Thank You James, Glad you liked it. Pleasure to work on such a great shot. I'm doing a live stream tonight at 7pm if you are about ? Else, catch up soon! All the best.
@@DarrenMostyn Any thoughts on a good set of monitors? I've got a mix (LG, BenQ) and find it difficult to calibrate the four monitors to match. My thought is to purchase 3 new monitors but the options are difficult to wade through. I notice you don't have any videos on this topic and would love the opinion of a master like yourself. Many thanks.
RUclips algorithm needs to promote pros over these hobbyist "content creators". This is gold and loads more educational than the other videos that come up first.
Coming in late to agree with Brandon! This content is incredibly valuable - the WHY is so so important and I love that you cover the what and why with context! Makes everything you do so applicable to footage no matter what. Thanks, Darren!
I'm a licensed design and construction professional - not a professional filmmaker. Call me a hobbyist or whatever you want but film documentation is required for my work and I'm very grateful anytime Darren, Patrick, and Alex come up on my algorithm.
Agreed. RUclips is becoming increasingly unusable as it is dominated by ‘wannabes’ noisily sharing their ignorance. Oh to be able to quicky identify the Darren’s of this world who truely add value!
In my daily routine as a beginner colorist , I myself ask this "How many videos of Darren you gonna watch today?" each day I feel like I am being enlightened in resolve just by watching your videos, from here I am also gonna carefully observe the image and work on the small tweaks that gives a huge impact, lots of love sir ❤.
Darren, I find this by far the best color grading tutorial I've ever seen. Thank you so much! To acchieve even seemingly comparable results in Premiere, you'd need a whole bunch more of time and... you'd be probably just limited by the Lumetri's given shallowness.
Your channel is a gift, thank you to share all this amazing stuff and experience to us ! I'm in difficulty in a production (for French TV), i find the solution in your channel thank you so much 🙏
Nice vídeo! I have just get a Bmpcc 6k pro and i'm an absolute begginer in Davinci, but I really want to get the best out of the camera, and this material is so helpful! Thanks very much
This felt like i took the red pill and the rabbit holes gets deeper each episode, thanks so much for this video. Learnt more in the 21 minutes than I have in the last 21weeks of research. I am new to colour grading but your videos have been a lifesaver. I no longer use LUTS and only use my own creative style from base.
This is really good Darren, the evolution of this channel is quite exciting to witness. You have me questioning some of my workflow though. I have a feeling it might just be two different ways to get to the same point. I tend to decide what to qualify and add the power window first, and then qualify. And with anything that is dodging or burning that is attempting to relight, it seems to look better to me when it is not tracked. In your scene though it wouldn't probably make a difference, but when it is someone's face and the light is supposed to be a light ( from the sun or a practical), it starts to look like a follow spot when someone walks around and the light follows that person. But I guess camera movement and people movement are different - gets a little sketchy when both are happening simultaneously. But my goodness, I appreciate this so much right now, I can't imagine how much I would have appreciated this great tutorial if I had been a new user. I would guess that I would be watching it over and over. Can't wait for the next one- excellent job as always. cheers
Hi Jim. Thank you once again. Always good to hear from you. Yes, i dont always track when Im creating light - What I did in this episode needed tracking but in your example if I was creating say window light on a face I would decide on the day if needed tracking. Tons of softness. I often put more than I did here. I'd like to do more like this - this was what I wanted to do for ages so I'll do more in the coming months. See you Monday ?
Good video. Please make more of this kind of videos "what goes on in your head when you are colour grading". Thanks. By the way I really liked the "ZEE" joke!
the zed bit was hilarious. I actually watched an unrelated tut on 3d and the (obviously American guy) said "zed" all the time, but messed up and said "Z" a few times.. was too funny. thanks as always for the tut. amazingly clear and super helpful. one question for you, what's your advice for someone who does minor amounts of color grading on 10bit, in regards to control surfaces. contemplating on buying a ripple tangent. thanks!
Hi Teddy. Yes the Z thing is a tough one when youve watched so many american youtubes! control surface - they are so worth the money so get best you can affird, the davinic micro is miles better than ripple but ripple miles better than none - hope that helps - budget up to you!
@@DarrenMostyn Well, I'm delighted to be signed-up to your list (sincerely!), but I am still not finding ... Hah! You beat me to it! Nice job, mate! Thanks for your thoughtful work.
@@jonesfotodirector The sign up will send you an automated reply which contains a link to the node tree. Maybe it went to your spam..? Hope that helps.
Awesome stuff. That color compressor technique is sick. It would be really insightful to know why do you prefer DaVinci YRGB Color Managed with DaVinci Wide Gamut over some ACES flavour. Thanks man!
Its what Im used to . Personal preference. Ive been on DaVinici Resolve for 10 years now - Aces wasnt there for the beginning and I've just got used to it. It is no better or worse to use ACES workflow.
Hello, congratulations, good video, I am a new subscriber, I see that you use Apple, I would like to know what is your recommendation, what type of computer do you use and what are its ran and speed specifications, I also use mac but it does not work 100% with the new update. it is very slow
Hello Gabo. My full spec of my old and new mac pro are in this video. Ive been using this machine for well over 18 months now and its great. ruclips.net/video/ZzYSTDRX70Y/видео.html
Hey Darren, does this updated color management not work with all footage? I tried it on some footage shot on the A7S III with slog3 and sgamut3.cine and saw almost no change. Edit: Never mind, just found your comment below to another viewer with a similar question! Thanks for the great video!
Hi Darren. This was incredible, your video’s really are in a different league (dare I say the Premier League no lets go for The Champions League). A Pro Colorist insight, is a great theme title for future videos like this please do keep them coming. One thought though, perhaps an insight into your actual jobs Commissions would be great, plus to help you possibly the client would be willing to sponsor the video, after all any extra advertising is a good thing right. One last thought, perhaps you could record your screen as you work, then selecting an excerpt from the video and recording a commentary. Thanks for your time Darren stay safe mate
Hi Andrew. I have used a commercial before in my channel - The taxi stuff was a commercial. There is a music video too, but yes would like to. I worked on a fantastic drama recently shot on Arri - I will speak to the producer and see if they don't mind. I'll try to find some more work. Its tricky to get permission and also I like to keep most of my clients separate from my RUclips just professionally. I have a few clients who have become good friends over the years so they are OK with it. Good idea though - thanks for contributing. All the best!
@@DarrenMostyn Hi Darren. Yes I know great videos, the episode helping with Motion Tracking was absolutely brilliant. You are obviously someone who is extremely creative and in high demand within your chosen profession, (the industry if you like). If and when the world gets back to some kind of normality, understandably you’ll be incredibly busy again. My thinking was perhaps that old Two Birds, One Stone analogy would help balance between your professional career and continue sharing your insightful knowledge with the community. Thanks again for your valuable time Besides you must be knackered, commuting every day from Canada
Hello Darren. I stumbled on to your videos on youtube about a week ago and I have to say that I enjoy them very much. I was a dailies colorist for ten years and now a finishing colorist for the past five years. Seeing how other colorists approach their work and use their tools never gets old for me. I'm always trying to learn. I've been extremely fortunate to have had the opportunity to sit in on sessions with some of the top colorists in my profession and learn from them over the years. I think it's fantastic that you make these videos and share your knowledge with anyone who wants to learn. I've already taken some of your techniques and played around with the footage from a show I'm currently working on in my spare time. It's been fun. Keep up the good work.
