Your recommendation to set 'color science' to Davinci YRGB Color Management finally corrected an issue I had, getting my rendered video to look like what my screen was showing. I watched about 20 videos on the color settings and no one else recommends this. Very strange. But very glad I saw your video. I think there are quite a few Resolve 'experts' who actually don't know what they're talking about.
Wow that is very kind of you to say Scott. I'm learning a lot of these new techniques alongside you, but I'll always do my best to try to double check my assumptions and my research to provide the best information I can on this channel. And hopefully in a way that is quick enough to digest. Thanks so much!
Woah! So cool. Noob here. It didn't work until I changed the input colour space in the media panel to what I'm using (Panasonic Vlog) Brilliant thank you!
@@CreativeVideoTips thank you man! Only recently found your Chanel and I'm sure it's going to be invaluable!! I loved the tips video also! Some real time saving ideas!
@@CreativeVideoTips glad to be onboard. Just one question do you have to film with log to use this?. Im pretty new at this, im using a Panasonic g9 and dont have a flat profile. Only hlg and cinelike d. Thanks
Thanks for the amazing video! Where do i have to put my Color-Space Transform Node? At the start of the node Tree or the end? A Video about how to order nodes and Luts combined with the Color Management tool would be very nice.
00:00 - Resolve Color Management Tutorial 00:50 - Enable Color Management 01:46 - Methods to Normalize Log Footage 02:39 - Manually Assign Metadata 04:19 - Color Space Transform Effect 05:11 - Bypass color management bug 05:56 - LUTS with Color Management 06:56 - Color Space - Defined 07:29 - Bypass Input Color Space
Well done thanks for this. Does DJI Lut work for DJI Osomo Action "D-Cinelike" profile? I'm having trouble identifying which input color space to use for that camera, thank you.
I really need to learn Resolve for grading. I use FCP and I love editing in there, and the color tools have definitely gotten better, but this makes FCP look like freaking iMovie.
Hey Joseph! You certainly can do it. There are several tools that make simple corrections really easy. A video on those is definitely in coming on this channel. BTW big fan of your series you made on Luma fusion. I learned that app very quickly with your guidance. Cheers!
@@CreativeVideoTips oh that’s nice to hear, thanks! I’ve been working on an HDR video for far too long, and Resolve is part of the workflow for an HDR to SDR youtube LUT. Have you seen the live videos I have done on that workflow?
@@photojoseph I haven't, but will try to take a look later this week. I'm curious. I really wish there was more consistency with browsers and HDR playback support and or youtube making better SDR from HDR content on apps like Safari. My HDR excitement has dwindles a little as I realize how difficult it is to deliver good HDR content that people can also watch in SDR that looks good.
Hi! I played the video at 0.75x read speed to be able to get it all! The voice is still ok at that rate ;-) Maybe a useful trick for other "slow english" people.
@@CreativeVideoTips , i am not sure if i can use this with my pocket2, my cannon M50 and Air2 footage. Non of them shoot raw 😕. I am finally able to work on another video for my channel, is there a mode i can shoot with on my limited camera gear that i can use the tips on ? Your the best Chadwick.
Chadwick, I just got a Sony A7iv, I shot in pp9 (S-Log3 and S-Gamut3 color mode) using XAVC S-I 4k which records at 4-2-2 10bit. I loaded my flat footage into Resolve 17.4.3 and changed the color science to DaVinci YRGB Color Managed. The color processing options have changed since your video was recorded, I selected the HDR DaVinci Wide Gamut Intermediate and ... nothing happened to my clip. Still looks the exact same. Hoping you got yourself an A7iv, but do you know what might be happening here? Thanks again for your incredible tutorials, the best on RUclips! Marc
Hi Mark, great camera, yep I’ve been playing with it too. I shortened this video down to here with the new interface - The EASIEST (and best) way to Color Grade Log Footage - DaVinci Resolve ruclips.net/video/EPl-yqwClIA/видео.html The thing you need to do is right click on your clips to select input space slog 3. I would suggest shooting a gamut 3.cine instead of a gamut 3 for this sensor.
@@CreativeVideoTips Wow! Thank you for the super quick response! I would love to see you put together and advance tutorial on the A7iv!! Thank you again for all you do.
@@CreativeVideoTips Worked great after I set the input color space. Quick A7iv question, with Resolve 17 is there a reason to choose s-Gamut3.cine for the color mode or are you primarily shooting in S-Log3/S-Gamut3
dude, great insights and presentation style, can't wait to try this out. I'm new to colour grading but this looks like genuine insight into the mechanics of it all that will really help what I'm doing (two cameras, 90D and 200D) in davinci.
@@CreativeVideoTipsHey Chadwick, sorry I'm a noob at this, but I recorded footage on the 90D with the technicolor cinestyle profile, when I change the project settings to Davinci Color Managed/Wide Gamut, nothing happens to the clip - still flat. I suspect it is the color input profile isn't correct (I can select other input profiles but the colours aren't quite right i.e. the canon slog make skin tones very pink), but I don't know what exact input profile to change it to, am I on the right path, any ideas?!
Hello, thanks for this amazing tutorial. I have a problem with blackmagic 6k ProRes . I can't find the Gen 5 in color space transorm. How can i do? Thank you!
You're welcome - Here is what I do with Blackmagic if I'm not using color management and using a CST instead. In the camera raw pallet - I set clips to color science gen 5 (my understanding is this is a separate thing from color space, which is what the cost deals with), then I use color space on camera raw to Davinci wide gamut, and gamma to Davinci intermediate. Then on the cst inputs I match those up, so input color space set to Blackmagic design wide gamut gen 4/5, and input gamma to Davinci intermediate. These settings give me very good and accurate results. The main thing is to realize color science is more about how the system interprets a color and color space is the playground of colors that exist. It is all very confusing, for me too.
Your production quality is on a whole other level. This video will be extremely useful for people learning color in Resolve! Instant subscription from me, keep up the great work!
Wow, I really appreciate those kind words Rocco! Thanks for joining and let me know what sort of things you're most interested in with Color or Resolve.
@@RoccoGermani sounds good. I’ll be doing a BTS on the tutorials probably sometime in October. Funny thing those slides are just made in Apple keynote. It’s a great tool for presenting.
Just want to say that I really appreciate your teaching style! I'm learning Resolve and it's so nice to have your videos be the easy but accurate guide. Any thoughts on the new "Automatic color management" option that recently showed up in the Color Management tab of Project Settings?
Way too much information in to short a period of time… You went blazing through that information like you were on your way to a fire. This video could’ve been half an hour long easily explaining what you were doing. Oh well.
