I think that you should have mentioned the scopes in Resolve - I have mine always set to 10-bit - data levels and all imported files display with the black and white levels at 0 and 1023 -. Just mentioning because people may get confused while looking at the scopes. We usually tell people that the "auto" for levels where it seems to get the right call almost all the time. It's kind of a "set it and forget it" option that most "auto" is not.
That is a very good point and, indeed, should have been said. Thank you so much for bringing it up! I've pinned your comment so more people can see it.
Very important topic, and I haven't really seen a lot of people talk about it. Especially at this level! Wonderful video, Marieta. I agree on using "Auto" for most codecs. But I noticed that when working with any DNx codec and using Premiere or Media Encoder afterwards, you wanna make sure to tag it correctly, because Adobe will for sure misinterpret the "Auto"-tag.
Thank you, Sven! That's a very good point. I find that DNxHD 444 specifically forces full data levels causing a gamma shift in Premiere Pro. But since my last tests Adobe have introduced Colour Management so they may have fixed it. Or, at least, they hopefully now offer the ability to switch between Full and Video levels the way Resolve does.
It’s so important information especially for colorist that just start to dive in to the deep water and start wounding why is that levels for! Congratulations for another amazing tutorial!
I just got a BenQ monitor (I think you have the similar one), and I've been struggling with calibration because I constantly have crushed blacks. Then you release this video, which I think has put me on the right track. Now I’m optimistic again that I’ll be able to set up the monitor properly. Thank you!
@@enrichtwo Hi Richard, I’m afraid not. The reason is I don’t own a Mac so I have limited knowledge about the issue as I’ve never faced it myself. To by knowledge, there is an excellent video by CineD that explains it in detail: ruclips.net/video/ZQ8VY9aWUfE/видео.htmlsi=icwLrmFgGyXeXshw Hope this helps.
That's a great question! If you're creating colour-critical work as a professional in Resolve, it is essential that you have a dedicated calibrated colour grading monitor and you're feeding a clean feed to it via a capture and playback card. Otherwise, what you see in your viewer is affected by your OS and it's not a reliable representation of your grade. It doesn't matter where your deliverables are going.
Well, I am on Windows and so I haven't faced the well-known Quicktime gamma shift issue. But the best explanation about this issue I've seen online is by CineD: ruclips.net/video/ZQ8VY9aWUfE/видео.html&ab_channel=CineD
Merci pour cette vidéo. Peite question, si nous faisons le choix de partir sur un projet avec de l'ACES, je ne vois plus la possibilité d'appliquer le choix d'option REC709-A, ça me stresse un peu car j'ai peur de retomber à nouveau dans les différences de rendu entre l'export et le viewer. Comment avec l'ACES, quand on est sur Mac, pouvons-nous être sûr qu'il n'y aura pas de différence entre l'étalonnage avec le viewer et les exports ?
I'm really sorry but as mentioned in the video, this is not referring to the Mac gamma shift and the Rec709-A workaround. I don't use Mac so I cannot test, troubleshoot and provide any clarity on this subject, unfortunately. To my knowledge, there is a great video by CineD about this topic you may want to go through: ruclips.net/video/ZQ8VY9aWUfE/видео.html&ab_channel=CineD If this doesn't answer your question, it may be worth asking @DouglasDutton to create a video on this topic as I know he is on a Mac and has experience working in ACES.
Hi. Thank you for your explanation. I'm running into problems that I thought were connected to this, but after trials doesn't seem to change the fact. When working with HDR in resolve, the exports played back in QuickTime do not match. Both mediapool clips and exports are set to auto, but the exports in QuickTime get desaturated, and brights and lows are gone and thee video is overall less contrasty, almost like if it was SDR. The outputs are in rec 2020 st2084
Hey. I have a number of questions about your setup: 1. Are you grading on a reference monitor calibrated for HDR and set to Full/Data levels? 2. Are you sending out Full/Data levels from DaVinci Resolve (under Video Monitoring settings)? 3. What is your OS? 4. Is your second monitor, where you're viewing the deliverable in Quicktime, set to Full/Data levels? But to be honest, I'm unsure whether it matters at all how your deliverable is shown on a Quicktime player. The only thing that matters is how your grade looks like on an HDR calibrated mastering display. And I mean a proper one e.g. Sony BVM-HX310 or FSI XMP310, not a consumer-level TV such as LG C3 that claims to be HDR.
