I use the Input Colour space in the media, just highlight them all and right mouse on one of the clips and to to "input color space" and choose what you want. I am a Canon shooter (Log 3 / Color Space "Cinema Gamut"). Now you do have to go into the project settings and under the colour tab, set colour science to "Davinci Managed". That gives you access to the input colour space menu for clips you have inputed to the media tab. That way you can do all the files at once.
I just found out about this the other day. I need to experiment a bit more. Initially I thought things looked a little over saturated using this but...maybe I just need to get used to it
I have had shots that I thought looked over saturated or even under in some cases. I do almost all of my editing on a MacBook Pro M1 Max which is not really the best for color grading in the first place. When I view the final video on RUclips on different devices, it always looks right.
CST enables you to start with what your camera actually captured, color-space magic. Just make sure you use the best "log" profile of your camera when you film. LUTS can then, for example, be used for looks.
Hi. I've known about CST for quite awhile and I use it constantly. LUTS are still good for establishing an overall look now. Something to put on the timeline level, cut down the output to something that makes sense. In the Joker movie, I think they used 4 different LUTS for different settings. Outside day, outside night, interior daylight, interior artificial light. CST is a technical, not a creative, tool.
I must be doing something wrong. I did the exact same. Filmed in D-log. Brought into DR. Used CST changed to DJI-D-gamut, then DJI D-log, and it got a LOT darker. Thoughts?
@@FilmmakerCentral nope. Used DJI Mavic 3 Pro. I did turn on the color assist button, but that's just supposed to help you "in camera". When I inputted the clip it looked like normal D-log. I made those changes as described and it turned alot darker
@@FilmmakerCentral haha, yeah, my first attempt was in D-Log M. So tried again in regular D-log. I think I’ll try again later today or tomorrow without turning on the color assist. Maybe as you say it wasn’t exposed properly and with color assist is falsely increased the look of exposure. Hopefully that’s is because while I do much more with post exposure and color in photography I’ve left color alone with video and Davinci (for the most part) and film in just normal color. But as with photography I thought I’d try and take advantage of a higher dynamic range with D-log….I’ll let you know, thanks. Good channel
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I'm very new to drones and video editing and that D-Gamut does look pretty good to my untrained eye on my D-cinelike files. Thanks...
I use the Input Colour space in the media, just highlight them all and right mouse on one of the clips and to to "input color space" and choose what you want. I am a Canon shooter (Log 3 / Color Space "Cinema Gamut"). Now you do have to go into the project settings and under the colour tab, set colour science to "Davinci Managed". That gives you access to the input colour space menu for clips you have inputed to the media tab. That way you can do all the files at once.
I'm trying to learn more on how to color grade in Davinci Resolve. Great tip, thank you!!
I just found out about this the other day. I need to experiment a bit more. Initially I thought things looked a little over saturated using this but...maybe I just need to get used to it
I have had shots that I thought looked over saturated or even under in some cases. I do almost all of my editing on a MacBook Pro M1 Max which is not really the best for color grading in the first place. When I view the final video on RUclips on different devices, it always looks right.
CST enables you to start with what your camera actually captured, color-space magic. Just make sure you use the best "log" profile of your camera when you film. LUTS can then, for example, be used for looks.
Hi. I've known about CST for quite awhile and I use it constantly. LUTS are still good for establishing an overall look now. Something to put on the timeline level, cut down the output to something that makes sense. In the Joker movie, I think they used 4 different LUTS for different settings. Outside day, outside night, interior daylight, interior artificial light. CST is a technical, not a creative, tool.
Agreed, I will still use some for creative styles but the CST provides a better starting point
This was very useful. Thanks! AND your brick background was driving me crazy as it's too zoomed in. The bricks are too large relative to your body.
Yeah, I was short on space, will be rearranging things soon
its also not greenscreen, it is the actual wall behind me.
I must be doing something wrong. I did the exact same. Filmed in D-log. Brought into DR. Used CST changed to DJI-D-gamut, then DJI D-log, and it got a LOT darker. Thoughts?
Did you have any adjustments before? What camera did you use?
@@FilmmakerCentral nope. Used DJI Mavic 3 Pro. I did turn on the color assist button, but that's just supposed to help you "in camera". When I inputted the clip it looked like normal D-log. I made those changes as described and it turned alot darker
Maybe the exposure was not correct, does it actually change the scopes? Also, make sure you are in D-Log and not D-Log M
@@FilmmakerCentral haha, yeah, my first attempt was in D-Log M. So tried again in regular D-log. I think I’ll try again later today or tomorrow without turning on the color assist. Maybe as you say it wasn’t exposed properly and with color assist is falsely increased the look of exposure. Hopefully that’s is because while I do much more with post exposure and color in photography I’ve left color alone with video and Davinci (for the most part) and film in just normal color. But as with photography I thought I’d try and take advantage of a higher dynamic range with D-log….I’ll let you know, thanks. Good channel
Use your histogram to check exposure and use +0.3 to +0.7
The problem is they don't have all the camera's like the gopro.
If GoPro ever added a LOG profile, it would get added. This is a GoPro issue, not a Resolve issue.
Try to figure out how to do with Sony HLG or slog. It's a nightmare. Davinci uses different names than Sony for the same things.
I use it with my Sony A7III. I have the camera set to Slog 3, and Gamut 3 Cine and those are both listed in there.