Thanks for the feedback Allen. I'm always refining my process and appreciate your patience while I'm learning to teach better each week. In the meantime you can always use the speed button in youtube to slow things down.
@@CreativeVideoTips after watching it 2 or three times… I finally understood. I’m not new to after affects so it wasn’t that hard, just took me a couple of viewings.
Great explanations! I would love to see you breakdown the ACES workflow in Resolve as that's what I need to work with my other software (namely Foundry Nuke). Nuke uses Input Colourspace, a working colourspace (linear ACEs CG) and a viewer lut such as sRGB (which is more like a pair of sunglasses than something it does to the clip). I had some issues setting ACES up nicely in Resolve in the past.
Great question Simon, yes it does, but you won't see the change quite as obvious. You will need to set the input color space to rec 709 and this can be helpful to match against other Log cameras. The biggest benefit I like is the HDR controls, which was new in version 17.
Hey bro I have been binge watching your channel trying to learn more about davinci resolve. I have 1 problem though and wanna know if you can help out (or anyone who knows a solution) So I have RUclips channel and edit on davinci resolve and what I usually do is… export the video to my laptop, then delete the project off davinci resolve and move the footage, official video, etc to an external flash drive. I sometimes want to repurpose the video for Snapchat, Instagram, tiktok but wanna a few edits here and there… but clearly I’m editing an already edited video… and the edit of AN ALREADY EDITED video is super blurry and not as high quality as the original is there a way to save the “blueprints” of the edit of the davinci resolve project to a USB? Does that make sense?
Hi EC, that's a good question. If you are keeping the original footage on that external drive you can certainly relink later on. In the upper left on the cut page you will see a red chain link if you've moved media, click it and point to the new hard drive location and it will all come back together for you. It's also not a bad idea to do - file export project - when you're done in case years later you forget what database that project was in.
How would you handle gopro pro tune footage? I shoot native colour temp, flat color, -1 ev. I just adjust the grade manually, save the grade and apply it to future footage. Btw, your channel is by far the best resolve channel on RUclips. Thanks for all the work!
Thank you for the kind words. I run pro tune flat footage all the same inside a resolve color managed - wide gamut project. There is not a gamma for GoPro Flat - so I just let the behind the scenes davinci DRT to its magic. I would caution you to under expose by a full stop though. Maybe do some tests at zero EV and -.5 to see if you get less noise after all. I understand you are protecting highlights but it might not be worth it.
Hugh Hou has a pack of downloadable technical LUTs for native flat GoPro footage - its very good and saves me a ton of time, just set white balance and you’re golden. Here’s a link to his video. I personally change my EV as needed on the day, rather than set and forget. Try desaturating the GoPro footage shadows in luma vs sat too. ruclips.net/video/9vtuRe0VtlY/видео.html
@@CreativeVideoTips If I dont want to color correct nor color grade would you recomend using GoPro FLAT and resolve color managed - wide gamut project or is it better to continue using GoPro color?
Ideally find a white paper describing the transform function that the manufacturer used, and how to linearize it. Some manufacturers are better at this than others - I think I've seen the gopro transfer function published somewhere? You unfortunately cannot add transform functions to the Resolve CST plugin (nor can you view them to verify that they are correct - I still have a suspicion that their black level is off for Sony S-Log2 for non-cine cameras such as the A7III), but you can get the same benefits (with more difficulty) using Resolve DCTL - I'll try to dig up my S-Log2 example later this week and post a link to it. If you don't know the transfer function, things become much more difficult unless you are well versed in OpenCV.
Hey, thank for the video. After selecting Davinci YRGB Colour MAnaged, Davinci Wide Gamut is no longer availble in the drop down menu. Closest now is HDR Davinci Wide Gamut Intermediate. Any suggestions?
I have seen many colorist use a node to convert the log footage (using cst) at the last node so that they retain all the information of the clip . If i use davinci wide gamut and convert the footage to the desired log look then all i get is a color corrected look in the color tab which means i have no option left to retain the details in the clip. What are your views about this? I feel bit confused as i like working with davinci wife gamut then again i think i am loosing the details. Pls reply to my question.
Hi there - I think this is a very common misunderstanding of what a CST node or using Color Management presets are actually doing. You mention you "have no option to retain details" - this is actually the opposite. Especially with the great new controls in the HDR pallete and curves - you have complete control. Nothing is lost by using these tools which are very smartly transforming a color or level to another one that is made to look correct on a specific screen. The only time you wouldn't be able to pull something back is if it was clipped in the recording, which you could see with a flat waveform trace.
@@CreativeVideoTips I appreciate your feedback. But you did not get my point. All i am trying to say is that when working with the cst node i have the option to add node before the cst node by which i can control the highlights and shadows without clipping it. But when i am using Davinci YRGB color managed all i having is a color mapped image no place for adding a prior node. Doesn't that mean i loose the quality of the image when i pull the highlights or push the shadows after the applying color input process in davinci resolve?
Great video. I have one question when I go to the colour management - colour science, i have the option of DaVinci YRGB Color Managed. But the preset below is not Resolve color management preset. It is Color processing mode. it does not have DaVinci Wide Gamut as an option. What it does have is HDR DaVinci Wide Gamut intermediate...are they the same thing? is there a reason my interface is different? I'm not using the studio version.
Whar are the settings for Davinci Resolve18? I can change the color science to Davinci YRGB Color Managed and then have two options: Automatic color management, which is check on by default and Color processing mode, either SDR or HDR. PS: Great videos and very helpful.
Sorry Brian, they changed the interface very shortly after I published this video - just uncheck the automatic color management box. Now you can have much more control and choose Davinci wide gamut for color processing mode which is your timeline space. At the bottom of that list you can choose custom for all the options in the world.
@@CreativeVideoTips Thank you for the reply. Your videos are one reason that I dropped FCP for DaVinci. Very helpful getting me through the learning curve.
This is a good question. I am still rocking a few years old iPhone so I haven't been able to test this yet. It will rely mostly on what you set your input color space to. I'm hoping someone else here in the comments can chime in with the correct answer. If I get a new phone this fall I will for sure test and teach with those settings. Final Cut Pro does have a filter called something like HDR tools to convert an iPhone hdr clip into an sdr project - but I know there is a sophisticated correct way to get this right in resolve. I just don't know the answer.... yet.
Hi there, sorry for the delayed response. Since GoPro Flat doesn't really have a defined color space or gamma other than being flatter rec 709. I would usually just assign it as 709 and grade those clips with a curve and saturation adjustment in the color page. My hope is eventually DaVinci Resolve will support every single color space from every camera kind of how photoshop raw works will all raw photos formats. It's getting there but not fully yet.