@@marietafarfarova Hi. Thank you for replying. No I'm actually on the XDR 1600 nits Mac display. I know that you are recommended a secondary display for editing, but this is a great display, and still shouldn't give this result? I have been trying both changing clips in the media pool to full/data and following the same steps in the deliver page but none of that is giving a difference in the exported file. Sonoma 14.5. But what it sounds like from you, and from the guys I was speaking over at blackmagic etc, is that you can't trust the Mac display, no matter which one it is. And that problem wouldn't exist on a proper secondary display.
@@SkardeLine Hey. The issue with not having a dedicated colour grading reference monitor that is connected to a playback and capture card, is that otherwise what you're seeing in your viewer is being affected by your operating system and is not a true representation of your grade from Resolve. Therefore, it cannot be trusted. You can have the greatest display. But if it's not connected as a dedicated calibrated ref monitor receiving a clean feed - it doesn't matter how amazing that screen is. I hope this helps.
I don't understand this tube. For a long time I used data level full video renders because these settings are compatible with my RUclips and social works, and I don't see any issues, I don't see the crushed colors or blacks that people mention or speak about. Used mostly Prores 422HQ or DNxHR444 12bits. Every time I tried Auto or Video settings because I read or see somewhere that's the pro way to do it, it is doing exactly the opposite of what I need, losen contrast and less punchy colors, And I am not using any of these devices for monitoring. Note that I am not trying to diss down this video, on the contrary, I want to understand the issue to either improve my workflow or knowing how to adress it properly if I come accross the problem.
you forgot to mention one problem that colorists often face. Davinci on wind generates DNX files in RGB space with video levels. Premiere thinks that all DNX files are in XYZ space with full levels. Because of this, after rendering from Premiere, the picture fades.
Thank you for your insight. In this video I wanted to focus on the broad picture rather than specific issues related to codecs and incorrect decoding by different software. In my experience, I've only faced issues with DNxHR 444 12-bit - Premiere interprets the file as full data levels even though it should be video. But I have not had any issues with DNxHR HQ.
@@m1nt9reen You’re absolutely right. However, if someone is looking to troubleshoot an issue related to data levels, it’s quite likely the term they would use is ‘gamma shift’ even though that’s not the correct technical term. So while I agree with your point, I’d much rather use a term that people are searching for so they can find this.
@@marietafarfarova Hello! I just wanted to see it again, to see the step by step and show it to a friend who had to install it and share 1 terabyte with me. Thank you very much for offering your help.
@@diegochak7560 Feel free to check out this video instead: ruclips.net/video/7c8SYE2ALRc/видео.html&ab_channel=ExaVault In this walkthrough, it’s shown how to connect to FTP. However, the steps are identical to connect to Google Drive. All you need to do once you’ve downloaded Cyberduck is to Open Connection -> from the dropdown menu select Google Drive. And this is going to open up a new window in your browser prompting you to log into your Google account. Once you’re in, just allow Cyberduck to access your Google Drive account and you’ll then be able to upload and download anything via Cyberduck. This avoids Google Drive’s zipping and the speeds are significantly faster. Hope this helps.
you forgot to mention one problem that colorists often face. Davinci on wind generates DNX files in RGB space with video levels. Premiere thinks that all DNX files are in XYZ space with full levels. Because of this, after rendering from Premiere, the picture fades.
I think that you should have mentioned the scopes in Resolve - I have mine always set to 10-bit - data levels and all imported files display with the black and white levels at 0 and 1023 -.
Just mentioning because people may get confused while looking at the scopes.
We usually tell people that the "auto" for levels where it seems to get the right call almost all the time. It's kind of a "set it and forget it" option that most "auto" is not.
That is a very good point and, indeed, should have been said. Thank you so much for bringing it up! I've pinned your comment so more people can see it.
Marieta!! This is priceless. Finally someone who explains this in understandable terms. ❤
I appreciate it, Gabi! 🤗
Very important topic, and I haven't really seen a lot of people talk about it. Especially at this level! Wonderful video, Marieta. I agree on using "Auto" for most codecs. But I noticed that when working with any DNx codec and using Premiere or Media Encoder afterwards, you wanna make sure to tag it correctly, because Adobe will for sure misinterpret the "Auto"-tag.
Thank you, Sven! That's a very good point. I find that DNxHD 444 specifically forces full data levels causing a gamma shift in Premiere Pro. But since my last tests Adobe have introduced Colour Management so they may have fixed it. Or, at least, they hopefully now offer the ability to switch between Full and Video levels the way Resolve does.
