the pipeline much easier. Thank you!
This is the best video I've seen on DaVinci color space. I very much appreciate the science behind it and the flow-chart/diagram; It really helped.
Appreciate that Peter! ALL THE BEST, Darren.
Thanks Darren! Makes a lot of sense and saves me a lot of time now a days 👍
Well Done! Master and Commander! Really fast! Really Clear! Thanks!
tyvm Darren this will help heaps newbees just like me . can't appreciate enough
very welcome
Wow. Really advanced knowledge explained simple and straightforward. Thank you so much
Glad it was helpful!
Thank you, first video I have watched that is straight to the point, full of information, things I just did not know and really helps with simplifing work flow. Simply Brilliant Darren. thank you! Keep up the great work.
Thank you. Appreciated! Darren.
Thanks Darren. You are my Hero! You Helped me to understand this.
You are welcome. Glad it helped
brand new to the space -- appreciate the brevity yet user friendly summary / tutorial. Gets me up and running from my footage without guessing. Thanks!
Enjoying your channel & other DaVinci videos I've watched over the past couple of days.
Thanks Steven. Welcome to Resolve!
Thank you Darren! A year later and this vid just saved me hours of frustration! You got my subscription now 👌
Thanks for the sub! Really appreciated and I hope you enjoy some of my curated playlists. All the best!
Thank you, excellent lesson. Easy to follow, I just got to practice more to get proficient.
This is an amazing explanation. So easy to understand this alien used to be procedure.
Thanks Sebastian
Best video on You Tube on this topic. As simple as that. 👍
Thanks - much appreciated.
Incredible. Well explained and straight to the point! Subscribed and thank you 🙏
Thanks and thank you for subscribing. Appreciated.
I thoroughly enjoyed watching that. I have watched countless "so-called" Resolve Tutorial Experts taking me down all sorts of dead ends and rabbit holes of miss information and confusion.
You have distilled in 15 minutes, what has taken me a couple of years to grasp through trial and error by watching presenters in RUclips Land.
Basically, the penny only fully drop when I began watching your channel. And only then, because I'd put in the effort to figure out who was blowing smoke up my proverbial, with their pseudo expertise/babble.
I'm still afraid of CST nodes, and I am more than happy to go into the Colour Management settings. However I only have one camera to work with, and don't have the luxury of juggling many different cameras with all their individual colour spaces to create a final project for the Big Boys that come knocking on your door.
Thanks Frank! Respect as always!!