The bypass I am finding is a lot different than the same file under Davinci YRGB, so using it break out of the RCM and Wide Gamut for using with LUTs that expect the Rec709 doesn't yet jive with me. I don't see a way to pull out of the Davini managed tone mapping to perform this - in ACEs there is an OFX that can be applied to pull out of ACES. I think BMD should consider adding the same for their new color management. Another good tutorial though Chadwick. You are really turning them out and the consistent accuracy of the information should be noted. Thumbs up from me.
Thanks Jim, when you say the bypass is different, are you talking about bypass input color space or bypass color management? Or both? Thanks for being a great resource yourself.
@@CreativeVideoTips Either - if I put a file on the node tree in Davinci YRGB without any transform etc. and take a still. Then put the same image in Davinci managed and right click on the clip and choose bypass color space, and if you then wipe the still reference they are noticeably different. So you think then to add a CST and just apply a rec709 out with a chosen gamma would fix it. But it does not. So if you are expecting a LUT to look the same when the starting space is different, then it doesn't work for me.
Actually just attempted it again and I can match them by using the adaption slider on the CST - so disregard that now. This actually made clarification. Still not able to break out of the color managed with a CST - there is no choice to opt back in - so using a LUT between two CSTs is not possible that I can see. Could be wrong about that as well . More testing.
Question, is it possible to color correct footage before bringing it into a timeline? Example: Creating a multi-cam sequence and lets say camera A is a bit brighter then Camera B... if I can correct the problem before creating that multi-cam sequence it would save me the trouble of having to select my cuts individually and copy/paste attributes on my clips. Thank you in advance. You're a great educator.
Great question. No it needs to be on a timeline to put a manual correction on it, but it can be done in a couple ways once it’s a Multicam. One is with clicking the Multicam and open in timeline, right click it. Then you can grade all of one angle. Another good way is using remote grades which applies the same correction to all clips from the same video file.
@@CreativeVideoTips I've been watching:-) Love your channel, but my "learning disability" is mostly due to time (work). I'll be hitting it harder soon. I'm looking at my editor now and can't wait to enjoy it with comprehension. You make it look sooooo easy! Thanks for the work that you have put into it to help others!
Hi Martin - this is tricky to answer in a comment but I would start by using a split screen or wipe in the color page - make sure you are looking at rec709 on both and adjusting the curves until they are similar.
Now there is an AUTOMATIC COLOUR MANAGEMENT tick box which excludes the Wide Gamut option. Should we untick that and choose WIDE GAMUT INTERMEDIATE instead?
That's great. But how do you do this in DaVinci Resolve 17.4? They introduced Automatic color management. This option takes care of everything and all i have to do is to select the right Input color space? And one more question: when i try to color match...a Sony SLOG video and a DJI Air 2 S video...if i bypass color management for the drone video and i select split screen - selected clips, the drone video will look very weird. I there something i do wrong? Thank you.
In 17.4 they just simplified it into 3 presets on the surface level but you can dive in further if you feel the need to. It functions the same with assigned color spaces.
when i right click to go to 'input color space', i don't have the input color space option. any idea? & in clip info under 'input color space', it says blackmagic design film gen 1' even though i shot with a brand new BMPCC 6k pro; shouldn't it say gen 5?
Good question. I'm assuming you are using blackmagic raw? If that's the case - you don't need to do anything. It's all under the hood and once you change to color management (wide gamut is my favorite), Resolve takes it from there.
Thanks for the sub! If it was shot with V-Log (the full version, not the L version from the GH5 etc...) - Right click on the clip(s) in the media pool and choose input color space - Panasonic v-gamut/vlog. Note you must have first turned on DaVinci Color Managed in your project settings first to see input color space options for clips.
1:23 My color management tab looks completely different. I can't choose "DaVinci Wide Gamut", and whatever I choose my Log footage stays the same. Running version 18.5. Any ideas?
Quick question: what is the input color space of footage coming from a Ninja V + FX3 recording Prores422? Is it also Sgammut Slog3? My footage does not seem to convert in a contrast image when choosing Slog3.
I use DaVinci version 17.46 on my M1MacBook Pro computer to make HDR video. After rendering and exporting, the brightness is always not enough. No matter what video file I import, it is the same. Please guide me, thank you, my question is universal, and many scholars have encountered it.
i have a question: im using braw footage from a ursa 12k. Usually i´m working in davinci wide gamut intermediate; But for this project i need to use the linny lut; should i bypass the colormanagement in every braw clip and then use the lut on the nodetree? or should i not bypass the colormanagement and use 2 colorspacetransform nodes before and after the lut? i mean the one before has input dwg and output blackmagic gen5film, then the gen5film-linny-lut, then the second colorspace-transform from rec709/gamma2.2 to dwg? (the linny lut outputs rec709/gamma2.2...) Greetings!
How is this not the workflow that every tutorial recommends? I've already created 10 or so projects in Davinci Resolve and have been using LUTs because that's all everyone talks about. Thanks very much for this.
On Davinci Resolve 18 Studio, I select managed but there is no option for wide gamut. Ideas? Edit: I found it, sorta. You have to uncheck automatic color management, and then it has some options. I tried it shooting in Nikon N-Log with my z6, but it's still significantly washed out.
Hi, as you said select the clips (time 3:32) right click, 'Input Color Space option' NOT appearing above the LUT option on my PC. What to do? please tell me. Thank you.
What’s up. I just did a project using a color managed workflow. But now I am getting the game of shift issues again in my rendered image. What exact settings do I need in order to have a (at least SOMEWHAT) consistent image on render? It’s driving me crazy!
I shoot with Canon R6. All my clips are log3. It seems color management give me wrong color. Do I have to bypass color management for all my clips and do what you show in your video 5:45? I am a little confused. thanks
Great great great content. Thank you so much, I am learning a lot from you!! There is a way to not only see in Catalyst what input color space are the XAVC files we want to work in Davinci, but also stabilize them in Catalyst prior to send to Davinci? Because they will be rendered 8 bit, isn't it? Or, Can we do all the work in Davinci in 10 bit and then export to Catalyst just to do the stabilization there? Cause I tried (OK, it was in Premiere) to transcode and export to a lot of codecs but then Catalyst doesn't recognize them. Thanks!!!
Your tutorials are top-notch! I’ve been handed a project to Transfer VHS tapes to digital and enhance and restore their color. How would I go about setting up the colour management. I think their colour space is Rec. 601 and I am using an M1 MacBook Air. I’m lost. Please help.
