This is just wow, you know the moment I've started practicing Davinci, The color space transform was a literal nightmare for me, because I never understood it. the Color Management was a great help but I thought that I wanted to everything to be manual and this video just showcased how to do it and it is just purely amazing. Hopefully someday we get to join one of your masterclasses because this channel is a gold mine.
Bonus tip: save this node tree to a Power Grade album to use it across all the projects! Thanks for sharing Darren! 👍 After finishing your master class I build my own node tree and now my workflow looks much more consistent! ❤
Good tip! Thanks!! so pleased to hear that the masterclass helped you and you are now more consistent!! Share work in my private Facebook group if you like! all the best, Darren.
I just wanted to say thank you. It is amazing that you are willing to share what is your professional workflow with the wider community. I find it refreshing just how supportive the DaVinci Community is with such a great group of creators willing to share their knowledge.
Best Node tutorial so far for me. Maybe becuase I've watched many and this one finally broke through. Or maybe because this one is so complete. I can't tell. Regardless, here's my sincere thank you.
Master Class in Colour Grading in 20 minutes. Brilliant. This video resolved the misunderstandings, "tips 'n tricks" and all the other BS found across YT. All the fundamentals in one clean and clear presentation. New sub. Thank you.
Darren, I wanted to let you know since I have adopted your Node tree workflow, my grading has gone from terribly muppet'sh to passable, slowly I get there step by step. A million thanks.
Hi. This is not as much detail or as deep node tree as on my masterclass, however it takes the same fundamentals - on the masterclass we go into much more detail about how to adjust each node of course.
Your way of explaining processes is so good. Explaining "why" about each step makes it so much easier to quickly understand a process that initially seems complicated. I am thinking of moving from FCPX to DR, but I was overwhelmed by the UI of the colour panel. Your videos made it so much easier and fun to learn all the basics of colour grading in such a short period of time (a couple of hours). Awesome work, Sir!
1: Where I worked I discussed with some colorist about putting grain at the beginning of the three. Of course, I'd say it depends on the project, but I do think it's interesting for that it allow the film grain to be affected by the grade just as it would be with film footage 2 : Not a question but my view on an alternative Node three Using Magic Mask : As an assistant I've to deal more and more with magic mask. At first it was a pain especially for multiple resolution renders and handles, but with some colleagues we have found a turn around where we create a parrallel three to the main one, but with no outpout. In this three we have a first node with a lut or CST and then a bunch of node with magic masks, then once tracked we are just outputting the alpha to other serials on the main node three. It's very specific, but afterward, you can just be more precise with key or power window and grade while not loosing your magic mask track If anyone has different insight, experiences or advices I'd be glad to exchange about it
Thanks for sharing @35-4l3x I also use the magic mask a lot, but when I lose the tracking data It bothers me so much. Can you tell me more about your approach?
Darren, I come from the world of print and photographic color management and manipulation. I'm an expert in that field, but coming to video I was completely lost-it's like I was a student all over again. I was struggling with Resolve's color panel until I found your channel. This node tree is a real workflow that I was able to grasp after fifteen minutes of playing with it and watching your tutorial. I'm no longer bumbling around-I'm blazing through nodes and footage now making adjustments based on knowledge instead of just turning knobs to see what happens. Thank you!
@@DarrenMostyn I did, that's why I said what I said. Why don't you try what I've suggested? After the conversion to 709 of course, then convert to cineon film log (or aces transform to ADX10), then the film LUT in the same node. Make a second version where they are instead in 2 nodes and then make your compound node. Compare the 2 versions visually and in the scopes, they will be 100% identical. Now change the opacity on the compound node and the opacity of the one node in the other version by the same amount. Compare again, and again they are 100% identical
Well, I'll eat my words - you are indeed correct!! When I designed that compound workflow when I first made my video "How to use film luts" it definitely didn't do that - thats why I made it!! (and every youtuber copied it since!! :)) ) Makes sense - but 100% it never worked back when I made that original FILM LUT video. Thanks for sharing! Nice one!
Thanks for this great info! How would this node tree differ if your using groups and the pre and post node sections? Also a good video idea that I think would be great is the proper way to build looks to be used as luts. What can and cant be used in a lut and a proper workflow for CST and adjustements. Ive had a few people ask me to build luts they can use on set when filming or during the edit before I do the final color grade and I'm never sure if im making them correctly. I dont want to be giving the director or DP a lut whats either innacurate or complete garbage.
Got the same question regarding implementing groups in the workflow. I thought about using it for the look development part to make more consistent changes for a group of shots maybe?
I think I learned more in this one video than I have in a year's worth of watching You Tube videos about Davinci Resolve. Thank you for showing me how it's done correctly by a professional. I'm just starting out and can see that I still have a lot to learn. But with videos like this, I will get there. Subbed.
As always, thank you for the amazing videos you put up! A question: where would you put a Noise Reduction node on this tree? Before the CAM>DWG node, somewhere in the middle or after the DWG>CAM node?
I watched a fairly convincing A/B test of placing NR at the beginning vs the end. Surprisingly, at the end yielded better results. I had always put it near or at the start, on the wisdom that you should denoise before you bring out/exaggerate/amplify the noise with contrast and gain - now putting it at the end to good results. It also has a certain logic; only reduce the noise that is actually there in the (near) final image.
I haven’t yet absorbed all of this though I’ve watched a dozen times, but I’m new to video editing since just November 2023, and I think this has been the single most important and helpful RUclips tutorial I’ve watched in terms of helping me understand what’s really going on. I mean I can hack away like I’m editing a still photo (I’ve been a pro photographer since 2006 so that’s familiar), but THIS is just so incredibly helpful. All these color spaces are quite bewildering and new. So many “ah-ha!” moments here for me. Thank you, Darren!
