THIS will Instantly make your Grades look 85% BETTER
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- Опубликовано: 27 июл 2024
- Resolve Color Management Made Easy.
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This video will explain one of the most complicated concepts in Resolve, Color Management in a way that you would be able to explain it to a 5-year-old.
TIMESTAMPS
00:00 Intro
:15 What is Color Management?
1:27 BLACK FRIDAY SALE | 40% OFF
2:27 How to choose the best Color Management setting
4:29 Resolve Project Settings
6:16 Beginner Workflow
6:57 Pro Workflow
7:59 Scene-Referred vs Display-Referred
9:23 Avoid THIS mistake at all costs!!
10:58 The FInal Nugget
Practice Footage: bit.ly/3GeyxFl
ABOUT ME
I'm Waqas Qazi, founder and senior colorist at Qazi & Co. I have worked with PRIME VIDEO, ADIDAS, TOYOTA, VIZIO, etc. My mission is to share industry secrets by making fun and practical videos on color grading.
My Work: waqasqazi.com/
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#waqasqazi #davinciresolve #colorgrading 
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I applied this colour management workflow to my last project, and it got me much closer to the cinematic look I'm chasing.
BTW you became my DVR go-to guru. I realised you can't listen to too many ppl when it comes to colour grading. And you're definitely an extremely reliable source of colour magic wisdom
My man. Happy to help.
Same. If i have to know anything about Davinci color, just type it in the search bar and at the end Waqas Qazi and problem solved! :D
Yes he is.
I'm confused, at 4.51min you set Timeline Color Space : Rec.2020 and Output Color Space BlackMagic Design 4.6k Video Gen 3. // Is that what we need to do or did you just make that up? Cause you say "you can chose anything" How do we set it up then?
Because here the point is the DaVinci YRGG. If you set that Color Science, you can choose any timeline color or output space, does not matter. Because, you will colorgrade in a NODE level! So. If you want to colorgrade like after 4:51. With nodes, you choose DaVinci YRGB.
So in this video he is teaching us to colorgrade on a node level. Since this video i understand a lot, and colorgrade with nodes only. H.265 10 bit, (Rec 2100)
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Join before the offer ends. I will see you in the course. 😀
Bro, we are lucky to have you. Really glad I found this channel.
This could not be explained in a better form... Just Perfect!... Thank you so much!
Appreciate, the love.
Really enjoying your videos, thanks Qazi !!
Another great vid as always!
Watched your video and I already love the way you break things down. I signed up for your masterclass and can't wait to learn from you. Thanks!!
Let's go!!! Welcome to FCM, brother. Happy to have you.
Finally good mic set up! Thanks
Thanks Qazman! ❤
Insanely valuable information in an easy-to-understand format. As a beginner, I thank you a thousand times 😇
best explanation so far.. thank you!
Dude, you are just a god!! I have been learning a lot with you… Your guides are insanely complete but straight at the same time. You rock so hard!! When I raise my incoming editing career, definitely gonna buy your course!!
Let's go, brother! Appreciate the love and looking forward to seeing you in FCM.
Great as always! Thank you!
You're welcome
u dont know how much desperations i experienced, as a beginner in da vinci resolve world!
all before i found ur channel man!
thanks soooo much!
u are the best guru for me so far!
cheers from Bali!
True master at work! Amazing!👏👏
😀🙏🏽
This connected so many dots for me... Awesome.
This is everything I needed to know right now. Thanks
Excellent explanation! BRAVO!! Tou are the one!!!
Thank you.
I finally understand the cst stuff now! Great vid man
Happy to help, brother.
I like your new do. It looks color managed. Jokes aside, I appreciate your instruction! Thanks for sharing your experience.
This helped maaaaassively thank you so much
That was brilliant the way you explain why to used the CST in that way. Ive seen videos of this method but they never say why. Thanks so much and you are great teacher🙏🏽
Appreciate the love.
Great video, now i understand the difference!
u r always awesome...Thanks for the footage♥
You’re an absolute genius bro. ❤️
Means a lot coming from you, brother. Thank you.
What about you copy the changes node before the color transformation in the beginner version?
i also thinking the same.. the result must be different..
hi qazi, very good video, thank you for the precious tricks. My question is this: would have been the same if i changed my timeline color space in DWG instead of using 2 CST in the pipeline?
thank you ! I guess I'm gonna be doing it this way :)
😀
I've heard of people saying work in the bigger color spaces, but no one showed concrete examples of why. W Qazi 👑
Let's go! 🔥
Amazingly explained! Thanks a lot
You're welcome.