Thanks Carlos. Really good to hear about your experience and background. Plenty more coming when I get a free break from grading!! Busy at the minute but I have next episode lined up!! Have a good weekend, Darren
Really helpful video. Thanks so much! Could you explain your process for creating the final grade comparison shots (21:03 and on)? I can think of a few methods to do this, but it's likely you have a simplified approach to accomplish. Thanks again!
Hi Darren! Great video, very informative. I heard from one of your videos you use a tablet instead of conventional mouse, could you please do a video on how you use and setup your tablet for being more precise in Resolve? I bought a tablet myself too and I’m struggling a bit getting used to it. Thanks in advance, have a nice day ;)
I loved learning about the Color Compressor. I just learned about a new tool. I'll need to start to play around with the Color Compressor to make skin tones match in the future. You're such a good teacher.
be very careful with it - I dont use it as go-to for skin. Good for 'blotches' or as in this instance with sunburn. You lose the depth of skin features - but it is a fantastic tool (always blend it). Thanks for the kind words. Im live on Monday at 7pm GMT if you are around.
Thanks for the insightful video. I had a problem when viewing HLG3 footage on DaVinci Resolve Studio 17 that while monitoring it looks like having a bit of green shade to it. Now changed color processing mode to "HDR DaVinci Wide Gamut Intermediate" and the footage looks perfect in SDR for reference video inside DRS17 minus the accuracy of having a dedicated, professional HDR reference monitor. I don't have the budget to afford one now but planning to in the future, or maybe a 42" Sony A90K OLED TV for a budget solution. I'm using a bit old, 2016 HDR 4K TV that I should replace in the near future. Out of curiousity, do you have a video on how to transform S-Log3 into HDR? Despite I'm not quite sure that Rec.709 is ideal for that vs Rec.2020 which is more future-proof. Not bothering with P3-D65 as it looks horrendous in SDR vs Rec.2020 that looks acceptable in SDR. Maybe I did something wrong? But even without grading P3-D65 looks quite pinky/reddish in SDR, reminds of of iPhone footage in Rec.709 display as I assume most people on iPhone use P3-D65 by default. Also what's your take on "Scene referred" vs "Display referred"? Seems like when set to Rec.2100 HLG (Scene) I have more flexibity to reach up to 1000nits, but with Rec.2100 HLG (without a tag, which is display referred I assume) it seems to cramp details at around 10% off 1000nits and 0nits blacks.
as usual awesome video! I am using the 17.4.2 version, latest as of 12/8/21.... And after selecting "Davinci YRGB Color Managed" for Color Science on the project settings, the next dropdown is "Color Processing Mode" which I guess is the same as "Davinci Color Processing Preset" as show in this video? If so,the choice in the dropdown has "HDR Davinci Wide Gamut Intermediate" not just "Davinci Wide Gamut" as show in this video... Is it safe to say these 2 new choices are the same as whats in the version of Davinci used in this video? Just changes in wording? Thanks!
Hi Darren! Would you ever consider doing an edit for N-Log? since the new z-9 is out with 12bit Raw video I think it could be good! Not much good quality stuff on it out there at the moment. Also, absolutely love this page. It helps so so much, thank you HEAPS.
Another great Video Darren. I have just got to grips with using the default Davinci color space, with REC709 and a CST for my Sony A7S iii. Would you recommend this way of working due to the better highlights/lowlights range? Also, regarding Tracking a Sky, and I will try to find this on RUclips today in the meantime, but what if you are moving your shot up a Tree for example, so you put the area in, but if I track forward as the Camera shot moves up to the sky, I can't seem to work out how to make that Power Window move with it, it seems to just stay where it is. Probably a real Rookie question, but I can't be the only one with this challenge :) hope you are well and thanks.
Phanatastic!! Me as a newbie in DVR-Colorgrading I must admit, that Ii almost didn’t unterstand anything an know it’s still a lot of work to get some results. But I am sure no one can explain better and more compressed, understandable than you :-)
Darren, thank you for this great insight. I loved to see you use quite a few things I've been using a lot of times like the color compressor for skin tones, it can do wonders if used carefully. Overall great use of only a few simple techniques that still results in a great impact without making the image look artifical or overdone. I hope to see more insights like this in the future. There are way too many videos out there just going for broke with the looks instead of trying to keep the original intent of the DP intact. Would love to see an insight about camera matching and / or shot matching and how you go about that. So happy I followed your journey from the killer tips on facebook to now being an awesome creator here on youtube. I know how hard it is to keep the algorithm happy and to having to post regularly while still keeping the quality up. All that of course while actually being a working colorist and a family man. So all the respect and thank you for doing this. It is appreciated, your growing subscriber base is reflecting that :)
Really appreciated - thank you for the kind words. I had my first negative comments on a facebook page (not mine) yesterday which really put a downer on the RUclips experince - made me realise just how much hard work this is to do. But, I woke up today to another ton of positive messages so onwards!!! Thank you for following my journey - wish I'd started on RUclips instead of the app and then Facebook, but loving the new journey!!! Ive not cracked the algorithm yet....Im looking at numbers on other channels and Im not getting seen yet but it is certainly growing at an amazing rate. Nearly 13K in just over 6 months is crazy. Work is much busier now than it was last summer so Im going to have to do a few shorter episodes soon but I'll keep them informative. Speed editor Live Monday 7pm GMT if you are around. Thanks again, have a good rest of the weekend. all the best, Darren.
@@DarrenMostyn Thanks for the reply! The live event is already in my calender, hope to be able to attend. And regarding the negative comment, don't get discouraged, it's just not worth it, even though it's hard. One bad comment weights heavier then a thousand positives. And like you say, your channel groth is outstandingly great considering how young this channel is. And specific channels like yours aren't prone to viral success due to the nature of the topic. I still believe quality and actual knowledge of the craft will make this channel a success in the long run. There are too many channels out there with no actual working knowledge. Have you considered maybe doing a few videos here and there about your job and things you encountered during your career as a colorist that might be worth sharing? If that's possible without breaking any contracts or NDAs ^^ I think that might be of great value for aspiring colorists to hear and I imagine it would be easier to produce during the times you don't have much time to produce content for the channel. Anyways keep up the great work! Regards, Heiko.
@@DarrenMostyn You are far too talented to be tilting at windmills. Leave the comments alone: you won't gain much from the positives, as the work itself is always the thing. And you stand to lose considerably from the negatives. Not worth it.