@@DarrenMostynI’m really coming to understand the importance and value of using a fixed node tree-specifically, that when further modifications are needed, you can count on specific adjustments to always be on specific nodes-the same number every time. So my question on this node tree is, where should I fix problems? What if the exposure (by my own fault) is terrible? Some tutorials might use several nodes just to fix that. I’m sure you encounter that working with bad footage. Where in your node tree do you handle such cases?
So I've downloaded the tree, imported it, but when applied it's just a single node with nothing applied. I have your others that work fine, but this one doesn't seem to be doing anything.
Subscribe to my FREE email list here bit.ly/2RrjvpN for free downloads, including my editors e-book & THE FIXED NODE TREE IN THIS EPISODE and items coming in the future INCLUDING priority information on my 4 day LIVE MASTERCLASSES..
@@DarrenMostyn I tried using Brave Browser and it didn't work, probably because the Built-in AdBlock. When I tried with Safari, it worked well. There's a permission check box that is not shown in Brave. Btw, amazing content! Using parallel nodes is a great tip!
Sir! You have removed ALL my fear of using Davinci Resolve. Every time I open the NLE I am overwhelmed with what the hell I'm supposed to do. This gives an extremely linear workflow to streamline the grading process. It is a fantastic starting point for me and I'm finding myself researching Power windows and Trim. I'm finally eager to learn, again! Seriously... THANK YOU!
Hi Jarrad. Thats really good to know. Enjoy your journey - a lot to learn but do it in bite sized chunks and you dont need to know tha whiol;e application!
I do get some complaints I'm too fast - I just speak this speed and focus on delivering good content - It won't change else I'm not being ME. Glad to hear you are aware you can slow me down on youtube - I get too excited I think! All the best, Darren.
Darren, I’m a professional photographer migrating to video and feel that this is the most critically important material for me to master… if I can copy what you teach here, I’m set. This is the absolute best. I still just barely grasp it (what’s coming in, what’s going out) but I can tell that everything I need is here. this is immensely valuable; thank you!
I've watched a few tutorials as I try to get my head around which node tree to use. I like how you explain the 'why' which many other youtubers skip. You've explained it the best in an easily digestible way.
I just love your videos. I've been producing videos for over 25 years but am always ready to pick up hints and knowledge from other professionals - your videos are a fantastic resource for someone like me that has no formal training but needs to deliver quality and professionalism. Thanks Darren for all your knowledge!
The number of times I have shared this video to answer a question is astonishing! Great work Darren, and thank you so much for what you do for the colorist space. 👊
I believe you can apply the CST and LUT in the same node. The end result is the same as a compound node but without the hassle of opening the compound to make changes.
Great video Darren. One thing that comes to my mind you went from scene referred colorspace (da Vinci wide gamut ) to rec 709 ( rec1886) and again went to cineon and then lut itself was converting to rec709 ( rec 709 colorspace with Rec1886 EoTF) While it will hold because resolve frame buffer is 32 bit per pixel but technically its expanding from smaller to bigger and smaller again thus a double conversion, and it would affect knee if we wanted to adjust something in second last nodes which we do as producer trims without crushing the whole grade. Or this we do if wanted extra punch specific for tv screen which we wouldn’t get in scene referred colorspace but after that we never go back to wider colorspace such as cineon because it would be softened adding film knee.
At 15:28 I got lost. You were talking Warper but suddenly adjusting Curves. I have replayed it multiple times and still cannot follow the continuity/congruity. Is there something missing here? Also, I notice in your videos you rarely refer to Sharpen. Where would you place a sharpen node in this tree. I know that the "order" of nodes makes a difference AND I notice that some color grade tools tend to do just a little sharpening as a "side effect" (e.g.. Primaries seems to sharpen/soften slightly when messing with Shadows & Highlights). Should I add a sharpen node near the end of this template tree? I love this video, but would love to see an alternate version focusing specifically on consumer/action/drone cameras as the the source (yes, I know you did the drone video, but how would your template node tree work with that (DJI) and Insta360 & GoPro, etc. {now you know why I also asked about sharpen node placement haha). As an FYI (so you know your audience reach) I do use Davinci Resolve Studio & Speed Editor. Even though I have low level cameras (not professional). But I would still like to improve the output, if/when possible. thank you.
Ah yes...I did do a change to her dress in warper and then did it in Curves instead and edited it out! ... bad edit - MY BAD!! Sharpen would be near the end if at all. I don't use it often TBH. I rushed this one out to RUclips TBH because of my workload - I had to go into the studio today on my only day off - apologies if it ruined the viewing experience - not my usual attention to detail!
@@DarrenMostyn Good to know. Now I can tell my care givers to cancel that cognitive test, ... as soon as I find my phone. ----- No apologies, it is AOK, because: watching replays actually enhances the viewing experience (and reinforces that content in my internal knowledge base). ---- So ... Primaries: Color Wheels, Mid/Details is a good example of where sharpness/blur can be affected. If you had been given a video that needed sharpness (drone?), would you randomly dabble/test the various tools, or do you have a preferred order/method of applying the various tools?
10 out of 5 stars, sir. I literally felt my colour workflow evolve with this node tree. It would have taken me a long time to learn this 'language'. Thank you for sharing.
This is brilliant. Colour management was always bit of a maze for me. This really gave me a map so I do not get lost in my chaos all the time. Inspired me to watch all of your videos. I am a newbie, so dont fully get lot of the terminology e.g. "gamit", etc. Thank you for doing this.
glad its helping you get the basics - Its all overwhelming - just take small bits and build!! Thanks for finding my channel. See my beginners playlist maybe ?
I've recently switched from PP to DR and discovered this single greatest video on DR nodes and concepts on the internet. Your video on why my "Look" LUTs look crap was also amazingly handy. Your colour space commentary sprinkled through out is most helpful. As an amateur videographer (parent) doing school sports and such, this 1 video has made it so much easier to remain logical in the grade, surprisingly fast and consistent. OMG has it made my efforts so much more consistent. Thank you and hi from New Zealand.