Your explanations are always so clear. Bravo. Question: Can we use CST at the timeline level or should we always do CST on each clip?
Here is my understanding,
You ideally want the FINAL CST to be at the end of the global (timeline level) or local (clip level) node tree.
At the clip level, you can do INTERMEDIATE or FINAL CSTs on individual and or small groups of clips. You can grade LOG, REC709, ProRes, Canon, RED… all together on the same timeline because you can apply a clip-specific CST and locally shot match each category of clips until they all share the same global look.
The clip level is where you will want to work surgically on INITIAL and INTERMEDIATE grades while the timeline level is ideally where you will want to polish your look by making your FINAL/FINISHING grade.
Thanks!
Thank you so much bro!!!! Appreciate you. ♥️✊🏽
Great video Qasi! Help me make the connection between this video and your previous video on export settings for mac, where you talk about using rec709-A. Should that go on my output CST node or apply that setting the to project color management?
Also, are you advising to use the method of CST nodes over global project color management settings?
Many Thanks
Thank you
Hey Qazi ! Great video as always, it helped me achieve a better look in my recent project.
Just a simple remark, your autofocus seems to struggle on your face shot and it can be distracting with time
Just amazing video...
Ty
Early bird! Thanks for the info Qazi! Constantly upping up the game! My mission is to build a solid portfolio in the next year, so killer hoping to be able to work for you as assistant!
My man. Keep at it. 💪🏽
Love you from DR CONGO 🇨🇩
Very helpful
i don't think this video is theoretically accurate. davinci works in 32-bit floating precision no matter what color space you are working in. you don't gain dynamic range by adding a color space transform node. color space transforms are injective functions, which means they are invertible. this means no information is "lost" regardless of what transform you add. it will change the amount you have to touch each wheel to make a certain difference, and which wheels you have to touch. but no matter what color space transforms you add, it is always possible to achieve the exact same look, but the path there and the nodes to use are just different.
when you copy paste the S-curve from the beginner node to the pro node, you cannot expect the results to be the same. the S-curve would have to be drawn differently since you have applied different transforms. you cannot say that "detail is protected" in the pro version, it's simply because the S-curve shape is not correct and equivalent in the beginner version.
while the workflow you present here may make the grading processes easier, or closer to what something you are used to, it does not theoretically make sense.
anyway thanks for great videos. i have learned so much from you
The god of colorgrading
Bro this is amazing!!! Would love to see you grade some car footage 🤩 I will send you some Fuji Log footage if you want to play with it haha 😂 🙏🙏🙏
Thank you and I feel like you’re the first person to actually show the difference. But why do it at the node level instead of the color management project settings?
You're welcome. More granular control.
It would he good to know your export settings. Gamma 2.4 never seems to work for me without gamma shift. Always has to be rec 709 A
Thank you for your tutorials. It is so appreciated! If I want to apply a LUT. Where should I position it? After the last CST? Before the last CST? Do I need to change the CST settings? THANKS
Great Video. So the same should be done for each clip? Or it is possible to apply last color transformation node for all clips?
It's clear that you need to get the point across, but you shouldn't apply the same curve adjustment made in DWG to the REC 709 node. obviously that it wont work. because of mapping issues. you can get the same result with rec709 color space buy making a custom curve adjustment.
That example is a bit tricky in my opinion.
but, the color management info in this video is good stuff.
I have a problem / potential bug with the highlighting tool (shift + h) in the color tab. Almost every time I use for lets say qualifiers or checking how an effect (sharpening or denoising) affects my image my entire preview of my node tree is off. It only previews the changes up to that node and not the entire node tree. If you have a lut or cst in your last nodes it becomes very frustrating because they aren’t display in the previous nodes.
WOW!!! It's amazing... Can i use this method on my ZV-E10 while I'm shooting in HLG3?
Amazing Wrok
🙏🏽
Can you make a video on HDR workflow in Davinci?
Qazi, why don't you talk about the tone mapping on the CST nodes?
I've always understood to not use tone mapping on the first CST node, nor have any of the boxes checked, especially not white point. The CST node that moves out of the DWG should use the DaVinci tone mapping.
I've never fully understood why but that is how this node structure was originally demonstrated to me.
Perhaps you can go more in detail on tone mapping and what each of those settings in the CST actually do to the image?