This is one of those videos to which you have to periodically come back to to align with the thoughts of a pro, which should on every instance of a rewatch nudge you in the right direction to which you are supposed to go in respect to proper color grading. Wow, I used "to" seven times in this sentence. I must be mentally sideways...
There's a reason I keep this video on top of my playlist of film tips. With so much information from a lot of other professionals, the abundance of conflicting info can get overwhelming for beginners like me. Luckily this brings it all back. You, Cullen and Casey are my favourite tutors on the platform. Thank you for what you're doing.
Question about the color management you're doing here. the footage you're using from sony fs6 which isn't raw unless recorded externally... if your footage is non raw log shouldn't you still need to do a color space transform for better accuracy? resolve color management doesn't know what color space you're using unless its raw.. I'm also trying to solidify my color management understanding so any clarification will help me understand it better. Thanks Darren
Another Excellent Video, However in March 2022 in 17.4.5 Build 7 on windows the menu has changed somewhat to "HDR Wide gamut Davinci intermediate" so I am choosing "Automatic Color management" and choosing "SDR" any thoughts ?
Excellent information and insight into color grading. Thanks. I was just wondering however, if I'm shooting for example a man walking through a forest with continually changing light, how could I possibly make these changes for the whole scene. It would take weeks I should think! And if I break up the scenes everytime the light changes, how do I get them to match?
You can color grade on adjustment layers and make separate grades on several adjustment layers for different lightconditions in the same long shot. Then blend them into each other with the opacity slider on the video bars
Really enjoy your tutorials, Darren. I particularly enjoy your "How to grade XXXX" stuff. You've done S-Log and Sony A7.. how about showing us how you grade R3D?
Personally, I don't rate this very highly as a "pro" colorist process. You've got lots of money to buy lots of fancy gear, and good for you. But you spent zero time on The "Sony-ness" of the footage, and what that means; the reasons/pros/cons of working in the wide gamut space; what the creator of the shot might have been after with a look or vibe; how the shot might have to work with the rest of the movie. It's just "let's make this look subjectively pretty" - more like a Lightroom tut than a real-world film colorist example. How is the Sony handling skin tones? How do they sit with the rest of the film? How do they compare to RED skins and ARRI and BMD? What should we be wary of? How shall we get back to 709 from the wide gamut? What's the deliverable? And, personally, the use of glow is just bizarre? You gonna put a glow on the whole movie? All too subjective and not like a real world gig. Maybe spend some time watching some Juan Malara tutorials and workflows, to see how the science should precede the art.
Sorry this one not to your liking. It's pretty rare on RUclips you'll find any Pro colourist giving away their 'creative' thought process (by Pro - I mean I've earned a living from this professionally as a broadcast colourist for about 15 years) This is my process - no client here - if they dont like the glow I'll take it off and if it works and there is time I would put it on the whole sequence. There are tons of channels going into the science - but who is showing you how they think and approach a shot and why? The explanation of wide-gamut is given in the first minutes and has been mentioned in quite a few of my episodes since V17. There is no deliverable - its me playing with a shot, however I mentioned its in REC709 Gamma 2.4. This was not meant to be a comparison video to Red etc. - I can do that if it's requested enough. I have to balance different camera formats every day - I understand the science. Juan Malara's channel is excellent. Your points all taken on board - thank you for taking the time to let me know.
why don't you use Davinci wide gamut as your color management preset instead of Rec709? I am asking out of sincerity because I am pulling my hair out haha
Hey Darren. Thank you so much for your Video. Very intresting. My Problem is now, that when i apply a lut in the end of my nods the picture looks like i only apply the lut with no basegrade. Pleas can you help me?
Really enjoyed this Darren. Seeing the process was very helpful especially the why behind doing each of the steps. Can you explain ‘Printer Lights’ further? Is it just an official term for pushing the colours into the various tonal ranges? I’d read it was from old film processing days...bit how does this work in modern day grading?
Hi Alex. printer lights are represented by the Color Bars page (not color wheels) and are the RGB channels in offset. Also you can use 1/4 and 1/2 printer lights in the Color menu. They are for global adjustment in all tone ranges. Hope that helps.
why my colour management doesn't efect anithyng in my resolves, i was follow this video correctly but i just don't know how it works my video still in flat colour , this colour management just effect for studio version or it's efect also on free version ? i shoot in F-log btw
its on free version too. Right click the clip and choose REC 709 if unsure on INPUT COLOR SPACE. This is only active when you are in DaVinci Color managed. Watch this video - might be easier for you. ruclips.net/video/CtSBVKmHkjU/видео.html Hope that helps. All the best, Darren
Great video and thank you for taking the time to share your knowledge. I'm not sure if anyone else mentioned this, "Davinci Wide Gamut" is not available on my end. I only see HDR Davinci WIde Gamut Intermediate. Are they similar? If not how do I get that preset if its not currently available. I am currently on the latest Resolve. Thanks in advance.
hi daryl. yes they are the same, the color management has changed quite a lot since this episode...I'll try and get a similar episode out soon using updated techniques. thanks
Great Video, but i have a really important question which you dont adress: How do you export for youtube ? If i use the same setting you do my YT exports never look as they look in My Viewer. Its so frustrating and I cant find a proper solution in the web... Using a Macbook pro 16 inch with a Hardware calibrated Benq
Hello Luke. I haven't done an episode on exporting to RUclips ? Which episode have I not addressed it in - confused ? The S-log one I dont even do into delivery page?
@@DarrenMostyn first of all thank you for answering. Next: sorry for the misunderstanding, I'm kinda more asking if you have a solution, then adressing that it is missing information in the video. Love the grading and understood all of it , but how do I get it to look the same when I upload to yt. Or don't you have any problems with a gamma shift after uploading. ?
@@bigbangboo Hi Luke. Oh I see what you meant now. I haven't covered this as a youtube episode at all, but it is really well documented in the manual and on many forums. Have a look a the blackmagic design user forum or some of the facebook groups. Also Dara covers it here (not on my channel) but this is what you need to know. ruclips.net/video/0dLM7D-flH4/видео.html Hope that helps (until I make an episode on it anyway!!).
hi Darren! thanks for sharing this exellent video, could you explain how to expose correctly a shot? when use contraste or just the log weels... etc? thanks a lot
Thank you for your videos! You have made my introduction to Resolve much easier than it would have otherwise been. I have really enjoyed your clear explanations and very useful tips. These are excellent learning resources!! One question I have here though is do I need to have the paid ‘studio’ version to get the Davinci Wide Gamut option? I don’t seem to have this in the free version. I am learning to grade s-log3 from the A7SIII, for context. Thanks again!