Thank you, sir. Question. In a color managed workflow, if you've shot your footage on an iPhone using an app like Filmic Pro in Log, what should you set your input color space to? I only ask because there is no option for either in resolve. Do you use a DeLog Lut first, then continue as normal? Also, if using Dehancer, what would you set your input to? Thanks for your help. Great explanation, by the way.
I have been watching you on RUclips for some time. I enjoy your teaching style and choice of subject matter. Your tutorials on color grading have been instrumental in improving my skills and knowledge base. Your tutorials on color management with dissimilar cameras have been helpful to me. However, these tutorials typically have fairly sophisticated cameras using log footage. My struggle is this, what can I do to match colors grades when all I get is cell phone footage that is not in log. Is there a way to match colors from two cell phones, even when the files are not log? Thank You, T. Alves
subscribed! however, so: colour management for raw ( since raw comes with it/s metadata), otherwise working with diffrent videos ( different camera) at the same project ( and not raws) bypass the colour management and input colour ( the right was for logs) if in instance camera logs aren't into davinchi then colour transform.... thank you! anwaz is there a app something like this catalyst browse to view alll camera logs input colours? thank you!
Hey thanks for the video, but i'm lost at step 1. davinci wide gamut iisn't an option so i tried HDR davinci wide gamut intermediate because it was close. Just can't get my colors to 'pop' 😩
Hi Chadwick! I don't have the Wide Gamut option on my Resolve, and I have the latest update. I can see "HDR Davinci Wide Gamut Intermediate" wondering if it's the same or I have another setting that is preventing the Wide Gamut option to show up. Any ideas?
whoa, been using DR for only a couple months but didn't expect this to be so over my head. Vid went fast, lotsa jargon and a bit short on explanations.
I never listen to anyone about color if their video showing me how to color looks like shit and you sir not only know what you are talking about but clearly know your shit! Most of these gurus don't even know about gamma shift..
Hi, so I have an AVC format, AVC Long codec from Panasonic G7. I don't see Capture gamma equation and Color Primaries in Catalyst Browse. What input color space do I set? Do I have to download a LUT or something? Thanks!
Hi, so this really depends on the picture profile or style that was shot with the G7. Sorry for not being clear about Catalyst Browse - this only works with Sony footage. My hunch is that you will want to set it to REC.709 if it was one of the more standard Panasonic profiles. The camera manual is usual my first resource to finding the gamma and gamut out.
Again, awesome video. I’m curious if I can use DR color management (wide gamut maybe not but SDR more likely) if I typically shoot cine2 with Sony a6400. I could change profiles as well if RCM would work better with a different Sony picture profile but I’ve been told many times the a6400 works best with cine2 since it’s 8bit and I was using a popular LUT and ETTR. What are your thoughts?
Thanks for watching. You could try doing some tests with S-Log 2, but it is a stretch for 8 bit to get pulled that far. It's certainly doable though. If all of my footage was cine2, then I probably wouldn't turn color management on, there is a disadvantage to it if you use Fusion graphics (meaning it ignores fusion) and I'm using fusion more and more each week. However, if you have a mix of some log formats with your cine 2 then it's a great way to help unify everything.
@@CreativeVideoTips Thanks for the info. I'll try some S-Log2 tests to see how they look. I'm starting to second guess buying the a6400 but for now I have to make it work. I was hoping to cut down on my color grading as it takes so long and i'm a beginner.
Excellent tutorial! I'm in DR 18 Studio. I followed your note below to uncheck "Automatic Color Management," but I don't see "DaVinci Wide Gamut" in the Color Processing Mode options. The closest is "HDR DaVinci Wide Gamut Intermediate." Is that what I should choose?
Thank you! But i'm still not certain on what to settings to use in my color management. I am color grading on an apple screen, my main destination is RUclips but I still want my image to look at least very similar on TVs and want to get the most of the grade. What should I use? Some tutorial say to use Rec 709-A, others say to apply a CST node towards the end of the node tree. TOO MANY OPTIONS! Just want to set it and forget it.
You are too kind. Thank you, I am working on slowing some explanations down a little to help not lose anybody, but this is confidence inspiring that I"m on the right track.
@@CreativeVideoTips I think is perfect, remember, you just can't cater to everyone. Your videos are top, and it's expected to have some basic knowledge of NLE. In anyevent its clear anything you put you mind to, you will succeed. thanks again for the videos!
Your recommendation to set 'color science' to Davinci YRGB Color Management finally corrected an issue I had, getting my rendered video to look like what my screen was showing. I watched about 20 videos on the color settings and no one else recommends this. Very strange. But very glad I saw your video. I think there are quite a few Resolve 'experts' who actually don't know what they're talking about.
Wow that is very kind of you to say Scott. I'm learning a lot of these new techniques alongside you, but I'll always do my best to try to double check my assumptions and my research to provide the best information I can on this channel. And hopefully in a way that is quick enough to digest. Thanks so much!
Thank you so much for covering this, I spent hours watching other videos while this one gave me a solution right away. Love your vids.
Glad it helped! I promise to never waste your time when trying to figure something out.
Excellent video will try it soon. Thanks for the tutorial
You're gonna love it. Thanks for watching.
Brother can you help me with best camera settings for sony alpha camera so that I could use colour davinci wide Gamma
Woah! So cool. Noob here.
It didn't work until I changed the input colour space in the media panel to what I'm using (Panasonic Vlog)
Brilliant thank you!
For Instagram how can we avoid the gamma shift from Mack book pro XDR display?
Hi, have you seen my video on creating for youtube? I would use this technique of utilizing rec 709-A - ruclips.net/video/8tiF-EnTlto/видео.html
Man, your awesome! Short but comprehensive.
Extremely helpful and to the point. Thanks.
You're welcome! Thanks for watching.
@@CreativeVideoTips watching all of your videos .-)
This is awesome!!!! Thank you!!!
Super cool!
It certainly makes color a lot easier with Log footage :)
This is awesome!!
Yes it is! That's exactly how I feel about it too. So glad you found this video and took the time to watch.
@@CreativeVideoTips thank you man! Only recently found your Chanel and I'm sure it's going to be invaluable!! I loved the tips video also! Some real time saving ideas!
Davinci Guru ! ! !
Super useful video! Well done sir.
Thanks so much for checking it out.
@@CreativeVideoTips you’re welcome 👍
Brilliant tips, you got a new subscriber from Norway🇧🇻
Welcome aboard! :). Thanks for watching.
@@CreativeVideoTips glad to be onboard. Just one question do you have to film with log to use this?. Im pretty new at this, im using a Panasonic g9 and dont have a flat profile. Only hlg and cinelike d. Thanks
Thanks for the amazing video!