Hi. Did your ColorGrading Masterclass and watch your videos regularly, great! I can recommend it to everyone :)
I have a question:
If I follow this pattern, I have heavy bandings (lights in the background, spotlights at a party, for example) no matter what tone mapping settings I make (Clip, Simple, Luminance Mapping etc.). I assume he can't handle the large color display in the DWG to Rec709 area and it causes banding, clipping... For example in your video, look at the lower area of the tree (blue shadow) this breaks drastically for me. Maybe you have some help with that.
(work in Panasonic V-LOG)
When using this method, does anything change when exporting? Didn’t know if I keep the settings as is or if I need to switch anything. Love your content, thanks!!!
Can you talk about ACES workflow? And is it different from dwg/davinci intermediate workflow?
Will you ever make a Tutorial on grading from a Phantom LUT?
My question as well!
I love your videos, Very helpful!
I am wondering if you can make a video or maybe even direct me to another video on how to export HDR footage from Davinci Resolve with either Dolby vision or HDR10+ that is supported for youtube. Personally I am grading on the newest Macbook pro.
I have a full free workshop on that. Dm me on IG.
Thanks for this. Question. Any benefits to video shot on smething like old dslr with no log format?
Can the same thing be done using the custom settings under color management or are nodes the only way? Thanks for your hard work. Your videos have made a huge difference to my work!
Hi, Qazi! 🎉
How work in this case your old video about project settings (with out CST nodes) - set in Project settings - color management - DaVinci YRGB Color Managed - DWG Intermediate ? (for BRAW for example). This method you suggest as fast.
So the last node goes at the end/ after creating a Look ? or does it go towards the end ?
This explains why my early grades felt so choked!
Need some guidance. I followed this method on my M1. Braw footage. Looks completely different after export and airdropped to my IPhone and uploaded as a test to RUclips. What am I doing wrong? Looks accurate only on my M1. Thank you.
With my Lumix gx80 I only have sRGB or AdobeRGB to work with. Have you done a video for grading on the lower spec cameras. TIA
Hi, thanks for this video! One question: Why do you convert into DWG before you make any changes instead of just leaving the video in original color space and do all your changes before converting to the display referred color space?
@4:47 these settings don't mean anything? Im not sure if this still applies in DV 18.6. I've followed your settings but changing the timeline color space and output color space affect the output a lot. im trying to setup a correct workflow for Panasonic Vlog-l to rec2020 2084 for HDR on LGC2 --using studio and the decklink mini 4k.
Can you make tutorial color grading for dji pocket 3? Thanks
Can you use a camera lut with this workflow? I dont think the CST has my camera’s color space in there
If you shoot on H264 or H265 in Sony the color information and all the metadata will appear in the Sony Catalyst Browser! Thanks for this video.
Do you ever use davinci wg color managed in the color settings vs doing it in the node?
Hey, so if I had a color checker where in the chain would I put that?! Right before or after the 709 CST?
I have question about monitor for grading.Few years ago you have spoken that your monitor for grading was lg ul650 for years.Now I see that ProArt monitor became popular, it has certification that say "This thing is for proffessionals", but i looked tech specs and i don`t see any difference between ProArt and my lg(ProArt has lg matrix and costs more ).What do you think about this ?
Great video. But what if I'm working with Blackmagic Raw? Normally, for my basic color grading, I go to the Color tab, choose Camera Raw, select Use Project Settings, and apply the LUT. After that, I usually proceed with the more elaborate grading. Or is there a better workflow for Blackmagic RAW?
Good question!!
Thanks @theqazman. you made my day again.😅
after watching 263 tutorials i think i got it! 😅
BUT do you then make your grading inbetween those 2 cst nodes?? always?
If I work with 8 bit footage not shot in log (Panasonic Cinelike D, settings as flat as possible) do I still profit from that initial CST to a wider gamut/gamma?
Legend
🙏🏽
This is so smooth......but help me i have a question i seach all over YT but not found a single vid ......so my que is when i capture vid in Cine 4 and S gammut 3.cine then on CST node my input colour space will be S gammut 3.cine ...but what will be my input gamma ????? ...🤔🤔
so doing the two colour pace transforms at the start of the node tree and one at the end, all the primaries, grain and all that good stuff in the middle right?
Did you ever figure out your answer?!
How to incorperated this with something like Dehancer, where you transform / edit a given Log / Gamma to rec.709?