@@marietafarfarova Ah good to know. It's been a while, since I had to do something with premiere, but I remembered there was an issue with that.
It’s so important information especially for colorist that just start to dive in to the deep water and start wounding why is that levels for! Congratulations for another amazing tutorial!
Absolutely, it's so important to understand the technical alongside the artistic side of colour. Thank you, Martin!
I just got a BenQ monitor (I think you have the similar one), and I've been struggling with calibration because I constantly have crushed blacks. Then you release this video, which I think has put me on the right track. Now I’m optimistic again that I’ll be able to set up the monitor properly. Thank you!
Will you make a video talking about how you deal with the rec-a gamma shifts work arounds?
@@enrichtwo Hi Richard, I’m afraid not. The reason is I don’t own a Mac so I have limited knowledge about the issue as I’ve never faced it myself. To by knowledge, there is an excellent video by CineD that explains it in detail: ruclips.net/video/ZQ8VY9aWUfE/видео.htmlsi=icwLrmFgGyXeXshw Hope this helps.
@@marietafarfarova Thanks for linking it!
Very interesting and informative!! thanks for sharing and your time Marieta!!
I'm so glad you found this useful. Thank you for taking the time to write this! ☺
Thanks for the video. This is helpful. How important is it to have a true reference monitor if your videos are ONLY ever seen on social media sites?
That's a great question! If you're creating colour-critical work as a professional in Resolve, it is essential that you have a dedicated calibrated colour grading monitor and you're feeding a clean feed to it via a capture and playback card. Otherwise, what you see in your viewer is affected by your OS and it's not a reliable representation of your grade. It doesn't matter where your deliverables are going.
Hi Marieta, thank you for the explanation🙏 I learned a lot. 🤩
I'm so glad. Thank you very much for your kind comment!
Very nicely done Marieta! Very clear and detailed explanation Happy to see you back ;)
@@thedouglasdutton Thank you, Douglas! ☺️
Excellent as always Marieta🎉
I appreciate it, thank you! ☺️
Very nice video. Thank you for sharing.
You’re very welcome. Thank you for your kind comment.
detailed explanation and Very important topic , thank u !
Thank you!
This was really helpful, thank you.
You're very welcome. ☺
Great Video. Thank You.
Thank you for your kind comment.
Do you have suggestions for render settings for the Quicktime gamma shift on Mac?
Well, I am on Windows and so I haven't faced the well-known Quicktime gamma shift issue. But the best explanation about this issue I've seen online is by CineD: ruclips.net/video/ZQ8VY9aWUfE/видео.html&ab_channel=CineD
Very helpful. Good to know about importing AE graphics!
So glad you found it useful! ☺️
Can you make tutorial on how to do trim pass if I am grading In rec 709 and I have to do trim pass in dci p3 for theatrical plz it will help
Awesome, thank u !
Thank you for stopping by! You're very welcome. ☺
Very helpful.
I’m so glad you found this useful, thank you!
Merci pour cette vidéo. Peite question, si nous faisons le choix de partir sur un projet avec de l'ACES, je ne vois plus la possibilité d'appliquer le choix d'option REC709-A, ça me stresse un peu car j'ai peur de retomber à nouveau dans les différences de rendu entre l'export et le viewer. Comment avec l'ACES, quand on est sur Mac, pouvons-nous être sûr qu'il n'y aura pas de différence entre l'étalonnage avec le viewer et les exports ?
I'm really sorry but as mentioned in the video, this is not referring to the Mac gamma shift and the Rec709-A workaround. I don't use Mac so I cannot test, troubleshoot and provide any clarity on this subject, unfortunately. To my knowledge, there is a great video by CineD about this topic you may want to go through: ruclips.net/video/ZQ8VY9aWUfE/видео.html&ab_channel=CineD If this doesn't answer your question, it may be worth asking @DouglasDutton to create a video on this topic as I know he is on a Mac and has experience working in ACES.
What are you using to make your slides
I use After Effects for my GFX.