Where do i have to put my Color-Space Transform Node? At the start of the node Tree or the end? A Video about how to order nodes and Luts combined with the Color Management tool would be very nice.
Wow! This is awesome! Thanks for always providing great tips, in a concise way. You're a saint.
You are so welcome!
Excelent tutorial, like it very much. Suscribed. Thanks
Welcome! Thanks so much for watching Luis.
Should you export and edit in sdr for Instagram
Great tutorial for me as a colour noob. Instant subscribe! :D
Thanks! You certainly aren’t a color noob after watching this. Cheers!
great tips man, you earned yourself another subscriber hehehe. Thanks for the tips 👍🏿👍🏿👍🏿
Welcome! I really appreciate the support.
00:00 - Resolve Color Management Tutorial
00:50 - Enable Color Management
01:46 - Methods to Normalize Log Footage
02:39 - Manually Assign Metadata
04:19 - Color Space Transform Effect
05:11 - Bypass color management bug
05:56 - LUTS with Color Management
06:56 - Color Space - Defined
07:29 - Bypass Input Color Space
Well done thanks for this. Does DJI Lut work for DJI Osomo Action "D-Cinelike" profile? I'm having trouble identifying which input color space to use for that camera, thank you.
I really need to learn Resolve for grading. I use FCP and I love editing in there, and the color tools have definitely gotten better, but this makes FCP look like freaking iMovie.
Hey Joseph! You certainly can do it. There are several tools that make simple corrections really easy. A video on those is definitely in coming on this channel.
BTW big fan of your series you made on Luma fusion. I learned that app very quickly with your guidance. Cheers!
@@CreativeVideoTips oh that’s nice to hear, thanks! I’ve been working on an HDR video for far too long, and Resolve is part of the workflow for an HDR to SDR youtube LUT. Have you seen the live videos I have done on that workflow?
@@photojoseph I haven't, but will try to take a look later this week. I'm curious. I really wish there was more consistency with browsers and HDR playback support and or youtube making better SDR from HDR content on apps like Safari. My HDR excitement has dwindles a little as I realize how difficult it is to deliver good HDR content that people can also watch in SDR that looks good.
Hi! I played the video at 0.75x read speed to be able to get it all! The voice is still ok at that rate ;-) Maybe a useful trick for other "slow english" people.
You totally called this feature before others
I think this is one of the best arguments for working in resolve vs the other platforms.
Great Video, Thank you Chadwick
Thanks Kevin - let me know if you give this a try or have any questions. :)
@@CreativeVideoTips , i am not sure if i can use this with my pocket2, my cannon M50 and Air2 footage. Non of them shoot raw 😕.
I am finally able to work on another video for my channel, is there a mode i can shoot with on my limited camera gear that i can use the tips on ?
Your the best Chadwick.
What colour space would you recommend for a Canon M50 shooting with the Cinestyle Picture Style?
Chadwick,
I just got a Sony A7iv, I shot in pp9 (S-Log3 and S-Gamut3 color mode) using XAVC S-I 4k which records at 4-2-2 10bit. I loaded my flat footage into Resolve 17.4.3 and changed the color science to DaVinci YRGB Color Managed. The color processing options have changed since your video was recorded, I selected the HDR DaVinci Wide Gamut Intermediate and ... nothing happened to my clip. Still looks the exact same.
Hoping you got yourself an A7iv, but do you know what might be happening here?
Thanks again for your incredible tutorials, the best on RUclips!
Marc
Hi Mark, great camera, yep I’ve been playing with it too. I shortened this video down to here with the new interface - The EASIEST (and best) way to Color Grade Log Footage - DaVinci Resolve
ruclips.net/video/EPl-yqwClIA/видео.html
The thing you need to do is right click on your clips to select input space slog 3. I would suggest shooting a gamut 3.cine instead of a gamut 3 for this sensor.
@@CreativeVideoTips Wow! Thank you for the super quick response! I would love to see you put together and advance tutorial on the A7iv!! Thank you again for all you do.
@@CreativeVideoTips Worked great after I set the input color space. Quick A7iv question, with Resolve 17 is there a reason to choose s-Gamut3.cine for the color mode or are you primarily shooting in S-Log3/S-Gamut3
dude, great insights and presentation style, can't wait to try this out. I'm new to colour grading but this looks like genuine insight into the mechanics of it all that will really help what I'm doing (two cameras, 90D and 200D) in davinci.
Thanks cam - let me know how it works out for you. It is hands down the best way to start the matching process between different cameras IMHO.
@@CreativeVideoTipsHey Chadwick, sorry I'm a noob at this, but I recorded footage on the 90D with the technicolor cinestyle profile, when I change the project settings to Davinci Color Managed/Wide Gamut, nothing happens to the clip - still flat. I suspect it is the color input profile isn't correct (I can select other input profiles but the colours aren't quite right i.e. the canon slog make skin tones very pink), but I don't know what exact input profile to change it to, am I on the right path, any ideas?!
Hello, thanks for this amazing tutorial. I have a problem with blackmagic 6k ProRes . I can't find the Gen 5 in color space transorm. How can i do? Thank you!
You're welcome - Here is what I do with Blackmagic if I'm not using color management and using a CST instead. In the camera raw pallet - I set clips to color science gen 5 (my understanding is this is a separate thing from color space, which is what the cost deals with), then I use color space on camera raw to Davinci wide gamut, and gamma to Davinci intermediate.
Then on the cst inputs I match those up, so input color space set to Blackmagic design wide gamut gen 4/5, and input gamma to Davinci intermediate.
These settings give me very good and accurate results. The main thing is to realize color science is more about how the system interprets a color and color space is the playground of colors that exist. It is all very confusing, for me too.
Your production quality is on a whole other level. This video will be extremely useful for people learning color in Resolve! Instant subscription from me, keep up the great work!
Wow, I really appreciate those kind words Rocco! Thanks for joining and let me know what sort of things you're most interested in with Color or Resolve.
@@CreativeVideoTips I'd be interested to see how you made those graphics!
@@RoccoGermani sounds good. I’ll be doing a BTS on the tutorials probably sometime in October. Funny thing those slides are just made in Apple keynote. It’s a great tool for presenting.
Hurrrraaaaaayyy :) ( I use only ACes THOUGH.....but anyway )
ACES is great too :)
I don’t think anyone could have have explained this any better than you! Excellent tutorial… Thankyou!!
Damn I’m really loving your videos. Even if it’s a topic I’m familiar with I like your take on it!