@@DarrenMostyn please do. They are logical and easy to understand. I’ve just dusted off an original Stream Deck after watching an older video of yours.
thanks Darren, I used it for my recent documentary, very clear :) All I did was I added two nodes at the beginning, NR and Sharpehing, in case I needed them
Thank you so much Darren. I have been looking for such a well thought-out node tree for ages. It's like I can finally breathe out rather than having rethink my way into a grade when re-visiting a job.
I can't say enough how helpful your tutorials (especially this one!) have been to someone like me who's new to Davinci! I'll buy you a drink next time I'm in the UK 😊
Thank you very much, Mr. Darren. I hope you continue to create more tutorials to guide us. I also used to live in Brighton and studied at the Film and Screen School there. God bless.
I'm slowly learning how to work color and use DaVinci. I really enjoy your videos and I love the speed at which you talk. Gets right to the point and feeds me the information at the perfect pace. I'm finding your channel very helpful. Thanks!
Thank you so much. I've been watching a lot of videos just to understand the colour space thingy and you're the perfect guy that helps me understand into not just that, but much more. Thank you! Definitely worth the subscribe. Goodbye Capcut!
I downloaded the tree and have explored it quite a lot. BUT it seems to have a problem that I eventually verified. As you know, one can display a CIE scope and show the 709 gamut line (which you use for your work either exclusively or extensively) and P3 which my BenQ EW3270U uses as its only and non-selectable colour space. When I used your tree, and displayed the CIE with both gamut limits showing and selected a clip and used the Offset wheel to drive the colour towards Green, I found the video would not exceed the 709 envelope. I created a new project, one single different clip, color space bigger than 709, outline of 709 and P3 visible, used Offset as before, and SAW VIDEO BETWEEN 709 AND P3! Since I am a newbie, total newbie at the Color page and pretty well all of Resolve, I was rather proud of myself. Only thing is, I have no idea how you introduced that 709 clipping action at the gamut boundary. I tried just about every color space, all exhibited the clipping. q1 Did you do it intentionally? q2 If so, how did you do it? q3 Can it be removed? How?
Thank you for this. I have a question. Why work from the HDR color wheels if your deliverable is Rec.709 Gamma 2.4 and not an HDR deliverable? Is there some misconception of the HDR color wheels?
Hdr colour wheels are for dynamic range, you can use them on any format like SDR or HDR, also for having this tool to work it's max potential you have to set your colour management to davinci wide gamute/intermediate in project settings.
I've used this same project setup on a dozen or more long format projects with multiple cameras. I used the HDR, LOG and PRIMARY adjustments before CST to DWG, as well as within DWG, and then in the Rec709. Each spot affects your shot differently, each shot has different demands. Play with all of the combinations and you will see new ways of manipulating picture in a very clean way, reclaiming shadows and highlights, minimize noise
This is unreal thank you! I made my first commercial video in sony HLG3 this week and struggled through the grading process and didnt really understand the color spaces, this really helped me understand. I was able to grade the footage again in less than 1/10th the time it took originally and it looks EXACTLY like my display now. Its actually annoying.
Thanks Darren. I'm about to embark on a long term project with a lot of action cams (that shoot a weird pseudo-log profile) and a low end drone that only does Rec709, plus an iPhone 15 with Apple LOG and at some point a BMPCC4K so good to know how to set things up so it's all consistent and so I can just drop the BM in later without having to redo everything.
It's so hard to understand but yet so easy at the same time lol. I'm new when it comes to video editing so understanding this will take time but atleast you've broke this down to the point where I can come back and use this video as a reference and not to mention the free node tree ! Thank You so much Darren!
Quick question Darren! At 18:49 you mention Dehancer. Would you use Dehancer, FilmConvert, and/or Halation in the compound node where you have the Kodak film emulation?
I now feel like I know something about color grading! Lots of new concepts, but very well explained. Excellent jumping off point for more learning. Thanks!
Darren is a lifesaver. I am finishing up our first music video and found the answer to all my questions about the color page here. I learned a lot from the training videos and PDF from the Blackmagic website, but Darren's real-life example and step-by-step guide work much better for me. And now this node tree showed up! So cool! Keep doing what you do. Good job by you!
Thanks Darren - this like always is going to be a great help to people out there. I have questioned myself on the tone mapping settings when applying several CSTs. I see some people turn off the tone mapping on camera to DWG but leave on the tone mapping ( yours was set to Davinci ) on the big colorspace to the small colorspace. We can visually see Resolve changing the OOTF forward or inverse. But it's not clear if it clears the tone mapping when not needed or not. I think BMD could clear that up a bit, to make it more obvious. Like if the colorspace is ARRI to DWG maybe it does less tone mapping than if it was DWG to rec709. That's how I suspect it works - but not absolutely sure. All I can do is ask opinions from friends like you. Good episode - of course people can add a text box on the edit page "My fixed Node Tree" and use the unmix before grabbing the Still and then save as a Power Grade for future use and reference. But I imagine that would have added time and made this lesson a bit long ( maybe next time) cheers.
Hi Jim. Thank you as always for your comments - always appreciated! The tone mapping I didn't really cover in this episode as its an episode in itself. as you know I go into detail on this further in my masterclasses, and luminance v Davinci as an option is always worth a try as I recommend. I think the defaults are fantastic for 99.99% of users - those that know what to change are not looking at youtube for help IMO and it would be far too detailed to mention in this video. I want to get viewers excited about using a solid fixed node tree and not get too intimidated with every menu which IMO is mostly good by default! - another episode if demand is there! Thanks again Jim. Darren
@@DarrenMostyn I was referring to using multiple CSTs and having multiple tone mappings. Like I said I have seen ( pros ) turn the mappings to "none" on the camera CST but have it on for the the final DWG to rec709. My comment was wondering if Resolve changes the mappings when not actually needed and then that move that others are doing, wouldn't actually be necessary ( like the OOTF where resolve changes it depending on the color spaces on input or output ).