Hi! Thank you very much for your videos! Very useful. I have a question (i'm not a colorist, sorry!). You isolated part of the image with the Qualifier to edit the face's skin tone. Then you made a mask, and you also applied the Color Compressor to match the face's skine tone with the back's skin tone of the subject. If you only applied the mask and the Color Compressor (not the Qualifier), would you have had a similar result? Or less refined? Thanks :-)
Good Afternoon Darren. Thank you so very much for this insightful tutorial. It looks amazing. I was hoping you could answer a question for me. I noticed when you changed the Colour Science in the beginning of your tutorial in Master Settings, your log footage automatically changed from log to Rec.709. I shoot in S-log3 on a Sony A7IV. When I change my colour science from YRGB to Colour Managed, with the output colour space in REC.709, and click save, the video stays in that flat log format. Do you know what I am doing wrong? Thank you so much for your time.
@@DarrenMostyn thank you so much for your message. For some reason, when I do that, it absolutely crushes the shadows, and the scene is almost completely dark. Thank you for your time though. I will just use the colour transform effect for now. Keep up the excellent work.
Im testing, playing, breaking and evaluating! thats the only way to do it. Ive not decided yet but likely going FULL colour managed moving forward due to this NEW feature.
Thank you Darren, this helps so much! Decided to switch to Davinci Wide Gamut. Is there any chance to "translate" Powergrades and grades done in the rec709 Space to wide gamut? Thanks in advance, stay safe!
I don't recommend changing timeline colour space once you have started grading. For old power grades you should probably use a CST to get them into Wide Gamut but it depends how you have created them to start with. The system is colour space aware so can work, but be careful.
Hey Darren, this is one of the wonderful videos. Your videos always add value to me. As a beginner, looking at pros grading footage teaches a greater way to approach results. Thank you very much!
Glad it was helpful! Sorry Yash - I thought I answered this one already...but now appears as not answered. Let me know if you have had a response from me already! But anyway, Thank you - appreciated!
Thank you so much Darren. Your videos are absolute gem, each one of them. What sets you apart from others is that you don't just tell us what to do, but show us why to do that. You explain the importance of each step which helps understand for a lot of us. It's little things like that which changes everything. Never change your style Darren. You are a rockstar!
Glad you recognise that and it is the only that way can I teach people what I'm doing and it work on your footage. If you dont know WHY to do it I dont see the point. Copy cat style is not going to work on your footage so I don't get those tutorials TBH. But a lot of people like those so who am I to say. Thank you Adheesh and hope to see you on my live on Monday!
Thank you! Didn't know about the Color Compressor effect aka skin tone wizardry. I find it really hard getting good skin tones. The purple/magenta hue is haunting me.
A couple of questions: is this your standard node configuration for every job? (if not, do you use a standard structure to start from?) Are you using other scopes in another screen or do you work from the Waveform scope exclusively? Candidly, I can't use just the Waveform for balancing shots, I've got to use the Parade and Vectorscope. Great work. If you want a suggestion: Basic Workflow and node structure
I have several fixed node trees depending on the type of job. Documentary grading for broadcast is very different workflow to commercials or music promos. Yes, I have dedicated scopes on a separate monitor. See them here ruclips.net/video/c7z1jR7eA0U/видео.html
@@DarrenMostyn Thanks. Are you planning on doing a video about your standard node set up / starting points? This was a great video since we got to see your process all the way through. Keep up the great work.
You said Zee, because you were inside an American :) Joke aside. This tutorial is literally the best I've seen. So clear and no nonsense, straight to the point.
Interesting workflow. Liking the look of the wide gammut if you can push the gain and lift further without it being crushed. Gret vid, will check out the rest of your stuff. Been Following Waqas Qasi but nice to see a different approach so I can figure out what works best for me.
![Watch these 25 mins to FULLY Understand Color Management [Beginners Guide]](http://i.ytimg.com/vi/AAeZKZ5feGA/mqdefault.jpg)
![How to use the Resolve Color page for NEWBIES - [from a PRO]](http://i.ytimg.com/vi/QeL1TJdqVRY/mqdefault.jpg)
Lovely stuff mate! Really made that colour pop. loved watching your process 👊
Thank You James, Glad you liked it. Pleasure to work on such a great shot. I'm doing a live stream tonight at 7pm if you are about ? Else, catch up soon! All the best.
@@DarrenMostyn ll
@@DarrenMostyn Any thoughts on a good set of monitors? I've got a mix (LG, BenQ) and find it difficult to calibrate the four monitors to match. My thought is to purchase 3 new monitors but the options are difficult to wade through. I notice you don't have any videos on this topic and would love the opinion of a master like yourself. Many thanks.
RUclips algorithm needs to promote pros over these hobbyist "content creators". This is gold and loads more educational than the other videos that come up first.
Trying my best - its a tough algorithm to beat! Appreciated.
Coming in late to agree with Brandon! This content is incredibly valuable - the WHY is so so important and I love that you cover the what and why with context! Makes everything you do so applicable to footage no matter what. Thanks, Darren!
I'm a licensed design and construction professional - not a professional filmmaker. Call me a hobbyist or whatever you want but film documentation is required for my work and I'm very grateful anytime Darren, Patrick, and Alex come up on my algorithm.
My thoughts exactly, while I was watching Darren do his magic.
Agreed. RUclips is becoming increasingly unusable as it is dominated by ‘wannabes’ noisily sharing their ignorance. Oh to be able to quicky identify the Darren’s of this world who truely add value!
In any of your cideos i learn small and big details others dont cover. You are amazing.
thanks
In my daily routine as a beginner colorist , I myself ask this "How many videos of Darren you gonna watch today?" each day I feel like I am being enlightened in resolve just by watching your videos, from here I am also gonna carefully observe the image and work on the small tweaks that gives a huge impact, lots of love sir ❤.
Darren, I find this by far the best color grading tutorial I've ever seen. Thank you so much!
To acchieve even seemingly comparable results in Premiere, you'd need a whole bunch more of time and... you'd be probably just limited by the Lumetri's given shallowness.
Yes - much easier in Resolve
Your channel is a gift, thank you to share all this amazing stuff and experience to us ! I'm in difficulty in a production (for French TV), i find the solution in your channel thank you so much 🙏
Thank you kind words. All the best, Darren
oh thank you so much
Great video again Darren. Great that you get straight to the point. You must get sick of answering peoples questions though!
I never tire of answering questions - is this a test? 😉
Thank you. I am one rung above a novice but find your videos really easy to follow.
Glad you like them!
Thanks for your ZED correction!
Download my Node Tree FREE here @t
Nice vídeo! I have just get a Bmpcc 6k pro and i'm an absolute begginer in Davinci, but I really want to get the best out of the camera, and this material is so helpful! Thanks very much
Glad it worked for you. All the best
This felt like i took the red pill and the rabbit holes gets deeper each episode, thanks so much for this video. Learnt more in the 21 minutes than I have in the last 21weeks of research. I am new to colour grading but your videos have been a lifesaver. I no longer use LUTS and only use my own creative style from base.
Glad it was helpful Thank you.
Thanks for the trade secrets, Darren.
Hi Angie. My first real insight I think. Glad you like.
This is really good Darren, the evolution of this channel is quite exciting to witness. You have me questioning some of my workflow though. I have a feeling it might just be two different ways to get to the same point.