I really appreciate you time and kind words. Thanks!
Thank you for directing me to this video in FB group!
absolutely, I hope it opens some new workflow ideas for you.
Just want to say that I really appreciate your teaching style! I'm learning Resolve and it's so nice to have your videos be the easy but accurate guide. Any thoughts on the new "Automatic color management" option that recently showed up in the Color Management tab of Project Settings?
Way too much information in to short a period of time… You went blazing through that information like you were on your way to a fire. This video could’ve been half an hour long easily explaining what you were doing. Oh well.
Thanks for the feedback Allen. I'm always refining my process and appreciate your patience while I'm learning to teach better each week.
In the meantime you can always use the speed button in youtube to slow things down.
Watch it twice! Or use pause it to think as you go. I did both...
@@CreativeVideoTips after watching it 2 or three times… I finally understood. I’m not new to after affects so it wasn’t that hard, just took me a couple of viewings.
I love this speed, hands down one of the best channels I've ever come across for education of any kind. Thanks!
Great explanations! I would love to see you breakdown the ACES workflow in Resolve as that's what I need to work with my other software (namely Foundry Nuke). Nuke uses Input Colourspace, a working colourspace (linear ACEs CG) and a viewer lut such as sRGB (which is more like a pair of sunglasses than something it does to the clip). I had some issues setting ACES up nicely in Resolve in the past.
Hey, I've got a question... does this work if I'm not in a log profile. For example the 'standard' picture profile from an Eos R.
Great question Simon, yes it does, but you won't see the change quite as obvious. You will need to set the input color space to rec 709 and this can be helpful to match against other Log cameras. The biggest benefit I like is the HDR controls, which was new in version 17.
Hey bro I have been binge watching your channel trying to learn more about davinci resolve. I have 1 problem though and wanna know if you can help out (or anyone who knows a solution)
So I have RUclips channel and edit on davinci resolve and what I usually do is… export the video to my laptop, then delete the project off davinci resolve and move the footage, official video, etc to an external flash drive.
I sometimes want to repurpose the video for Snapchat, Instagram, tiktok but wanna a few edits here and there… but clearly I’m editing an already edited video… and the edit of AN ALREADY EDITED video is super blurry and not as high quality as the original is there a way to save the “blueprints” of the edit of the davinci resolve project to a USB? Does that make sense?
Hi EC, that's a good question. If you are keeping the original footage on that external drive you can certainly relink later on. In the upper left on the cut page you will see a red chain link if you've moved media, click it and point to the new hard drive location and it will all come back together for you. It's also not a bad idea to do - file export project - when you're done in case years later you forget what database that project was in.
How would you handle gopro pro tune footage? I shoot native colour temp, flat color, -1 ev.
I just adjust the grade manually, save the grade and apply it to future footage.
Btw, your channel is by far the best resolve channel on RUclips. Thanks for all the work!
Thank you for the kind words. I run pro tune flat footage all the same inside a resolve color managed - wide gamut project. There is not a gamma for GoPro Flat - so I just let the behind the scenes davinci DRT to its magic.
I would caution you to under expose by a full stop though. Maybe do some tests at zero EV and -.5 to see if you get less noise after all. I understand you are protecting highlights but it might not be worth it.
@@CreativeVideoTips This is what I came to find out too, Are you saying you don't set any input colour space meta for the GoPro footage at all ?
Hugh Hou has a pack of downloadable technical LUTs for native flat GoPro footage - its very good and saves me a ton of time, just set white balance and you’re golden. Here’s a link to his video. I personally change my EV as needed on the day, rather than set and forget. Try desaturating the GoPro footage shadows in luma vs sat too.
ruclips.net/video/9vtuRe0VtlY/видео.html
@@CreativeVideoTips If I dont want to color correct nor color grade would you recomend using GoPro FLAT and resolve color managed - wide gamut project or is it better to continue using GoPro color?
Ideally find a white paper describing the transform function that the manufacturer used, and how to linearize it. Some manufacturers are better at this than others - I think I've seen the gopro transfer function published somewhere?
You unfortunately cannot add transform functions to the Resolve CST plugin (nor can you view them to verify that they are correct - I still have a suspicion that their black level is off for Sony S-Log2 for non-cine cameras such as the A7III), but you can get the same benefits (with more difficulty) using Resolve DCTL - I'll try to dig up my S-Log2 example later this week and post a link to it.
If you don't know the transfer function, things become much more difficult unless you are well versed in OpenCV.
Hey, thank for the video. After selecting Davinci YRGB Colour MAnaged, Davinci Wide Gamut is no longer availble in the drop down menu. Closest now is HDR Davinci Wide Gamut Intermediate. Any suggestions?
This is the exact same thing they just changed the name. Sorry for the confusion but thanks for watching.
@@CreativeVideoTips cool, thanks
I have seen many colorist use a node to convert the log footage (using cst) at the last node so that they retain all the information of the clip . If i use davinci wide gamut and convert the footage to the desired log look then all i get is a color corrected look in the color tab which means i have no option left to retain the details in the clip. What are your views about this? I feel bit confused as i like working with davinci wife gamut then again i think i am loosing the details. Pls reply to my question.
Hi there - I think this is a very common misunderstanding of what a CST node or using Color Management presets are actually doing. You mention you "have no option to retain details" - this is actually the opposite. Especially with the great new controls in the HDR pallete and curves - you have complete control. Nothing is lost by using these tools which are very smartly transforming a color or level to another one that is made to look correct on a specific screen.
The only time you wouldn't be able to pull something back is if it was clipped in the recording, which you could see with a flat waveform trace.
@@CreativeVideoTips I appreciate your feedback. But you did not get my point. All i am trying to say is that when working with the cst node i have the option to add node before the cst node by which i can control the highlights and shadows without clipping it. But when i am using Davinci YRGB color managed all i having is a color mapped image no place for adding a prior node. Doesn't that mean i loose the quality of the image when i pull the highlights or push the shadows after the applying color input process in davinci resolve?
My LG38WN95C monitor color space is set to DCI-P3. Should I choose DCI-P3 for Output Color Space in Resolve? This video is Golden. Thank you.
Yep absolutely. That’s all there is to it! And nice job with that monitor! Cheers
@@CreativeVideoTips So, I've transcoded to Apple Prores Raw 444. Coming from A7SIII, is that all? No other conversion, like in Premiere 2021?
Great video. I have one question when I go to the colour management - colour science, i have the option of DaVinci YRGB Color Managed. But the preset below is not Resolve color management preset. It is Color processing mode. it does not have DaVinci Wide Gamut as an option. What it does have is HDR DaVinci Wide Gamut intermediate...are they the same thing? is there a reason my interface is different? I'm not using the studio version.