Personally, I usually leave the tone mapping to default except sometimes when going from 709 to DWG I need to set some headroom in the luminance manually and give it 120 nits or so
It is amazing. It will be a great video if you could integrate the node tree with Film Nitrate or Dehancer. I have already achieved a wonderful grade but wanted to know how to use and where to place them to accurately get the best out of the color page. Thanks for this amazing tutorial. Also the trick of placing the NR before the color has also made a huge difference in correcting the noise and achieving true scenes. Also not to forget the color slice node placement.
I cover Dehancer in other videos and you can see clearly where it goes. I cant give away a node tree for general use that incorporates a paid plug-in - There would be anarchy!
@ thanks for replying. Well haha no I was interested in a video tutorial about the node tree and the use the plugins. I have learned a lot from your videos so thought I’d share what I am struggling at. I had issues using the Film-nitrate Cinematch and the FilmNitrate to work together. Also I have found a slight difference in the Cineon Film Log Method-> Built in Kodak Film Emulation to the Film Nitrate version. The saturation and the wheel adjustment is better on Film Nitrate. But this has been a great learning experience. Keep them coming.👍
@@Flaremax its too deep to explain in a comment chat Im afraid. Yes expect differences between manufacturers of Film emulation end results. Thats normal in my findings. My preferred is Dehancer. The built in kodak Cineon LUT in resolve has been around a long time now and its also different slightly to dehancer - this is manufacturers own interpretation of the white paper I guess.
![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)
Man, you really know your stuff! 🙌🏼
Ive been a professional colourist for nearly 20 years - 14 of which are on DaVinci Resolve.
@@DarrenMostyn How did you get into this job? Colourist isn't exactly something you study at university? Or is it today?
@@21stcenturyscots i studied photography at art college. rest is a long story covered in a few interviews on youtube if you search!
Honestly have been combing the web for 2 years looking for Color help and NOBODY explains it as simply and clearly as you. Cheers to you sir
Appreciated
Without a Doubt…
This is just wow, you know the moment I've started practicing Davinci, The color space transform was a literal nightmare for me, because I never understood it. the Color Management was a great help but I thought that I wanted to everything to be manual and this video just showcased how to do it and it is just purely amazing. Hopefully someday we get to join one of your masterclasses because this channel is a gold mine.
Bonus tip: save this node tree to a Power Grade album to use it across all the projects!
Thanks for sharing Darren! 👍
After finishing your master class I build my own node tree and now my workflow looks much more consistent! ❤
Good tip! Thanks!! so pleased to hear that the masterclass helped you and you are now more consistent!! Share work in my private Facebook group if you like! all the best, Darren.
@@DarrenMostyn sure, will do! ☺️
Thanks again for all the superb job you do for us! 🙏
excellent addition to Darren's node tree tutorial - it was the missing piece! Thanks!
@@johngiatropoulos3848 great to hear! 😊
how you do that?
Darren, you are the master. Hands down the best colorist on RUclips. Thank you for always sharing your knowledge.
Appreciated!
I just wanted to say thank you. It is amazing that you are willing to share what is your professional workflow with the wider community. I find it refreshing just how supportive the DaVinci Community is with such a great group of creators willing to share their knowledge.
very welcome. Appreciated.
Seriously, its a wonderful thing. You've helped me a lot personally. Thanks@@DarrenMostyn
Thank you for giving people the chance to become better colorists. You're a great teacher.
Thank you so much!
Teaching all this and also giving It for free... You are a real legend! Thanks boss!!
Thanks. I enjoy it!! All the best, darren
You have no idea how much you have just helped a “Photoshop” nerd extract his cranium! Now, I get it! Thank you.
Best Node tutorial so far for me. Maybe becuase I've watched many and this one finally broke through. Or maybe because this one is so complete. I can't tell. Regardless, here's my sincere thank you.
THANK YOU!!
You should visit Darren classroom. I did in November 2023 and it was the best thing which I have done by learning colour grading.
Master Class in Colour Grading in 20 minutes. Brilliant. This video resolved the misunderstandings, "tips 'n tricks" and all the other BS found across YT. All the fundamentals in one clean and clear presentation. New sub. Thank you.
Appreciate the subscription Ken. Thank you. Enjoy my well curated playlists too! Darren
Darren, I wanted to let you know since I have adopted your Node tree workflow, my grading has gone from terribly muppet'sh to passable, slowly I get there step by step. A million thanks.
very pleased to hear it!
Seriously can't thank you enough for this guidance. Not enough content like this that's accessible and high quality. Keep at it Darren!
Even though I am familiar with your node tree (I took the masterclass 😊), it is nice to watch in 4K so that I can read everything easily. 👌
Hi. This is not as much detail or as deep node tree as on my masterclass, however it takes the same fundamentals - on the masterclass we go into much more detail about how to adjust each node of course.
Your way of explaining processes is so good. Explaining "why" about each step makes it so much easier to quickly understand a process that initially seems complicated. I am thinking of moving from FCPX to DR, but I was overwhelmed by the UI of the colour panel. Your videos made it so much easier and fun to learn all the basics of colour grading in such a short period of time (a couple of hours). Awesome work, Sir!
1: Where I worked I discussed with some colorist about putting grain at the beginning of the three.
Of course, I'd say it depends on the project, but I do think it's interesting for that it allow the film grain to be affected by the grade just as it would be with film footage
2 : Not a question but my view on an alternative Node three Using Magic Mask :
As an assistant I've to deal more and more with magic mask.
At first it was a pain especially for multiple resolution renders and handles,
but with some colleagues we have found a turn around where we create a parrallel three to the main one, but with no outpout.
In this three we have a first node with a lut or CST and then a bunch of node with magic masks, then once tracked we are just outputting the alpha to other serials on the main node three.