I tend to decide what to qualify and add the power window first, and then qualify. And with anything that is dodging or burning that is attempting to relight, it seems to look better to me when it is not tracked.
In your scene though it wouldn't probably make a difference, but when it is someone's face and the light is supposed to be a light ( from the sun or a practical), it starts to look like a follow spot when someone walks around and the light follows that person. But I guess camera movement and people movement are different - gets a little sketchy when both are happening simultaneously.
But my goodness, I appreciate this so much right now, I can't imagine how much I would have appreciated this great tutorial if I had been a new user. I would guess that I would be watching it over and over.
Can't wait for the next one- excellent job as always. cheers
Hi Jim.
Thank you once again. Always good to hear from you. Yes, i dont always track when Im creating light - What I did in this episode needed tracking but in your example if I was creating say window light on a face I would decide on the day if needed tracking. Tons of softness. I often put more than I did here. I'd like to do more like this - this was what I wanted to do for ages so I'll do more in the coming months. See you Monday ?
Good video. Please make more of this kind of videos "what goes on in your head when you are colour grading". Thanks. By the way I really liked the "ZEE" joke!
Thanks Bostjan. Will make more grade break downs in the future. All the best
the zed bit was hilarious. I actually watched an unrelated tut on 3d and the (obviously American guy) said "zed" all the time, but messed up and said "Z" a few times.. was too funny. thanks as always for the tut. amazingly clear and super helpful. one question for you, what's your advice for someone who does minor amounts of color grading on 10bit, in regards to control surfaces. contemplating on buying a ripple tangent. thanks!
Hi Teddy. Yes the Z thing is a tough one when youve watched so many american youtubes! control surface - they are so worth the money so get best you can affird, the davinic micro is miles better than ripple but ripple miles better than none - hope that helps - budget up to you!
Fantastic instructions!
Thank you, Darren. Really hadn't seen the Color Compressor or Glow FX used before, so it was nice to see them in action.
Glad you enjoyed it. Im live on Monday at 7pm GMT if you are around.
That was brilliant! Thanks! 👍
Glad you liked it! Im live on Monday at 7pm GMT if you are around.
good work. is there a tutorial on clog and clog 3?
15:22 roasted all of us Americans here. Love it hahah. Fantastic video!
🤣
I will be posting the node tree for free download. Watch my community tab for details.
Have been doing a cursory search for the node tree on your FaceBook site, but haven't found it. I think it would be really useful - is it up? Thanks!
@@jonesfotodirector You can get it here. eepurl.com/hob0oH
@@DarrenMostyn Well, I'm delighted to be signed-up to your list (sincerely!), but I am still not finding ... Hah! You beat me to it! Nice job, mate! Thanks for your thoughtful work.
@@jonesfotodirector The sign up will send you an automated reply which contains a link to the node tree. Maybe it went to your spam..? Hope that helps.
Awesome stuff. That color compressor technique is sick. It would be really insightful to know why do you prefer DaVinci YRGB Color Managed with DaVinci Wide Gamut over some ACES flavour. Thanks man!
Its what Im used to . Personal preference. Ive been on DaVinici Resolve for 10 years now - Aces wasnt there for the beginning and I've just got used to it. It is no better or worse to use ACES workflow.
Hello, congratulations, good video, I am a new subscriber, I see that you use Apple, I would like to know what is your recommendation, what type of computer do you use and what are its ran and speed specifications, I also use mac but it does not work 100% with the new update. it is very slow
Hello Gabo. My full spec of my old and new mac pro are in this video. Ive been using this machine for well over 18 months now and its great. ruclips.net/video/ZzYSTDRX70Y/видео.html
Hey Darren, does this updated color management not work with all footage? I tried it on some footage shot on the A7S III with slog3 and sgamut3.cine and saw almost no change.
Edit: Never mind, just found your comment below to another viewer with a similar question! Thanks for the great video!
Hi Darren. This was incredible, your video’s really are in a different league (dare I say the Premier League no lets go for The Champions League).
A Pro Colorist insight, is a great theme title for future videos like this please do keep them coming. One thought though, perhaps an insight into your actual jobs Commissions would be great, plus to help you possibly the client would be willing to sponsor the video, after all any extra advertising is a good thing right.
One last thought, perhaps you could record your screen as you work, then selecting an excerpt from the video and recording a commentary.
Thanks for your time Darren stay safe mate
Hi Andrew. I have used a commercial before in my channel - The taxi stuff was a commercial. There is a music video too, but yes would like to. I worked on a fantastic drama recently shot on Arri - I will speak to the producer and see if they don't mind. I'll try to find some more work. Its tricky to get permission and also I like to keep most of my clients separate from my RUclips just professionally. I have a few clients who have become good friends over the years so they are OK with it. Good idea though - thanks for contributing. All the best!
@@DarrenMostyn Hi Darren. Yes I know great videos, the episode helping with Motion Tracking was absolutely brilliant. You are obviously someone who is extremely creative and in high demand within your chosen profession, (the industry if you like). If and when the world gets back to some kind of normality, understandably you’ll be incredibly busy again. My thinking was perhaps that old Two Birds, One Stone analogy would help balance between your professional career and continue sharing your insightful knowledge with the community.
Thanks again for your valuable time
Besides you must be knackered, commuting every day from Canada
@@image7d Hi andrew. Yes, Im looking into what I can do moving forward. All the best,
Hello Darren. I stumbled on to your videos on youtube about a week ago and I have to say that I enjoy them very much. I was a dailies colorist for ten years and now a finishing colorist for the past five years. Seeing how other colorists approach their work and use their tools never gets old for me. I'm always trying to learn. I've been extremely fortunate to have had the opportunity to sit in on sessions with some of the top colorists in my profession and learn from them over the years. I think it's fantastic that you make these videos and share your knowledge with anyone who wants to learn. I've already taken some of your techniques and played around with the footage from a show I'm currently working on in my spare time. It's been fun. Keep up the good work.
Thanks Carlos. Really good to hear about your experience and background. Plenty more coming when I get a free break from grading!! Busy at the minute but I have next episode lined up!!
Have a good weekend, Darren
Really helpful video. Thanks so much!
Could you explain your process for creating the final grade comparison shots (21:03 and on)? I can think of a few methods to do this, but it's likely you have a simplified approach to accomplish. Thanks again!
simple frame grabs with nodes turned off and on..very easy.
More of this!
That vid was epic on the FX6, and the dude is only down the road from me, one day I'll get to his level! Also thanks for this tutorial
You are welcome.
This was an absolute gem !!! A very profitable use of my 21 minutes and 37 seconds !! Many thanks.
Hi Darren! Great video, very informative. I heard from one of your videos you use a tablet instead of conventional mouse, could you please do a video on how you use and setup your tablet for being more precise in Resolve? I bought a tablet myself too and I’m struggling a bit getting used to it. Thanks in advance, have a nice day ;)
this question comes up a lot actually/....maybe time I did one! Thank you.
