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
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) @@hypelightsband
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
This! Took me a while to realize that myself, because everyone tells you that color space transforms are a must-have everywhere. I don't want to make a huge node tree all the time. I just work in a color managed timeline and add things here and there on individual clips
I'm really confused as when I started watching your videos you used Cineon Film Log film emulation, now the CST is nothing like to what I learned in the past... Can you please explain why is the CST changing?
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!!
Hi, I follow many of your videos and I wanted to ask you some questions: shouldn't a colorist have a kind of node structure that is more or less almost always the same? Because it seems to me that your approaches in every video you make are always different. I understand that it always depends on what needs to be done, that's obvious, but I also believe that a structure, a working method, should still have a certain consistency for a good 80% of the time in every work approach. I'm asking to better understand, not to be argumentative.
I have been creating content for over 5 years. As a pro colorist I constantly improve and my approach changes with it. Professionally, I use the same node tree on most of my jobs but on RUclips I am always showing different ways to grade. Different people relate with different approaches.
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
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?
@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.
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
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.
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?
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!
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! 👍🏽
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.
@@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 ?
Correct me if I'm wrong but surely if you make all your colour corrections in nodes BEFORE a colour space transform from Log to Rec.709 it's the same? Converting LOG to Davinci Wide Gamut first is unnecessary because we're already working in LOG. We don't need this node right? We just do our corrections, convert from LOG to Rec.709 and Bob's your uncle? Converting to Davinci Wide Gamut first just seems unnecessary to me... could you please explain why it is necessary? Thanks
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?
I am working with footage shot years ago on tape (Camera: Sharp Viewcam Hi8) and I have no idea as to the best process of colour management, other than to hit the 'auto' button. Suggestions please.
Can I just ask, as I’ve read conflicting information. If you set up a colour managed main project setting, and set to DWG, you don’t have to use CSTs in order to be working in DWG in your colour page?
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.
Please make a tutorial on animation video from Blender or Unreal Engine in Aces or AgX ( I preferred) and how one could color management for final destiny of Rec 709. Rendered file either in png or EXR or mov (ProRes) while EXR file is bit difficult to interpret.
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.
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?
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!
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 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 ?
Shouldn't the Color Space settings auto apply them without the need for nodes? I only shoot in Dlog-M. So annoying having to apply the same grade to everything manually
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
Hey Man! I just tried it and ran into a problem with my Phantom Lut. From what I understand now, I cant really use this method since my Lut converts from Slog to Rec 709.
Ideally of course bro. But there is a reason why luts exist and why people like me and millions of other people use them. I personally love Phantom Luts + having the posibility to work with them in DWG would be amazing @@theqazman
I recently got the dji pocket 3. the 708 lut for dlog m give me bad skin tone. I wonder if you can have a video on how to color grade dlog M. lot of pocket 3 user out there, so it should be a popular videos :)
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?
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 always get tripped up right at the first step. No idea what color space my camera is in. Yes, I go to Metadata and the color space/gamma sections are completely blank like you said. But the information doesn't seem to be listed anywhere! Not in the camera specs. No information even if I try to Google it. I pick what I 'think' is the correct color space, related to the camera brand, and then it looks like total crap. I can't get past the first step and it's really frustrating. No matter what I try, it never looks right. Surely there's gotta be info SOMEWHERE that has color spaces/gammas for cameras? Why do they make it so impossible to find out?
@@Fedor_Dokuchaev_Color I wish they did, but, can't find the info. I have a Canon 5D Mark IV which is listed in the specs as Canon Log. But, I have the original version, before it started shipping with Canon Log. The specs state only Canon Log and nothing about what it was before that. And then I have a DJI Osmo Action 3 that doesn't state that info at all in their specs on their website. That info is missing altogether. So i pick 'DJI D-Gamut' for the color space and that looks good. But then I select 'DJI D-Log' for the input gamma, and it looks absolutely horrible pretty much every single time.
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 ????? ...🤔🤔
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.
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.
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?
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?
Is it possible with this method to edit with last node in rec709 gamma 2.4. And when done change it to HDR settings to obtain automatically a good hdr clip?
Yes, this is the idea. But obviously, it's just doing a mathematical transform and will not be perfect if it's a critical grade. RUclips really needs to allow us to upload 2 videos in the backend. One that is hdr and one that is not. That way, if the person has an HDR capable display, they will see our work properly, and if they don't, they get the SDR version we graded as well.
@theqazman thanks. Gonna try that. I have a very good benq monitor for photo and rec709 editing. It does hdr, but colors of it are way off and not usable for editing.
Hi Quasi, I have learned so much from your videos. Anyway, I don't understand why you keep sticking with the old-fashioned clip-/node-based color management with CSTs. What speak against, asking DR to translate into DWG or anything else to work in, and specify the deliver format at projects setting levels? Or did I just overlook something?
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.
I like this better than the using the color managed workflows. Would it be a good idea to grade on groups, using the CST to DWG on the PreClip, doing all of the primaries on the Clip nodes and then the 709/2.4 CST on the PostClip?