It's very specific, but afterward, you can just be more precise with key or power window and grade while not loosing your magic mask track
If anyone has different insight, experiences or advices I'd be glad to exchange about it
interesting approach - thansk for sharing. Magic mask i avoid if possible - its tripped me up before.
Grain never at beginning for me.
Thanks for sharing @35-4l3x
I also use the magic mask a lot, but when I lose the tracking data It bothers me so much.
Can you tell me more about your approach?
Darren, I come from the world of print and photographic color management and manipulation. I'm an expert in that field, but coming to video I was completely lost-it's like I was a student all over again. I was struggling with Resolve's color panel until I found your channel. This node tree is a real workflow that I was able to grasp after fifteen minutes of playing with it and watching your tutorial. I'm no longer bumbling around-I'm blazing through nodes and footage now making adjustments based on knowledge instead of just turning knobs to see what happens. Thank you!
Best work, state talk, master of davinci 😊
Darren, I just wanted to say a massive THANK YOU. Your generosity and expertise have helped me immensely.
Great to hear! Thanks Alex.
Amazing video Master! Thanks for the info and for the node tree. Cheers
11:40 you don't need to create a compound node. Since OFX are always processed in a node before LUTs, they can be on the same node here
Disagree. You need it. Try it.
@@DarrenMostyn I did, that's why I said what I said. Why don't you try what I've suggested? After the conversion to 709 of course, then convert to cineon film log (or aces transform to ADX10), then the film LUT in the same node. Make a second version where they are instead in 2 nodes and then make your compound node. Compare the 2 versions visually and in the scopes, they will be 100% identical. Now change the opacity on the compound node and the opacity of the one node in the other version by the same amount. Compare again, and again they are 100% identical
Well, I'll eat my words - you are indeed correct!! When I designed that compound workflow when I first made my video "How to use film luts" it definitely didn't do that - thats why I made it!! (and every youtuber copied it since!! :)) ) Makes sense - but 100% it never worked back when I made that original FILM LUT video. Thanks for sharing! Nice one!
Cheers, Darren. Definitely going to try this one!
Thanks for this great info! How would this node tree differ if your using groups and the pre and post node sections?
Also a good video idea that I think would be great is the proper way to build looks to be used as luts. What can and cant be used in a lut and a proper workflow for CST and adjustements. Ive had a few people ask me to build luts they can use on set when filming or during the edit before I do the final color grade and I'm never sure if im making them correctly. I dont want to be giving the director or DP a lut whats either innacurate or complete garbage.
Got the same question regarding implementing groups in the workflow. I thought about using it for the look development part to make more consistent changes for a group of shots maybe?
I think I learned more in this one video than I have in a year's worth of watching You Tube videos about Davinci Resolve. Thank you for showing me how it's done correctly by a professional. I'm just starting out and can see that I still have a lot to learn. But with videos like this, I will get there. Subbed.
As always, thank you for the amazing videos you put up!
A question: where would you put a Noise Reduction node on this tree? Before the CAM>DWG node, somewhere in the middle or after the DWG>CAM node?
I watched a fairly convincing A/B test of placing NR at the beginning vs the end. Surprisingly, at the end yielded better results. I had always put it near or at the start, on the wisdom that you should denoise before you bring out/exaggerate/amplify the noise with contrast and gain - now putting it at the end to good results. It also has a certain logic; only reduce the noise that is actually there in the (near) final image.
I haven’t yet absorbed all of this though I’ve watched a dozen times, but I’m new to video editing since just November 2023, and I think this has been the single most important and helpful RUclips tutorial I’ve watched in terms of helping me understand what’s really going on. I mean I can hack away like I’m editing a still photo (I’ve been a pro photographer since 2006 so that’s familiar), but THIS is just so incredibly helpful. All these color spaces are quite bewildering and new. So many “ah-ha!” moments here for me. Thank you, Darren!
Thanks Peter. Glad it helped!! I work hard to make my tutorials the best. Darren
@@DarrenMostynI’m really coming to understand the importance and value of using a fixed node tree-specifically, that when further modifications are needed, you can count on specific adjustments to always be on specific nodes-the same number every time. So my question on this node tree is, where should I fix problems? What if the exposure (by my own fault) is terrible? Some tutorials might use several nodes just to fix that. I’m sure you encounter that working with bad footage. Where in your node tree do you handle such cases?
@@peterlyonsphoto all that is fixed early before moving on - fixed on one node!
So I've downloaded the tree, imported it, but when applied it's just a single node with nothing applied. I have your others that work fine, but this one doesn't seem to be doing anything.
Same here, and nothing shows when selecting "display node graph" on this for some reason
OK, my mistake. Just fixed. New email will go out to you with fix.
Your tutorials are so much better and more comprehensive than all of the others thank you
Glad you think so!
How do i join your Master Class?
Subscribe to my FREE email list here bit.ly/2RrjvpN for free downloads, including my editors e-book & THE FIXED NODE TREE IN THIS EPISODE and items coming in the future INCLUDING priority information on my 4 day LIVE MASTERCLASSES..
this link doesn't work D: can't put my email on it, always says there's an error@@DarrenMostyn
@@ohyagocastro try a diiferent browser -it works.
@@DarrenMostyn I tried using Brave Browser and it didn't work, probably because the Built-in AdBlock. When I tried with Safari, it worked well. There's a permission check box that is not shown in Brave.
Btw, amazing content! Using parallel nodes is a great tip!
@@DarrenMostyn It's not working on Safari and Brave Browser... What other browser should I use?
Sir! You have removed ALL my fear of using Davinci Resolve. Every time I open the NLE I am overwhelmed with what the hell I'm supposed to do. This gives an extremely linear workflow to streamline the grading process. It is a fantastic starting point for me and I'm finding myself researching Power windows and Trim. I'm finally eager to learn, again!
Seriously... THANK YOU!