I loved learning about the Color Compressor. I just learned about a new tool. I'll need to start to play around with the Color Compressor to make skin tones match in the future. You're such a good teacher.
be very careful with it - I dont use it as go-to for skin. Good for 'blotches' or as in this instance with sunburn. You lose the depth of skin features - but it is a fantastic tool (always blend it). Thanks for the kind words. Im live on Monday at 7pm GMT if you are around.
Thanks for the insightful video. I had a problem when viewing HLG3 footage on DaVinci Resolve Studio 17 that while monitoring it looks like having a bit of green shade to it. Now changed color processing mode to "HDR DaVinci Wide Gamut Intermediate" and the footage looks perfect in SDR for reference video inside DRS17 minus the accuracy of having a dedicated, professional HDR reference monitor. I don't have the budget to afford one now but planning to in the future, or maybe a 42" Sony A90K OLED TV for a budget solution. I'm using a bit old, 2016 HDR 4K TV that I should replace in the near future.
Out of curiousity, do you have a video on how to transform S-Log3 into HDR? Despite I'm not quite sure that Rec.709 is ideal for that vs Rec.2020 which is more future-proof. Not bothering with P3-D65 as it looks horrendous in SDR vs Rec.2020 that looks acceptable in SDR. Maybe I did something wrong? But even without grading P3-D65 looks quite pinky/reddish in SDR, reminds of of iPhone footage in Rec.709 display as I assume most people on iPhone use P3-D65 by default.
Also what's your take on "Scene referred" vs "Display referred"? Seems like when set to Rec.2100 HLG (Scene) I have more flexibity to reach up to 1000nits, but with Rec.2100 HLG (without a tag, which is display referred I assume) it seems to cramp details at around 10% off 1000nits and 0nits blacks.
Fantastic please make more videos.
OK
as usual awesome video!
I am using the 17.4.2 version, latest as of 12/8/21.... And after selecting "Davinci YRGB Color Managed" for Color Science on the project settings, the next dropdown is "Color Processing Mode" which I guess is the same as "Davinci Color Processing Preset" as show in this video? If so,the choice in the dropdown has "HDR Davinci Wide Gamut Intermediate" not just "Davinci Wide Gamut" as show in this video... Is it safe to say these 2 new choices are the same as whats in the version of Davinci used in this video? Just changes in wording? Thanks!
Hi Darren! Would you ever consider doing an edit for N-Log? since the new z-9 is out with 12bit Raw video I think it could be good! Not much good quality stuff on it out there at the moment. Also, absolutely love this page. It helps so so much, thank you HEAPS.
Another great Video Darren. I have just got to grips with using the default Davinci color space, with REC709 and a CST for my Sony A7S iii. Would you recommend this way of working due to the better highlights/lowlights range? Also, regarding Tracking a Sky, and I will try to find this on RUclips today in the meantime, but what if you are moving your shot up a Tree for example, so you put the area in, but if I track forward as the Camera shot moves up to the sky, I can't seem to work out how to make that Power Window move with it, it seems to just stay where it is. Probably a real Rookie question, but I can't be the only one with this challenge :) hope you are well and thanks.
Phanatastic!! Me as a newbie in DVR-Colorgrading I must admit, that Ii almost didn’t unterstand anything an know it’s still a lot of work to get some results. But I am sure no one can explain better and more compressed, understandable than you :-)
Darren, thank you for this great insight. I loved to see you use quite a few things I've been using a lot of times like the color compressor for skin tones, it can do wonders if used carefully. Overall great use of only a few simple techniques that still results in a great impact without making the image look artifical or overdone. I hope to see more insights like this in the future. There are way too many videos out there just going for broke with the looks instead of trying to keep the original intent of the DP intact. Would love to see an insight about camera matching and / or shot matching and how you go about that. So happy I followed your journey from the killer tips on facebook to now being an awesome creator here on youtube. I know how hard it is to keep the algorithm happy and to having to post regularly while still keeping the quality up. All that of course while actually being a working colorist and a family man. So all the respect and thank you for doing this. It is appreciated, your growing subscriber base is reflecting that :)
Really appreciated - thank you for the kind words. I had my first negative comments on a facebook page (not mine) yesterday which really put a downer on the RUclips experince - made me realise just how much hard work this is to do. But, I woke up today to another ton of positive messages so onwards!!! Thank you for following my journey - wish I'd started on RUclips instead of the app and then Facebook, but loving the new journey!!! Ive not cracked the algorithm yet....Im looking at numbers on other channels and Im not getting seen yet but it is certainly growing at an amazing rate. Nearly 13K in just over 6 months is crazy. Work is much busier now than it was last summer so Im going to have to do a few shorter episodes soon but I'll keep them informative. Speed editor Live Monday 7pm GMT if you are around. Thanks again, have a good rest of the weekend. all the best, Darren.
@@DarrenMostyn Thanks for the reply! The live event is already in my calender, hope to be able to attend. And regarding the negative comment, don't get discouraged, it's just not worth it, even though it's hard. One bad comment weights heavier then a thousand positives. And like you say, your channel groth is outstandingly great considering how young this channel is. And specific channels like yours aren't prone to viral success due to the nature of the topic. I still believe quality and actual knowledge of the craft will make this channel a success in the long run. There are too many channels out there with no actual working knowledge. Have you considered maybe doing a few videos here and there about your job and things you encountered during your career as a colorist that might be worth sharing? If that's possible without breaking any contracts or NDAs ^^ I think that might be of great value for aspiring colorists to hear and I imagine it would be easier to produce during the times you don't have much time to produce content for the channel. Anyways keep up the great work! Regards, Heiko.
@@DarrenMostyn You are far too talented to be tilting at windmills. Leave the comments alone: you won't gain much from the positives, as the work itself is always the thing. And you stand to lose considerably from the negatives. Not worth it.
Hello Darren, Thanks for the great video. I'm a step above novice and wanted to know if this process works on raw footage (BMPCC 4k) Cheers
This is one of those videos to which you have to periodically come back to to align with the thoughts of a pro, which should on every instance of a rewatch nudge you in the right direction to which you are supposed to go in respect to proper color grading. Wow, I used "to" seven times in this sentence. I must be mentally sideways...
Can I have info about your color management settings for these Sony fx6 clips?
Hey Darren how do you how much soften or blur to use when using a power window or qualifer, I see guys randomly pulling those parameters?
Really enjoying your channel. Thank you so much for making me better ;)
There's a reason I keep this video on top of my playlist of film tips. With so much information from a lot of other professionals, the abundance of conflicting info can get overwhelming for beginners like me. Luckily this brings it all back. You, Cullen and Casey are my favourite tutors on the platform. Thank you for what you're doing.
thank you. We have different styles but I think grab what you like from each of our channels and make it your own! Love the community!
Question about the color management you're doing here. the footage you're using from sony fs6 which isn't raw unless recorded externally... if your footage is non raw log shouldn't you still need to do a color space transform for better accuracy? resolve color management doesn't know what color space you're using unless its raw.. I'm also trying to solidify my color management understanding so any clarification will help me understand it better. Thanks Darren
Im using CST and then right click and change INPUT COLOR SPACE on clips. You can do this on multiple clips at once by selecting them all.