Davinci resolve recommends Rec 709-A, but I can't find it in Color Space Transform Tab. Should I just use Rec 709 on a Mac?
I have a doubt. If I using the screen of my macbook, in the pro cst, the output is rec 709, but the output gamma should be rec 709-A?
I would really try to sign up for the course but even this video was super hard to understand.
I wish this video had been included in the course. It would have been helpful for those who purchased the course.
Thank you
FCM Fam. ✊🏽 Well here it is. We can't keep all the good stuff from the rest. 🤣🤫
@theqazman My video looks great but if I look at the clips section (underneath main display) my blacks are crushed and way to much contrast. Also have the same result after export. PLEASE HELP
@@seasideshutterworx sounds like a full/legal problem. Were you able to fix it?
I haber one question, time ago I saw a video that a guy put timeline 10bits for color grading stuff but the camera récord in 8bits... there is something I miss or that guy is wrong?
But what`s happen if you put correction node before log->rec709 node in begginer case?
Is this also possible in premiere pro or should I switch 😅
Hey! Why choose P3-D65 when changing color grade to HDR instead of rec.2020?
Just saved my life
I love saving lives. 😀
Oo boy you got a subscriber
Let's go! 🙏🏽
please what would my input color space and input gama be if i was using a blackmagic 4k or ursa 4.6k?????
What if I use Canon M50 MII, which doesn't have RAW function and I use CineStyle color style for recording?
Which kind of Input Color Space and Input Gamme should I use in that case? When I use the Canon Log, it's insanely overexposed.
dont know why but just curious, that when i joined the Webinar ( 2 in thurdays 12/1) that i can not cmt any thing in Q&A section, i remember that you said that i can got the resouces and material in the webinar but i did not see anything.
Been trying to figure out how to make the false color look right when in a color managed workflow.
i'm shooting in slog2 and following the CST instructions in this video (such a good explanation btw), but the output video seems to be a little bit flatter/desaturated than what i am seeing in resolve, going crazy trying to figure out why. not sure if it's something to do w/ my display (macbook pro 14) or some setting i have wrong in resolve.
Did you find the answer? I'm experiencing the same issue
yeah i did i followed these instructions, using a mac: ruclips.net/video/f9a_jRWN7XU/видео.html&pp=gAQBiAQB@@arjenpoort
I usually work in ACEScct. Would you reccomend setting your gamut input and output in the color management tab or going manually into your nodes and doing your grading via a similar method to this one?
The big thing with using the timeline color settings is that your tools all work in that color space by default (color space aware). If you leave the project/timeline at Davinci YRGB and then use CSTs/ACES Transforms, you'll need to right click on every node in the middle and set it manually to ACES color space and gamma, otherwise they'll assume it's your timeline color space, so if that's Rec709 or DWG that will be wrong. So i really prefer using the timeline color settings for ACES stuff, and I usually do full color managed workflow, with IDTs per clip. But if you want to do the full manual node based approach and use ACES, you can still use DYRGB (non-color managed) and then set the timeline color/gamma to your ACES specs. The only difference is that you have to manually set up an input transform and output transform using nodes--with color managed, you right click the Clip on the color page and select your Input Transform (IDT), all your nodes are in ACES, and you don't need an output transform node bc Davinci handles it for you.
Great explanation. Not all super heroes wear capes, indeed. 👊🏼
How would you set it up in Premiere Pro using this example?
Qaz man! Are u gonna do colorgrade tutorial for the new avatar last airbender. Dark scenes? ! Much love😊
Is there a difference in grading capability and color bottlenecking when doing “Davinci Color Managed->HDR Danvici Wide Gamut Intermediate -> Rec.709 Gamma 2.4” VS. doing it at the node level by adding a Color Space Transform Node?
I know you used to show the first method, but I’ve noticed you switched now to CST.
Thank you for the clarification and the help! 👍🏽
I have the same question 🙋♂️
With CST you have the control and choice as to where to place nodes in relation to the transform node. e.g. you can place Noise Reduction before the first CST node and you could add grain after the second CST node. With Davinci color managed you get no say in that.
Same question, please help @theqazman
@@JJ_Khailha that’s cool that you can do that , but the final product, is it any different? With davinci color managment if you do for example NR of the first node and on the last node you add the grain ?
@@ts76751 Yes, it will be different. Noise Reduction and Grain work differently in different "color spaces".
Is it applicable to working with Apple log footage to increase DR? Thanks!
Yes, applies to any camera with log footage.