Hi Jarrad. Thats really good to know. Enjoy your journey - a lot to learn but do it in bite sized chunks and you dont need to know tha whiol;e application!
looks more like a node bush.
😂😂
Most educational videos I watch at 1.5 speed. This one requires 0.75 speed for me to keep up! Such great info, thank you.
I do get some complaints I'm too fast - I just speak this speed and focus on delivering good content - It won't change else I'm not being ME. Glad to hear you are aware you can slow me down on youtube - I get too excited I think! All the best, Darren.
You are a national treasure to the colorist kingdom, Darren.
Very kind words - thank you for saying. Thanks enjoy the channel - Darren.
Darren, I’m a professional photographer migrating to video and feel that this is the most critically important material for me to master… if I can copy what you teach here, I’m set. This is the absolute best. I still just barely grasp it (what’s coming in, what’s going out) but I can tell that everything I need is here.
this is immensely valuable; thank you!
I've watched a few tutorials as I try to get my head around which node tree to use. I like how you explain the 'why' which many other youtubers skip. You've explained it the best in an easily digestible way.
Glad it was helpful!
Wow...this is one of the best yet! This video really made it easy for me to understand nodes way better then before!! Thanks Darren!!
Thanks! Happy new member to your newsletter as well
Appreciated. Thank yoiu very much and welcxome to the channel!! Check out my well curated playlists if you want a binge!! All the best, darren
I just love your videos. I've been producing videos for over 25 years but am always ready to pick up hints and knowledge from other professionals - your videos are a fantastic resource for someone like me that has no formal training but needs to deliver quality and professionalism. Thanks Darren for all your knowledge!
Glad to hear it! Thanks Simon. Appreciated.
One of the best node tuts I ever seen, and I have paid for some, this one is king. Simple, yet powerful workflow
appreciated, thank you. It works well for me,
The number of times I have shared this video to answer a question is astonishing! Great work Darren, and thank you so much for what you do for the colorist space. 👊
I believe you can apply the CST and LUT in the same node. The end result is the same as a compound node but without the hassle of opening the compound to make changes.
yes you can.
Great video Darren. One thing that comes to my mind you went from scene referred colorspace (da Vinci wide gamut ) to rec 709 ( rec1886) and again went to cineon and then lut itself was converting to rec709 ( rec 709 colorspace with Rec1886 EoTF) While it will hold because resolve frame buffer is 32 bit per pixel but technically its expanding from smaller to bigger and smaller again thus a double conversion, and it would affect knee if we wanted to adjust something in second last nodes which we do as producer trims without crushing the whole grade. Or this we do if wanted extra punch specific for tv screen which we wouldn’t get in scene referred colorspace but after that we never go back to wider colorspace such as cineon because it would be softened adding film knee.
Thats why I use dehancer! Can do all this in DWG.
@@DarrenMostyn thanks for the pro tip. Always
At 15:28 I got lost. You were talking Warper but suddenly adjusting Curves. I have replayed it multiple times and still cannot follow the continuity/congruity. Is there something missing here?
Also, I notice in your videos you rarely refer to Sharpen. Where would you place a sharpen node in this tree.
I know that the "order" of nodes makes a difference AND I notice that some color grade tools tend to do just a little sharpening as a "side effect" (e.g.. Primaries seems to sharpen/soften slightly when messing with Shadows & Highlights). Should I add a sharpen node near the end of this template tree?
I love this video, but would love to see an alternate version focusing specifically on consumer/action/drone cameras as the the source (yes, I know you did the drone video, but how would your template node tree work with that (DJI) and Insta360 & GoPro, etc. {now you know why I also asked about sharpen node placement haha).
As an FYI (so you know your audience reach) I do use Davinci Resolve Studio & Speed Editor. Even though I have low level cameras (not professional). But I would still like to improve the output, if/when possible.
thank you.
Ah yes...I did do a change to her dress in warper and then did it in Curves instead and edited it out! ... bad edit - MY BAD!! Sharpen would be near the end if at all. I don't use it often TBH. I rushed this one out to RUclips TBH because of my workload - I had to go into the studio today on my only day off - apologies if it ruined the viewing experience - not my usual attention to detail!
@@DarrenMostyn Good to know. Now I can tell my care givers to cancel that cognitive test, ... as soon as I find my phone.
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No apologies, it is AOK, because: watching replays actually enhances the viewing experience (and reinforces that content in my internal knowledge base).
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So ... Primaries: Color Wheels, Mid/Details is a good example of where sharpness/blur can be affected. If you had been given a video that needed sharpness (drone?), would you randomly dabble/test the various tools, or do you have a preferred order/method of applying the various tools?
@@_Oregon_Sunday_Drives_360 I have an episode on drone footage. I use sharpen very rarely!! ruclips.net/video/il409rHulr8/видео.html
A perfect explanation for us coming from blender rhino 3d etc who are familiar with nodes. Love it.
Glad it was helpful!
10 out of 5 stars, sir. I literally felt my colour workflow evolve with this node tree. It would have taken me a long time to learn this 'language'. Thank you for sharing.
I've picked up Da Vinci again recently and I wanna say thank you for this tutorial, way easier to be organised!
Glad it was helpful!
Thank you for sharing your experience with us, your art will be reflected in all of us who learn from you.
LOVE that! You just made my evening!! Thank you, Darren.
This video single-handedly transformed my entire workflow. Thousand thanks from Tehran.
glad it helped!
This will be my default node structure from now. I like it systematic and in order. My question is what do you do with HDR node in this tree?
For the past few years. I've always been intimidated by the nodes. NOW I FINALLY UNDERSTAND HOW THEY OPERATE. THANK YOU!!!!
This is brilliant. Colour management was always bit of a maze for me. This really gave me a map so I do not get lost in my chaos all the time. Inspired me to watch all of your videos. I am a newbie, so dont fully get lot of the terminology e.g. "gamit", etc. Thank you for doing this.
glad its helping you get the basics - Its all overwhelming - just take small bits and build!! Thanks for finding my channel. See my beginners playlist maybe ?