Whar are the settings for Davinci Resolve18? I can change the color science to Davinci YRGB Color Managed and then have two options: Automatic color management, which is check on by default and Color processing mode, either SDR or HDR. PS: Great videos and very helpful.
Sorry Brian, they changed the interface very shortly after I published this video - just uncheck the automatic color management box. Now you can have much more control and choose Davinci wide gamut for color processing mode which is your timeline space. At the bottom of that list you can choose custom for all the options in the world.
@@CreativeVideoTips Thank you for the reply. Your videos are one reason that I dropped FCP for DaVinci. Very helpful getting me through the learning curve.
Thank you, excellent video. Any hints how to manage iPhone 12 Dolby Vision clips while using the RCM?
This is a good question. I am still rocking a few years old iPhone so I haven't been able to test this yet. It will rely mostly on what you set your input color space to. I'm hoping someone else here in the comments can chime in with the correct answer.
If I get a new phone this fall I will for sure test and teach with those settings.
Final Cut Pro does have a filter called something like HDR tools to convert an iPhone hdr clip into an sdr project - but I know there is a sophisticated correct way to get this right in resolve. I just don't know the answer.... yet.
I had a GoPro 9 video shot in flat, I did what you explained in the first section and had zero change. What am I doing wrong?
Hi there, sorry for the delayed response. Since GoPro Flat doesn't really have a defined color space or gamma other than being flatter rec 709. I would usually just assign it as 709 and grade those clips with a curve and saturation adjustment in the color page. My hope is eventually DaVinci Resolve will support every single color space from every camera kind of how photoshop raw works will all raw photos formats. It's getting there but not fully yet.
@@CreativeVideoTips thank you for the reply, I understand why now.
But it doesn't work with Fusion, sadly
Ah - you just hit on my video that comes out next Tuesday. Stay tuned. I have an excellent way for this to still work. Good catch.
The bypass I am finding is a lot different than the same file under Davinci YRGB, so using it break out of the RCM and Wide Gamut for using with LUTs that expect the Rec709 doesn't yet jive with me. I don't see a way to pull out of the Davini managed tone mapping to perform this - in ACEs there is an OFX that can be applied to pull out of ACES. I think BMD should consider adding the same for their new color management.
Another good tutorial though Chadwick. You are really turning them out and the consistent accuracy of the information should be noted. Thumbs up from me.
Thanks Jim, when you say the bypass is different, are you talking about bypass input color space or bypass color management? Or both?
Thanks for being a great resource yourself.
@@CreativeVideoTips Either - if I put a file on the node tree in Davinci YRGB without any transform etc. and take a still. Then put the same image in Davinci managed and right click on the clip and choose bypass color space, and if you then wipe the still reference they are noticeably different. So you think then to add a CST and just apply a rec709 out with a chosen gamma would fix it. But it does not. So if you are expecting a LUT to look the same when the starting space is different, then it doesn't work for me.
Actually just attempted it again and I can match them by using the adaption slider on the CST - so disregard that now. This actually made clarification. Still not able to break out of the color managed with a CST - there is no choice to opt back in - so using a LUT between two CSTs is not possible that I can see. Could be wrong about that as well . More testing.
@@JimRobinson-colors good findings - I'm very curious to learn more about it now
Question, is it possible to color correct footage before bringing it into a timeline? Example: Creating a multi-cam sequence and lets say camera A is a bit brighter then Camera B... if I can correct the problem before creating that multi-cam sequence it would save me the trouble of having to select my cuts individually and copy/paste attributes on my clips. Thank you in advance. You're a great educator.
Great question. No it needs to be on a timeline to put a manual correction on it, but it can be done in a couple ways once it’s a Multicam.
One is with clicking the Multicam and open in timeline, right click it. Then you can grade all of one angle.
Another good way is using remote grades which applies the same correction to all clips from the same video file.
@@CreativeVideoTips Thank you for your quick response. I'll give it a try! Peace!
Great video. I miss my LUTs already 🤣
You and me both!
Awesome!! You provide very good tips and techniques for Davinci Resolve. New subscriber here 😀
Wow. You really packed a lot into this tutorial. Awesome. Worthy of a number of views to extract the fullest of understandings. Big thank you.
Speed Editor🔝 👍🏻
STILL trying to figure out how to use mine:-)
@@DHMeister I have a pretty comprehensive playlist on this channel for all things related to the speed editor :)
@@CreativeVideoTips I've been watching:-) Love your channel, but my "learning disability" is mostly due to time (work). I'll be hitting it harder soon. I'm looking at my editor now and can't wait to enjoy it with comprehension. You make it look sooooo easy! Thanks for the work that you have put into it to help others!
@@DHMeister thanks so much. I can definitely understand the lack of time. I wish I had another couple hours in every day.
Hi matey, could you advise on the best way to make BM cameras look like gh5 natural please?
Hi Martin - this is tricky to answer in a comment but I would start by using a split screen or wipe in the color page - make sure you are looking at rec709 on both and adjusting the curves until they are similar.
Now there is an AUTOMATIC COLOUR MANAGEMENT tick box which excludes the Wide Gamut option. Should we untick that and choose WIDE GAMUT INTERMEDIATE instead?
Awsome video bro great information
Appreciate it! Cheers.
That's great. But how do you do this in DaVinci Resolve 17.4? They introduced Automatic color management. This option takes care of everything and all i have to do is to select the right Input color space? And one more question: when i try to color match...a Sony SLOG video and a DJI Air 2 S video...if i bypass color management for the drone video and i select split screen - selected clips, the drone video will look very weird. I there something i do wrong? Thank you.
In 17.4 they just simplified it into 3 presets on the surface level but you can dive in further if you feel the need to. It functions the same with assigned color spaces.
Oh and it’s a good idea to use the correct LUT for the DJI clip if was shot log
@@CreativeVideoTips thank you
when i right click to go to 'input color space', i don't have the input color space option. any idea? & in clip info under 'input color space', it says blackmagic design film gen 1' even though i shot with a brand new BMPCC 6k pro; shouldn't it say gen 5?
Good question. I'm assuming you are using blackmagic raw? If that's the case - you don't need to do anything. It's all under the hood and once you change to color management (wide gamut is my favorite), Resolve takes it from there.
@@CreativeVideoTips yes, using blackmagic raw.
i’m assuming if i drag some log footage from a sony a7iii, the input color space option will appear?
@@electronicfellows2113 yep - as long as you change over to davinci color managed.
which best setup for Clog1 of canon 5DmkIV?