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.
I apologize if this is a dumb question since I'm still learning the basics to color grading but are you saying to always use those two outputs for color space and gamma? Or is it depending on the camera format we shot in? Thanks to whoever can clarify that for me!
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!!!
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.
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?
![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)
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
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)
@@hypelightsband
You should absolutely be listening to as many different professional colorists as you can
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
This! Took me a while to realize that myself, because everyone tells you that color space transforms are a must-have everywhere.
I don't want to make a huge node tree all the time. I just work in a color managed timeline and add things here and there on individual clips
I watched a video yesterday in which it was proven: color management settings and color space transform do the same job. Period.
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..
I'm really confused as when I started watching your videos you used Cineon Film Log film emulation, now the CST is nothing like to what I learned in the past... Can you please explain why is the CST changing?
This could not be explained in a better form... Just Perfect!... Thank you so much!
Appreciate, the love.
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.
Bro, we are lucky to have you. Really glad I found this channel.
8:45 how does Forward / Inverse OOTF play in this? What should we use for the first and last node?
Amazing video! Does this process change at all depending on the Codec of the footage or no?
Ty bro. Not really.
@@theqazman Fire thx! Would you have changed any Davinci settings / this process had you shot non-RAW or still nah?
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
Thanks!
Thank you so much bro!!!! Appreciate you. ♥️✊🏽
Hi, I follow many of your videos and I wanted to ask you some questions: shouldn't a colorist have a kind of node structure that is more or less almost always the same? Because it seems to me that your approaches in every video you make are always different. I understand that it always depends on what needs to be done, that's obvious, but I also believe that a structure, a working method, should still have a certain consistency for a good 80% of the time in every work approach. I'm asking to better understand, not to be argumentative.
I have been creating content for over 5 years. As a pro colorist I constantly improve and my approach changes with it.
Professionally, I use the same node tree on most of my jobs but on RUclips I am always showing different ways to grade.
Different people relate with different approaches.
@@theqazman Could you make a video with your structure and explain to us why you have structured it this way, etc.?
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
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?
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! 🔥
@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.
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
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
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!!
For video using red and canon What do u recommend to calibrate for apple studio 5k monitor and newer MacBook Pro :datacolor or calibrite?
Will you ever make a Tutorial on grading from a Phantom LUT?
My question as well!
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!
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".
So the last node goes at the end/ after creating a Look ? or does it go towards the end ?
Correct me if I'm wrong but surely if you make all your colour corrections in nodes BEFORE a colour space transform from Log to Rec.709 it's the same? Converting LOG to Davinci Wide Gamut first is unnecessary because we're already working in LOG. We don't need this node right? We just do our corrections, convert from LOG to Rec.709 and Bob's your uncle? Converting to Davinci Wide Gamut first just seems unnecessary to me... could you please explain why it is necessary? Thanks
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.
I am working with footage shot years ago on tape (Camera: Sharp Viewcam Hi8) and I have no idea as to the best process of colour management, other than to hit the 'auto' button. Suggestions please.
Hey, so if I had a color checker where in the chain would I put that?! Right before or after the 709 CST?
Can I just ask, as I’ve read conflicting information. If you set up a colour managed main project setting, and set to DWG, you don’t have to use CSTs in order to be working in DWG in your colour page?
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. 👊🏼
Please make a tutorial on animation video from Blender or Unreal Engine in Aces or AgX ( I preferred) and how one could color management for final destiny of Rec 709. Rendered file either in png or EXR or mov (ProRes) while EXR file is bit difficult to interpret.
What will be my Resolve project setting parameters if I go with the Pro's approach??
This is everything I needed to know right now. Thanks
I follow this with FX30 footage is its so bright on the 3 node (option-drag to 3rd node)? is there a difference with Sony footage Slog3/800iso
Been trying to figure out how to make the false color look right when in a color managed workflow.
Thanks!!!!!! But, then, no more HDR available from the color management tab?…..😮
I like your new do. It looks color managed. Jokes aside, I appreciate your instruction! Thanks for sharing your experience.
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.
Insanely valuable information in an easy-to-understand format. As a beginner, I thank you a thousand times 😇
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?!
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!
Can you use a camera lut with this workflow? I dont think the CST has my camera’s color space in there
Can you also do it without any log?
Great Video. So the same should be done for each clip? Or it is possible to apply last color transformation node for all clips?
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.
Hey! Why choose P3-D65 when changing color grade to HDR instead of rec.2020?
The god of colorgrading
I finally understand the cst stuff now! Great vid man
Happy to help, brother.
Finally good mic set up! Thanks
Really enjoying your videos, thanks Qazi !!
please what would my input color space and input gama be if i was using a blackmagic 4k or ursa 4.6k?????
Is FCM suitable for Chinese students or is there a Chinese version available
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, now i understand the difference!
Qazi i have been trying to download practice footage, please can you walk me through?
but how can i do that with just conversion luts? please qazi help me
Excellent explanation! BRAVO!! Tou are the one!!!