I've been working on grading videos for 3 years now and learned so much from this tutorial... Thanks for these great advises, sir👏
Great to hear David. thank you.
I've recently switched from PP to DR and discovered this single greatest video on DR nodes and concepts on the internet. Your video on why my "Look" LUTs look crap was also amazingly handy. Your colour space commentary sprinkled through out is most helpful. As an amateur videographer (parent) doing school sports and such, this 1 video has made it so much easier to remain logical in the grade, surprisingly fast and consistent. OMG has it made my efforts so much more consistent. Thank you and hi from New Zealand.
amazing. Thanks for sharing. Stories like this keep me inspired to do more! Thank you! All the best, darren
@@DarrenMostyn please do. They are logical and easy to understand. I’ve just dusted off an original Stream Deck after watching an older video of yours.
You explained parallel nodes better than most tutorials that I watched in a few seconds... Amazing video!
Glad you enjoyed it.
This has to be one of the easiest videos to follow, thank you so much
Just switched from Final Cut Pro to Davinci. Darren you are the MAN! Thank you!
Great to hear!
thanks Darren, I used it for my recent documentary, very clear :) All I did was I added two nodes at the beginning, NR and Sharpehing, in case I needed them
Thank you so much Darren. I have been looking for such a well thought-out node tree for ages. It's like I can finally breathe out rather than having rethink my way into a grade when re-visiting a job.
Glad it was helpful!
I can't say enough how helpful your tutorials (especially this one!) have been to someone like me who's new to Davinci! I'll buy you a drink next time I'm in the UK 😊
sounds good!
Thank you very much, Mr. Darren. I hope you continue to create more tutorials to guide us.
I also used to live in Brighton and studied at the Film and Screen School there. God bless.
I discovered your channel 2 days ago. You made so many things so clear, you have no ideea. Amazing trainning skills.
Thank you so much for the kind words. i work hard to make my content accurate and concise and from a user point of view - Jm a colourist first!!
I'm slowly learning how to work color and use DaVinci. I really enjoy your videos and I love the speed at which you talk. Gets right to the point and feeds me the information at the perfect pace. I'm finding your channel very helpful. Thanks!
Thank you!
Thank you so much. I've been watching a lot of videos just to understand the colour space thingy and you're the perfect guy that helps me understand into not just that, but much more. Thank you! Definitely worth the subscribe. Goodbye Capcut!
appreciate the subscription. Enjoy the channel, darren
I saved this video to come back to, when I’m in the color grading stage of my first major project in DR. Thank you!
Thank you for this method.
I am currently new to color grading and this layout has been one of the most helpful tutorials I've seen so far :)
Glad it was helpful!
Most Helpful video I've seen so far relating color grading and color correction, thanks a lot mate.
Glad it was helpful!
Thanks!
Thank you for your kind donation! Enjoy the node tree! All the best, Darren
I really, really appreciate your effort! Thank you Darren!
My pleasure!
I downloaded the tree and have explored it quite a lot. BUT it seems to have a problem that I eventually verified. As you know, one can display a CIE scope and show the 709 gamut line (which you use for your work either exclusively or extensively) and P3 which my BenQ EW3270U uses as its only and non-selectable colour space. When I used your tree, and displayed the CIE with both gamut limits showing and selected a clip and used the Offset wheel to drive the colour towards Green, I found the video would not exceed the 709 envelope.
I created a new project, one single different clip, color space bigger than 709, outline of 709 and P3 visible, used Offset as before, and
SAW VIDEO BETWEEN 709 AND P3!
Since I am a newbie, total newbie at the Color page and pretty well all of Resolve, I was rather proud of myself.
Only thing is, I have no idea how you introduced that 709 clipping action at the gamut boundary. I tried just about every color space, all exhibited the clipping.
q1 Did you do it intentionally?
q2 If so, how did you do it?
q3 Can it be removed? How?
Thank you for this. I have a question. Why work from the HDR color wheels if your deliverable is Rec.709 Gamma 2.4 and not an HDR deliverable? Is there some misconception of the HDR color wheels?
Hdr colour wheels are for dynamic range, you can use them on any format like SDR or HDR, also for having this tool to work it's max potential you have to set your colour management to davinci wide gamute/intermediate in project settings.
This was amazing!!! Thank you for sharing with us!!
You are so welcome!
I've used this same project setup on a dozen or more long format projects with multiple cameras. I used the HDR, LOG and PRIMARY adjustments before CST to DWG, as well as within DWG, and then in the Rec709. Each spot affects your shot differently, each shot has different demands. Play with all of the combinations and you will see new ways of manipulating picture in a very clean way, reclaiming shadows and highlights, minimize noise
Thanks!
thank you for the super thanks!!
Best video about building a node tree. Thank you... But I think that the iPhones works in Rec 2020 - HLG... something like that
This is unreal thank you! I made my first commercial video in sony HLG3 this week and struggled through the grading process and didnt really understand the color spaces, this really helped me understand. I was able to grade the footage again in less than 1/10th the time it took originally and it looks EXACTLY like my display now. Its actually annoying.
You just put me in the game! Thank you!
Thanks Darren. I'm about to embark on a long term project with a lot of action cams (that shoot a weird pseudo-log profile) and a low end drone that only does Rec709, plus an iPhone 15 with Apple LOG and at some point a BMPCC4K so good to know how to set things up so it's all consistent and so I can just drop the BM in later without having to redo everything.
this workflow will work well for you. Hope it goes well for you.
Thank you, Darren, for sharing. This is priceless to get advices from pro.
You very welcome
It's so hard to understand but yet so easy at the same time lol. I'm new when it comes to video editing so understanding this will take time but atleast you've broke this down to the point where I can come back and use this video as a reference and not to mention the free node tree ! Thank You so much Darren!