Another Excellent Video, However in March 2022 in 17.4.5 Build 7 on windows the menu has changed somewhat to "HDR Wide gamut Davinci intermediate" so I am choosing "Automatic Color management" and choosing "SDR" any thoughts ?
Yes its a good option if you are not heavily into custom set up...it picks good by default.
Great one Darren, thanks! :)
Glad you liked it!
Keep up the cool work Darren!
Thanks, will do!
Excellent information and insight into color grading. Thanks. I was just wondering however, if I'm shooting for example a man walking through a forest with continually changing light, how could I possibly make these changes for the whole scene. It would take weeks I should think! And if I break up the scenes everytime the light changes, how do I get them to match?
You can color grade on adjustment layers and make separate grades on several adjustment layers for different lightconditions in the same long shot. Then blend them into each other with the opacity slider on the video bars
@@LUCHTHANS4 thanks for your input. I have not used adjustment layers as yet but I will try them on a simple project to see how they work.
Really enjoy your tutorials, Darren. I particularly enjoy your "How to grade XXXX" stuff. You've done S-Log and Sony A7.. how about showing us how you grade R3D?
will be doing more for sure. thanks
By reducing the playback speed of this tutorial to 0,75x significantly increases the chances to actually learn something.
That’s the beauty of the speed control in you tube. Go at your pace, not anyone elses! Enjoy.
Thank you for this advanced yet simple efficient walk through. Excellent for learning / refreshing color grading in Resolve !
Glad it was helpful!
Personally, I don't rate this very highly as a "pro" colorist process. You've got lots of money to buy lots of fancy gear, and good for you. But you spent zero time on The "Sony-ness" of the footage, and what that means; the reasons/pros/cons of working in the wide gamut space; what the creator of the shot might have been after with a look or vibe; how the shot might have to work with the rest of the movie. It's just "let's make this look subjectively pretty" - more like a Lightroom tut than a real-world film colorist example. How is the Sony handling skin tones? How do they sit with the rest of the film? How do they compare to RED skins and ARRI and BMD? What should we be wary of? How shall we get back to 709 from the wide gamut? What's the deliverable? And, personally, the use of glow is just bizarre? You gonna put a glow on the whole movie? All too subjective and not like a real world gig. Maybe spend some time watching some Juan Malara tutorials and workflows, to see how the science should precede the art.
Sorry this one not to your liking. It's pretty rare on RUclips you'll find any Pro colourist giving away their 'creative' thought process (by Pro - I mean I've earned a living from this professionally as a broadcast colourist for about 15 years) This is my process - no client here - if they dont like the glow I'll take it off and if it works and there is time I would put it on the whole sequence. There are tons of channels going into the science - but who is showing you how they think and approach a shot and why? The explanation of wide-gamut is given in the first minutes and has been mentioned in quite a few of my episodes since V17. There is no deliverable - its me playing with a shot, however I mentioned its in REC709 Gamma 2.4. This was not meant to be a comparison video to Red etc. - I can do that if it's requested enough. I have to balance different camera formats every day - I understand the science. Juan Malara's channel is excellent. Your points all taken on board - thank you for taking the time to let me know.
This video finally made the keyer tool click for me.
Best channel! Question, @3:40 you adjusted the exposure using the offset. Is that subjective? Just curious if the Dp exposed correctly.
Subjective. James’s knows what he’s doing. Thanks Jonathan.
Darren works for the A7siii? Thank you
You have got GREAT content. Really loved seeing the usage of the Color Compressor - never used it - now I WILL. Thanks!!
Glad it was helpful!
Which one is the best workflow, using davinci yrgb color managed or acess ? Why netflix push us to acess ?
Because Aces is a standard for netflix. No best workflow. Its a preference which way you go.
why don't you use Davinci wide gamut as your color management preset instead of Rec709? I am asking out of sincerity because I am pulling my hair out haha
I did use Davinci wide gamut.
As a newcomer to the color grading process just seeing your thought process and the tools you choose to use is a big help. Keep up the good work!
Glad it worked for you. I will do more like this. All the best
thank you darren...that was great...but it could have been more cinematic look rather than HD feel...
Will bear it in mind next time. Thanks.
Hey Darren. Thank you so much for your Video. Very intresting. My Problem is now, that when i apply a lut in the end of my nods the picture looks like i only apply the lut with no basegrade. Pleas can you help me?
without seeing the LUT you are applying or your node tree, its very tricky to say. Can you send your node tree to me on FB.?
Really enjoyed this Darren. Seeing the process was very helpful especially the why behind doing each of the steps. Can you explain ‘Printer Lights’ further? Is it just an official term for pushing the colours into the various tonal ranges? I’d read it was from old film processing days...bit how does this work in modern day grading?
Hi Alex. printer lights are represented by the Color Bars page (not color wheels) and are the RGB channels in offset. Also you can use 1/4 and 1/2 printer lights in the Color menu. They are for global adjustment in all tone ranges. Hope that helps.
@@DarrenMostyn Gotcha. Did some more reading up on it and you’re explanation really helped cement the understanding. Thx
Interesting! Can you make a video to show how to grade Canon EOS R5 raw light? It would be greatly appreciated.
A little specific of a request maybe ?
why my colour management doesn't efect anithyng in my resolves, i was follow this video correctly but i just don't know how it works my video still in flat colour , this colour management just effect for studio version or it's efect also on free version ? i shoot in F-log btw
its on free version too. Right click the clip and choose REC 709 if unsure on INPUT COLOR SPACE. This is only active when you are in DaVinci Color managed. Watch this video - might be easier for you. ruclips.net/video/CtSBVKmHkjU/видео.html Hope that helps. All the best, Darren
Great video and thank you for taking the time to share your knowledge. I'm not sure if anyone else mentioned this, "Davinci Wide Gamut" is not available on my end. I only see HDR Davinci WIde Gamut Intermediate. Are they similar? If not how do I get that preset if its not currently available. I am currently on the latest Resolve. Thanks in advance.
hi daryl. yes they are the same, the color management has changed quite a lot since this episode...I'll try and get a similar episode out soon using updated techniques. thanks
@@DarrenMostyn Thanks for the quick response, sounds good. We appreciate all the knowledge you share. Thanks again.
Great video and wonder walkthrough on how you grade
Awesomne. Just got my FX6 ... your video is an excellent help
Glad it helped!
Is it possible to save a node tree ? TO avoid creating it from scratch an every new project? (thx new with Resolve)
Going way back in my playlists but yes ...ruclips.net/video/PchQ0fWGUR0/видео.html
Great Video, but i have a really important question which you dont adress:
How do you export for youtube ?
If i use the same setting you do my YT exports never look as they look in My Viewer.
Its so frustrating and I cant find a proper solution in the web...