@@marietafarfarova thank you 🩵
Good stuff
Hi. Thank you for your explanation. I'm running into problems that I thought were connected to this, but after trials doesn't seem to change the fact. When working with HDR in resolve, the exports played back in QuickTime do not match. Both mediapool clips and exports are set to auto, but the exports in QuickTime get desaturated, and brights and lows are gone and thee video is overall less contrasty, almost like if it was SDR. The outputs are in rec 2020 st2084
Hey. I have a number of questions about your setup:
1. Are you grading on a reference monitor calibrated for HDR and set to Full/Data levels?
2. Are you sending out Full/Data levels from DaVinci Resolve (under Video Monitoring settings)?
3. What is your OS?
4. Is your second monitor, where you're viewing the deliverable in Quicktime, set to Full/Data levels?
But to be honest, I'm unsure whether it matters at all how your deliverable is shown on a Quicktime player. The only thing that matters is how your grade looks like on an HDR calibrated mastering display. And I mean a proper one e.g. Sony BVM-HX310 or FSI XMP310, not a consumer-level TV such as LG C3 that claims to be HDR.
@@marietafarfarova Hi. Thank you for replying.
No I'm actually on the XDR 1600 nits Mac display. I know that you are recommended a secondary display for editing, but this is a great display, and still shouldn't give this result?
I have been trying both changing clips in the media pool to full/data and following the same steps in the deliver page but none of that is giving a difference in the exported file.
Sonoma 14.5.
But what it sounds like from you, and from the guys I was speaking over at blackmagic etc, is that you can't trust the Mac display, no matter which one it is. And that problem wouldn't exist on a proper secondary display.
@@SkardeLine Hey. The issue with not having a dedicated colour grading reference monitor that is connected to a playback and capture card, is that otherwise what you're seeing in your viewer is being affected by your operating system and is not a true representation of your grade from Resolve. Therefore, it cannot be trusted. You can have the greatest display. But if it's not connected as a dedicated calibrated ref monitor receiving a clean feed - it doesn't matter how amazing that screen is.
I hope this helps.
I don't understand this tube. For a long time I used data level full video renders because these settings are compatible with my RUclips and social works, and I don't see any issues, I don't see the crushed colors or blacks that people mention or speak about. Used mostly Prores 422HQ or DNxHR444 12bits. Every time I tried Auto or Video settings because I read or see somewhere that's the pro way to do it, it is doing exactly the opposite of what I need, losen contrast and less punchy colors, And I am not using any of these devices for monitoring. Note that I am not trying to diss down this video, on the contrary, I want to understand the issue to either improve my workflow or knowing how to adress it properly if I come accross the problem.
you forgot to mention one problem that colorists often face. Davinci on wind generates DNX files in RGB space with video levels. Premiere thinks that all DNX files are in XYZ space with full levels. Because of this, after rendering from Premiere, the picture fades.
Thank you for your insight. In this video I wanted to focus on the broad picture rather than specific issues related to codecs and incorrect decoding by different software.
In my experience, I've only faced issues with DNxHR 444 12-bit - Premiere interprets the file as full data levels even though it should be video. But I have not had any issues with DNxHR HQ.
This isn’t a gamma shift, it’s contrast, you should make that distinction
@@m1nt9reen You’re absolutely right. However, if someone is looking to troubleshoot an issue related to data levels, it’s quite likely the term they would use is ‘gamma shift’ even though that’s not the correct technical term. So while I agree with your point, I’d much rather use a term that people are searching for so they can find this.
Мир
I wonder who chose 16 to be the lower value for "Legal"... 😅😅
Hi Marieta! I hope you are well. I wanted to ask you if the cyberduck tutorial you made is still online. Thank you very much.
Hi Diego, no, it's not online. Is there anything from that tutorial you needed help with? Let me know and I'd gladly assist.
@@marietafarfarova Hello! I just wanted to see it again, to see the step by step and show it to a friend who had to install it and share 1 terabyte with me. Thank you very much for offering your help.
@@diegochak7560 Feel free to check out this video instead: ruclips.net/video/7c8SYE2ALRc/видео.html&ab_channel=ExaVault
In this walkthrough, it’s shown how to connect to FTP. However, the steps are identical to connect to Google Drive. All you need to do once you’ve downloaded Cyberduck is to Open Connection -> from the dropdown menu select Google Drive. And this is going to open up a new window in your browser prompting you to log into your Google account. Once you’re in, just allow Cyberduck to access your Google Drive account and you’ll then be able to upload and download anything via Cyberduck. This avoids Google Drive’s zipping and the speeds are significantly faster. Hope this helps.
you forgot to mention one problem that colorists often face. Davinci on wind generates DNX files in RGB space with video levels. Premiere thinks that all DNX files are in XYZ space with full levels. Because of this, after rendering from Premiere, the picture fades.