Quick question Darren! At 18:49 you mention Dehancer. Would you use Dehancer, FilmConvert, and/or Halation in the compound node where you have the Kodak film emulation?
No, instead of! One or the other. Dehancer.
@ Correct! But that’d be the correct node location to place one of those? (Including halation)?
@@InventiveImagery near the end is good.
@ after the conversion back to 709? Sorry! 😆 just want to be certain. Noob question
Köszönjük!
Appreciated - thank you my friend!!
I now feel like I know something about color grading! Lots of new concepts, but very well explained. Excellent jumping off point for more learning. Thanks!
Glad it was helpful!
This looks like a great find! Note for Mr Mostyn, I'm getting an error when trying to subscribe to your mailing list "There are errors below"
OK, thanks. Mailing list is working at my end, try another browser maybe ?? All working here.
Darren is a lifesaver. I am finishing up our first music video and found the answer to all my questions about the color page here. I learned a lot from the training videos and PDF from the Blackmagic website, but Darren's real-life example and step-by-step guide work much better for me. And now this node tree showed up! So cool! Keep doing what you do. Good job by you!
Glad to be helping!
Incredibly well done tutorial, big thank you
You're very welcome!
Thank you! Where should be Denoise Node placed - in first node after CST (CAM>DWG) or before CST?
at the beginning.
@@DarrenMostyn before CST, right?
no after CST
@@DarrenMostyn thank you
This is amazing! I keep coming back to this tutorial. Thank you so much for this! Could you make more videos about this node Tree?
Thank You! I just applied this to a project and I'm happy with the workflow and the result, this information is worth gold.
I had to refer to the Davinci forums for F-log and use ACES transform first then ACES to DWG/DI I used your node tree after though!
Hello mate, this was a massive help.. lots of confusing colourspace stuff simplified.. I can now get to work in the right way.
Thanks Darren! Your contents totally helpful for beginner colorist like me. I've learned a lot by watching every video you posted. Much appreciated!
You are so welcome!
I'm very new to this space, haha, but your videos have done a TON to help me in a relatively short amount of time. Thank you thank you!
You are so welcome!
Thank you for this. This makes way more sense than what I read. Now I just gotta figure out how to fix underexposed video!
best video ever thank you, very well explained and straight to the point.
Thanks Stephane
Thanks Darren - this like always is going to be a great help to people out there. I have questioned myself on the tone mapping settings when applying several CSTs. I see some people turn off the tone mapping on camera to DWG but leave on the tone mapping ( yours was set to Davinci ) on the big colorspace to the small colorspace. We can visually see Resolve changing the OOTF forward or inverse. But it's not clear if it clears the tone mapping when not needed or not. I think BMD could clear that up a bit, to make it more obvious. Like if the colorspace is ARRI to DWG maybe it does less tone mapping than if it was DWG to rec709.
That's how I suspect it works - but not absolutely sure. All I can do is ask opinions from friends like you.
Good episode - of course people can add a text box on the edit page "My fixed Node Tree" and use the unmix before grabbing the Still and then save as a Power Grade for future use and reference. But I imagine that would have added time and made this lesson a bit long ( maybe next time)
cheers.
Hi Jim. Thank you as always for your comments - always appreciated! The tone mapping I didn't really cover in this episode as its an episode in itself. as you know I go into detail on this further in my masterclasses, and luminance v Davinci as an option is always worth a try as I recommend. I think the defaults are fantastic for 99.99% of users - those that know what to change are not looking at youtube for help IMO and it would be far too detailed to mention in this video. I want to get viewers excited about using a solid fixed node tree and not get too intimidated with every menu which IMO is mostly good by default! - another episode if demand is there!
Thanks again Jim. Darren
@@DarrenMostyn I was referring to using multiple CSTs and having multiple tone mappings. Like I said I have seen ( pros ) turn the mappings to "none" on the camera CST but have it on for the the final DWG to rec709. My comment was wondering if Resolve changes the mappings when not actually needed and then that move that others are doing, wouldn't actually be necessary ( like the OOTF where resolve changes it depending on the color spaces on input or output ).
Personally, I usually leave the tone mapping to default except sometimes when going from 709 to DWG I need to set some headroom in the luminance manually and give it 120 nits or so
Best CST/node explanation I've seen. And, I'm going to use this tree. Thanks!
enjoy using THE best node tree there is!
Bedankt
Thank you Paul. Appreciated. Darren
Im just a week using Davinci and this video has been very helpful. Thank you ❤
Glad it was helpful!
Man this node tree is a game changer ! Thanks ! love that Kodak Film look
It is amazing. It will be a great video if you could integrate the node tree with Film Nitrate or Dehancer. I have already achieved a wonderful grade but wanted to know how to use and where to place them to accurately get the best out of the color page. Thanks for this amazing tutorial. Also the trick of placing the NR before the color has also made a huge difference in correcting the noise and achieving true scenes. Also not to forget the color slice node placement.
I cover Dehancer in other videos and you can see clearly where it goes. I cant give away a node tree for general use that incorporates a paid plug-in - There would be anarchy!
@ thanks for replying. Well haha no I was interested in a video tutorial about the node tree and the use the plugins. I have learned a lot from your videos so thought I’d share what I am struggling at. I had issues using the Film-nitrate Cinematch and the FilmNitrate to work together. Also I have found a slight difference in the Cineon Film Log Method-> Built in Kodak Film Emulation to the Film Nitrate version. The saturation and the wheel adjustment is better on Film Nitrate. But this has been a great learning experience. Keep them coming.👍
@@Flaremax its too deep to explain in a comment chat Im afraid. Yes expect differences between manufacturers of Film emulation end results. Thats normal in my findings. My preferred is Dehancer. The built in kodak Cineon LUT in resolve has been around a long time now and its also different slightly to dehancer - this is manufacturers own interpretation of the white paper I guess.