Using a Macbook pro 16 inch with a Hardware calibrated Benq
Hello Luke. I haven't done an episode on exporting to RUclips ? Which episode have I not addressed it in - confused ? The S-log one I dont even do into delivery page?
@@DarrenMostyn first of all thank you for answering.
Next: sorry for the misunderstanding, I'm kinda more asking if you have a solution, then adressing that it is missing information in the video.
Love the grading and understood all of it , but how do I get it to look the same when I upload to yt.
Or don't you have any problems with a gamma shift after uploading. ?
@@bigbangboo Hi Luke. Oh I see what you meant now. I haven't covered this as a youtube episode at all, but it is really well documented in the manual and on many forums. Have a look a the blackmagic design user forum or some of the facebook groups. Also Dara covers it here (not on my channel) but this is what you need to know. ruclips.net/video/0dLM7D-flH4/видео.html Hope that helps (until I make an episode on it anyway!!).
nice step by step explanation of granding a nice shot. And Its funny, i realized that i was sitting on this beach one day. Madeira! beautiful
Thank you. Looks an idillic location!
hi Darren! thanks for sharing this exellent video, could you explain how to expose correctly a shot? when use contraste or just the log weels... etc? thanks a lot
Hello Kike. Many ways but start with using offset controls and check waveforms. Hope that helps
Thank you for such a easy to follow tutorial.
For bright areas like the sky, how about using a luminance mask? Would that be quicker?
Not in my opinion. Cleaner to use HDR in that instance IMO - the less keying the cleaner it will be.
Thanks a lot, I learned and try to master colors better
Thank you very much for this great tutorial. This kind of quality is very rare on youtube.
Thanks Oliver, Appreciated.
This is great, seeing your prcoess as you talk us through it.
Incredibly helpful video, thanks so much!
Glad it was helpful!
Darren, would you soften the skin? I am not sure what the standard in the film world is...
ruclips.net/video/QqXJPl44TeY/видео.html
Excellant! just the workflow I have been looking for!! Thank You for Sharing your time and Talent !!!
Absolutely amazing explanation! Thanks!!
Glad it was helpful Ashish! Appreciated.
Thank you for your videos! You have made my introduction to Resolve much easier than it would have otherwise been. I have really enjoyed your clear explanations and very useful tips. These are excellent learning resources!! One question I have here though is do I need to have the paid ‘studio’ version to get the Davinci Wide Gamut option? I don’t seem to have this in the free version. I am learning to grade s-log3 from the A7SIII, for context. Thanks again!
Hi! Thank you very much for your videos! Very useful. I have a question (i'm not a colorist, sorry!). You isolated part of the image with the Qualifier to edit the face's skin tone. Then you made a mask, and you also applied the Color Compressor to match the face's skine tone with the back's skin tone of the subject. If you only applied the mask and the Color Compressor (not the Qualifier), would you have had a similar result? Or less refined? Thanks :-)
Perfect tutorial - thank you!
what is that littel square node with a "layer-like" icon next to the final glow Node you created?
layer mixer
Good Afternoon Darren. Thank you so very much for this insightful tutorial. It looks amazing.
I was hoping you could answer a question for me. I noticed when you changed the Colour Science in the beginning of your tutorial in Master Settings, your log footage automatically changed from log to Rec.709. I shoot in S-log3 on a Sony A7IV. When I change my colour science from YRGB to Colour Managed, with the output colour space in REC.709, and click save, the video stays in that flat log format. Do you know what I am doing wrong? Thank you so much for your time.
Hi Eric,
yes you need to tell the input to be Sony Slog-3
@@DarrenMostyn thank you so much for your message. For some reason, when I do that, it absolutely crushes the shadows, and the scene is almost completely dark. Thank you for your time though. I will just use the colour transform effect for now. Keep up the excellent work.
the new davinci project settings is now different . what color management do you set it to now?
Im testing, playing, breaking and evaluating! thats the only way to do it. Ive not decided yet but likely going FULL colour managed moving forward due to this NEW feature.
I have to learn so much !! good job
Thank you Darren, this helps so much! Decided to switch to Davinci Wide Gamut. Is there any chance to "translate" Powergrades and grades done in the rec709 Space to wide gamut? Thanks in advance, stay safe!
I don't recommend changing timeline colour space once you have started grading. For old power grades you should probably use a CST to get them into Wide Gamut but it depends how you have created them to start with. The system is colour space aware so can work, but be careful.
Also there are still some bugs in the colour management. It is beta software.
Hey Darren, this is one of the wonderful videos. Your videos always add value to me. As a beginner, looking at pros grading footage teaches a greater way to approach results. Thank you very much!
Glad it was helpful! Sorry Yash - I thought I answered this one already...but now appears as not answered. Let me know if you have had a response from me already! But anyway, Thank you - appreciated!
@@DarrenMostyn Yeah, Darren. I have all answers I wanted. I truly appreciate that you are taking the time to reply. God bless you!
Mr Darren. such a worthy content /learning. Sincere Thanks
Thank you, appreciated.
Thank you so much Darren. Your videos are absolute gem, each one of them. What sets you apart from others is that you don't just tell us what to do, but show us why to do that. You explain the importance of each step which helps understand for a lot of us. It's little things like that which changes everything. Never change your style Darren. You are a rockstar!
Glad you recognise that and it is the only that way can I teach people what I'm doing and it work on your footage. If you dont know WHY to do it I dont see the point. Copy cat style is not going to work on your footage so I don't get those tutorials TBH. But a lot of people like those so who am I to say. Thank you Adheesh and hope to see you on my live on Monday!
Thank you! Didn't know about the Color Compressor effect aka skin tone wizardry. I find it really hard getting good skin tones. The purple/magenta hue is haunting me.
Glad it was helpful!
use it carefully!
thats the magical knowledge which can not learn from film school - thanks legend
Thank you, much appreciated.
A couple of questions: is this your standard node configuration for every job? (if not, do you use a standard structure to start from?) Are you using other scopes in another screen or do you work from the Waveform scope exclusively? Candidly, I can't use just the Waveform for balancing shots, I've got to use the Parade and Vectorscope. Great work. If you want a suggestion: Basic Workflow and node structure
I have several fixed node trees depending on the type of job. Documentary grading for broadcast is very different workflow to commercials or music promos. Yes, I have dedicated scopes on a separate monitor. See them here ruclips.net/video/c7z1jR7eA0U/видео.html
@@DarrenMostyn Thanks. Are you planning on doing a video about your standard node set up / starting points? This was a great video since we got to see your process all the way through. Keep up the great work.
You said Zee, because you were inside an American :) Joke aside. This tutorial is literally the best I've seen. So clear and no nonsense, straight to the point.
Interesting workflow. Liking the look of the wide gammut if you can push the gain and lift further without it being crushed. Gret vid, will check out the rest of your stuff. Been Following Waqas Qasi but nice to see a different approach so I can figure out what works best for me.
Thank you Si. Enjoy the channel. Sharing my 13 years on DR broadcast experinece here (BBC, Amazon etc).