If you want to learn more about Color Spaces and why you need to manage your color workflow, I recommend watching this video by Team 2 Films: ruclips.net/video/w0ubDSzEEYg/видео.html
Nice video bro. If I’m not mistaken since you’re TL color space is davinci wide gamut there is no need to CST from log to wide gamut just got from log to rec 709 and whatever you doing the Timeline tab before CST will be in davinci wide gamut color space.
Your footage will not automatically be transformed to DWG, unless you're using DaVinci YRGB Color Managed (in which case you wouldn't need CSTs at all). Sure, you could skip transforming to DWG and still grade it in a DWG timeline, but you will be lacking some proper math in your color workflow, which can cause inconsistencies.
@@rickwettingcolorohhhh, okay then gotcha. So would this work if the timeline color space is rec 709 instead of DWG or should the timeline/project color space always be DWG? And a problem I was having was I would change my project color settings but my timeline color settings were different so I had to go to my timeline settings and make the changes because the timeline color settings override the project color settings.
@@Theaaronchris Sure, your timeline color space can be Rec709. This will mean you are grading in a Display Reffered enviroment., rather than Scene Reffered. It's just important to know your color pipeline and have it properly setup. I like to work in DWG, because it retains all the data of Log footage and makes it easy to also output to other color spaces when necessary and the tools I use are designed for DWG as well. Your timeline settings can be linked to your project settings, but if you have independent timeline settings that override your project settings, you do need to be aware that your project settings do not influence your timeline. You can go into your timeline settings and check the 'Use Project Settings' box at the bottom.
Thank you for the clear and concise video. One question: Is it "ok" to use the camera's native gamma and color space for the timeline if we want to use a particular LUT for that particular gamma and gamut? For example: 90% of my footage is shot in Panasonic V-LOG, and there are one or two LUT's designed for transforming V-LOG in to Rec 709. So do I lose anything by putting that conversion LUT at the end of the pipeline and doing my grading with the timeline set to Panasonic V-LOG? (I realize for the other clips that I will have to do a CST, but that is ok with me). Is working in DaVinci Wide gamut / Intermediate that much better than using the camera's specific gamma and gamut for the timeline? Thanks in advance.
Thank you for your comment! It is fine to work in Panasonic V-Log instead of DaVinci WG/Intermediate. Especially if you have a LUT with a conversion from Panasonic V-Log to Rec709 it makes sense for your workflow. As long as you've got your color management properly figured out and set up, you're all good to go and it sounds to me like you do! I personally prefer working in DaVinci WG/Intermediate, because I have certain tools that are designed for that color space.
@@rickwettingcolor Thanks for the follow up. Yes, I understand what you are sying about using tools that are designed for DWG / Intermediate. I have a few DCTLs myself and I think they are designed to work specifically with DWG / Intermediate.
Great content! Are you planning on doing some more in depth tutorial into grading? Really interested in seeing what your way of working is for skin tones for example!
Thank you for the kind comment! Yes I will be doing more DaVinci Resolve tutorials in the near future. I'm planning on doing some tips & tricks tutorials to speed up your grading workflow, but will most likely do some more in-depth grading tutorials in the future as well!
It gives you more options for your DRT's. For example: I really like to use Juan Pablo Zambrano's 2499 DRT (this is a DCTL that brings me from DWG to Rec709, with more filmic characteristics). Also for the project I have in the video, I had an export of the entire film, which means all the clips are from the same source file. DaVinci YRGB Color Managed wouldn't be able to recognise the different color spaces, because all the clips are from the same single source file.
If you want to learn more about Color Spaces and why you need to manage your color workflow, I recommend watching this video by Team 2 Films: ruclips.net/video/w0ubDSzEEYg/видео.html
Good trick the part about, going to the timeline. Keep them coming, Thanks!!
Very informative thank you!
Thank u for blessing the community with such great insight!
thanks ! we want more ahah
thank u I will be grading myself soon, very helpfull for starting out!
I will wait the next video for color grading. Can you make video for color grading Braw? Thank you.
Great! I will wait the next video. Can you make a video for color grading Braw? Thank you.
Nice video bro.
If I’m not mistaken since you’re TL color space is davinci wide gamut there is no need to CST from log to wide gamut just got from log to rec 709 and whatever you doing the Timeline tab before CST will be in davinci wide gamut color space.
Your footage will not automatically be transformed to DWG, unless you're using DaVinci YRGB Color Managed (in which case you wouldn't need CSTs at all). Sure, you could skip transforming to DWG and still grade it in a DWG timeline, but you will be lacking some proper math in your color workflow, which can cause inconsistencies.
@@rickwettingcolorohhhh, okay then gotcha. So would this work if the timeline color space is rec 709 instead of DWG or should the timeline/project color space always be DWG?
And a problem I was having was I would change my project color settings but my timeline color settings were different so I had to go to my timeline settings and make the changes because the timeline color settings override the project color settings.
@@Theaaronchris Sure, your timeline color space can be Rec709. This will mean you are grading in a Display Reffered enviroment., rather than Scene Reffered. It's just important to know your color pipeline and have it properly setup. I like to work in DWG, because it retains all the data of Log footage and makes it easy to also output to other color spaces when necessary and the tools I use are designed for DWG as well.
Your timeline settings can be linked to your project settings, but if you have independent timeline settings that override your project settings, you do need to be aware that your project settings do not influence your timeline. You can go into your timeline settings and check the 'Use Project Settings' box at the bottom.
Thank you for the clear and concise video. One question: Is it "ok" to use the camera's native gamma and color space for the timeline if we want to use a particular LUT for that particular gamma and gamut? For example: 90% of my footage is shot in Panasonic V-LOG, and there are one or two LUT's designed for transforming V-LOG in to Rec 709. So do I lose anything by putting that conversion LUT at the end of the pipeline and doing my grading with the timeline set to Panasonic V-LOG? (I realize for the other clips that I will have to do a CST, but that is ok with me). Is working in DaVinci Wide gamut / Intermediate that much better than using the camera's specific gamma and gamut for the timeline? Thanks in advance.
Thank you for your comment! It is fine to work in Panasonic V-Log instead of DaVinci WG/Intermediate. Especially if you have a LUT with a conversion from Panasonic V-Log to Rec709 it makes sense for your workflow. As long as you've got your color management properly figured out and set up, you're all good to go and it sounds to me like you do! I personally prefer working in DaVinci WG/Intermediate, because I have certain tools that are designed for that color space.
@@rickwettingcolor Thanks for the follow up. Yes, I understand what you are sying about using tools that are designed for DWG / Intermediate. I have a few DCTLs myself and I think they are designed to work specifically with DWG / Intermediate.
Great content! Are you planning on doing some more in depth tutorial into grading? Really interested in seeing what your way of working is for skin tones for example!
Thank you! I am planning on making more content in the near future on varying topics in color grading. Stay tuned!
Thanks for sharing. Great info. Are you planning on doing more DaVinci tutorials?
Thank you for the kind comment! Yes I will be doing more DaVinci Resolve tutorials in the near future. I'm planning on doing some tips & tricks tutorials to speed up your grading workflow, but will most likely do some more in-depth grading tutorials in the future as well!
Can you explain this is better than using DaVinci color management and letting it automatically detect the color management for you?
It gives you more options for your DRT's. For example: I really like to use Juan Pablo Zambrano's 2499 DRT (this is a DCTL that brings me from DWG to Rec709, with more filmic characteristics). Also for the project I have in the video, I had an export of the entire film, which means all the clips are from the same source file. DaVinci YRGB Color Managed wouldn't be able to recognise the different color spaces, because all the clips are from the same single source file.