Thank you.
Shouldn't the Color Space settings auto apply them without the need for nodes? I only shoot in Dlog-M. So annoying having to apply the same grade to everything manually
can anyone explain to me how he switches between two different grades when comparing the beginner and pro versions 8:11
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?
This connected so many dots for me... Awesome.
Another great vid as always!
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
Hey Man! I just tried it and ran into a problem with my Phantom Lut. From what I understand now, I cant really use this method since my Lut converts from Slog to Rec 709.
Which is why I say don't be a LUT B**CH. 😀
This right here is EXACTLY the comment I was looking for 🤣🤣 Thank you for saying this days ago!!!
Ideally of course bro. But there is a reason why luts exist and why people like me and millions of other people use them.
I personally love Phantom Luts + having the posibility to work with them in DWG would be amazing @@theqazman
I would really try to sign up for the course but even this video was super hard to understand.
Great as always! Thank you!
You're welcome
I recently got the dji pocket 3. the 708 lut for dlog m give me bad skin tone. I wonder if you can have a video on how to color grade dlog M. lot of pocket 3 user out there, so it should be a popular videos :)
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?
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.
best explanation so far.. thank you!
what would be the difference if we just put final CST at the end and do grading on "RAW" footage ?
This helped maaaaassively thank you so much
I always get tripped up right at the first step. No idea what color space my camera is in. Yes, I go to Metadata and the color space/gamma sections are completely blank like you said. But the information doesn't seem to be listed anywhere! Not in the camera specs. No information even if I try to Google it. I pick what I 'think' is the correct color space, related to the camera brand, and then it looks like total crap. I can't get past the first step and it's really frustrating. No matter what I try, it never looks right. Surely there's gotta be info SOMEWHERE that has color spaces/gammas for cameras? Why do they make it so impossible to find out?
What camera do you use? All cameras have manufacturers specifications that state their shooting profiles.
@@Fedor_Dokuchaev_Color I wish they did, but, can't find the info. I have a Canon 5D Mark IV which is listed in the specs as Canon Log. But, I have the original version, before it started shipping with Canon Log. The specs state only Canon Log and nothing about what it was before that. And then I have a DJI Osmo Action 3 that doesn't state that info at all in their specs on their website. That info is missing altogether. So i pick 'DJI D-Gamut' for the color space and that looks good. But then I select 'DJI D-Log' for the input gamma, and it looks absolutely horrible pretty much every single time.
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 ????? ...🤔🤔
Can you make tutorial color grading for dji pocket 3? Thanks
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.
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.
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.
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?
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?
The autofocus is tripping out, why not use manual focus when you're sitting in a fixed position?
Ik it's fixed for future vids.
@@theqazman thank you :) great video though! Love your work
thank you ! I guess I'm gonna be doing it this way :)
😀
Thanks Qazman! ❤
Can you make a video on HDR workflow in Davinci?
Is it possible with this method to edit with last node in rec709 gamma 2.4. And when done change it to HDR settings to obtain automatically a good hdr clip?
Yes, this is the idea. But obviously, it's just doing a mathematical transform and will not be perfect if it's a critical grade.
RUclips really needs to allow us to upload 2 videos in the backend. One that is hdr and one that is not. That way, if the person has an HDR capable display, they will see our work properly, and if they don't, they get the SDR version we graded as well.
Yes, very much so.
@theqazman thanks. Gonna try that. I have a very good benq monitor for photo and rec709 editing. It does hdr, but colors of it are way off and not usable for editing.
Hi Quasi, I have learned so much from your videos. Anyway, I don't understand why you keep sticking with the old-fashioned clip-/node-based color management with CSTs.
What speak against, asking DR to translate into DWG or anything else to work in, and specify the deliver format at projects setting levels?
Or did I just overlook something?
I'll do another video on that.
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.
I like this better than the using the color managed workflows. Would it be a good idea to grade on groups, using the CST to DWG on the PreClip, doing all of the primaries on the Clip nodes and then the 709/2.4 CST on the PostClip?
You can. I used to do it that way. It becomes messy when you have vfx thou.
@@theqazmanthats interesting. Maybe a tutorial of how to work with vfx could be awesome.
after watching 263 tutorials i think i got it! 😅
BUT do you then make your grading inbetween those 2 cst nodes?? always?
You’re an absolute genius bro. ❤️
Means a lot coming from you, brother. Thank you.
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.
Super helpful thanks
WOW!!! It's amazing... Can i use this method on my ZV-E10 while I'm shooting in HLG3?
I apologize if this is a dumb question since I'm still learning the basics to color grading but are you saying to always use those two outputs for color space and gamma? Or is it depending on the camera format we shot in? Thanks to whoever can clarify that for me!
No dumb questions, here. Depending on the camera.
Awesome thanks man!@@theqazman
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?
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!!!
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.
Love you from DR CONGO 🇨🇩
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?
How would you set it up in Premiere Pro using this example?