How would you handle Panasonic v-log please? (some solid content here! Thanks for sharing. Subscribed) Thanks
Thanks for the sub! If it was shot with V-Log (the full version, not the L version from the GH5 etc...) - Right click on the clip(s) in the media pool and choose input color space - Panasonic v-gamut/vlog. Note you must have first turned on DaVinci Color Managed in your project settings first to see input color space options for clips.
@@CreativeVideoTips thanks! I have the GH5 II with log activated. I got to start educating myself more on DV Resolve!
@@CreativeVideoTips hmmm, turns out the GH5ii has the V-log L... Back to Google to check differences and best workflows then... Thanks!
1:23 My color management tab looks completely different. I can't choose "DaVinci Wide Gamut", and whatever I choose my Log footage stays the same. Running version 18.5. Any ideas?
Quick question: what is the input color space of footage coming from a Ninja V + FX3 recording Prores422? Is it also Sgammut Slog3? My footage does not seem to convert in a contrast image when choosing Slog3.
Amazing video dude!
Thanks a ton! I appreciate you taking the time to watch.
@1:04 there's no option for "resolve color management preset" im on 18.6.6
I use DaVinci version 17.46 on my M1MacBook Pro computer to make HDR video. After rendering and exporting, the brightness is always not enough. No matter what video file I import, it is the same. Please guide me, thank you, my question is universal, and many scholars have encountered it.
i have a question: im using braw footage from a ursa 12k. Usually i´m working in davinci wide gamut intermediate; But for this project i need to use the linny lut; should i bypass the colormanagement in every braw clip and then use the lut on the nodetree? or should i not bypass the colormanagement and use 2 colorspacetransform nodes before and after the lut? i mean the one before has input dwg and output blackmagic gen5film, then the gen5film-linny-lut, then the second colorspace-transform from rec709/gamma2.2 to dwg? (the linny lut outputs rec709/gamma2.2...)
Greetings!
How about Canon EOS-M Magic Lantern Raw. Exported from MLV App as CinemaDng?
Great video but I saw no change I’m following your instructions to a T, of not I’m on and iPad m1 with studio versio DaVinci 18.6 any suggestions
How is this not the workflow that every tutorial recommends? I've already created 10 or so projects in Davinci Resolve and have been using LUTs because that's all everyone talks about. Thanks very much for this.
On Davinci Resolve 18 Studio, I select managed but there is no option for wide gamut. Ideas?
Edit: I found it, sorta. You have to uncheck automatic color management, and then it has some options. I tried it shooting in Nikon N-Log with my z6, but it's still significantly washed out.
Hi, as you said select the clips (time 3:32) right click, 'Input Color Space option' NOT appearing above the LUT option on my PC. What to do? please tell me. Thank you.
What’s up. I just did a project using a color managed workflow. But now I am getting the game of shift issues again in my rendered image. What exact settings do I need in order to have a (at least SOMEWHAT) consistent image on render? It’s driving me crazy!
good video even for newbs like me, does this apply also to gaming footage? like what I record with Shadowplay/OBS, thank you.
I shoot with Canon R6. All my clips are log3. It seems color management give me wrong color. Do I have to bypass color management for all my clips and do what you show in your video 5:45? I am a little confused. thanks
Great great great content. Thank you so much, I am learning a lot from you!! There is a way to not only see in Catalyst what input color space are the XAVC files we want to work in Davinci, but also stabilize them in Catalyst prior to send to Davinci? Because they will be rendered 8 bit, isn't it? Or, Can we do all the work in Davinci in 10 bit and then export to Catalyst just to do the stabilization there? Cause I tried (OK, it was in Premiere) to transcode and export to a lot of codecs but then Catalyst doesn't recognize them. Thanks!!!
Your tutorials are top-notch! I’ve been handed a project to Transfer VHS tapes to digital and enhance and restore their color. How would I go about setting up the colour management. I think their colour space is Rec. 601 and I am using an M1 MacBook Air. I’m lost. Please help.
Thank you, sir. Question. In a color managed workflow, if you've shot your footage on an iPhone using an app like Filmic Pro in Log, what should you set your input color space to? I only ask because there is no option for either in resolve. Do you use a DeLog Lut first, then continue as normal? Also, if using Dehancer, what would you set your input to? Thanks for your help. Great explanation, by the way.
Does this apply to Windows based Davinci Resolve? I don't see "Resolve color management preset: Davinci Wide Gamut". I'm on Resolve 18.
I have been watching you on RUclips for some time. I enjoy your teaching style and choice of subject matter. Your tutorials on color grading have been instrumental in improving my skills and knowledge base.
Your tutorials on color management with dissimilar cameras have been helpful to me. However, these tutorials typically have fairly sophisticated cameras using log footage. My struggle is this, what can I do to match colors grades when all I get is cell phone footage that is not in log. Is there a way to match colors from two cell phones, even when the files are not log?
Thank You, T. Alves
I just ditched Premiere a couple of days ago and am picking up a LUT (kek) of useful stuff here. thank you!
subscribed!
however, so: colour management for raw ( since raw comes with it/s metadata), otherwise working with diffrent videos ( different camera) at the same project ( and not raws) bypass the colour management and input colour ( the right was for logs) if in instance camera logs aren't into davinchi then colour transform.... thank you! anwaz is there a app something like this catalyst browse to view alll camera logs input colours? thank you!
Sounds interesting. But I don't get it 😅 What exactly is color management? Why do I need it? What do I miss when I dont use it?
Hey thanks for the video, but i'm lost at step 1. davinci wide gamut iisn't an option so i tried HDR davinci wide gamut intermediate because it was close. Just can't get my colors to 'pop' 😩
I don't think they have this option anymore in Davinci 18, unless it's part of the paid version.
Hi Chadwick! I don't have the Wide Gamut option on my Resolve, and I have the latest update. I can see "HDR Davinci Wide Gamut Intermediate" wondering if it's the same or I have another setting that is preventing the Wide Gamut option to show up. Any ideas?
hi - its the same, they just changed the verbiage :)
@@CreativeVideoTips wow Thanks for replying so fast! I'm watching all your videos. Great content!!
whoa, been using DR for only a couple months but didn't expect this to be so over my head. Vid went fast, lotsa jargon and a bit short on explanations.
Wide gamut preset doesnt seem to be available in Davinci Resolve 18.5 beta. Or is it just not available in the free version?
So cool and highly informative brother.
I never listen to anyone about color if their video showing me how to color looks like shit and you sir not only know what you are talking about but clearly know your shit! Most of these gurus don't even know about gamma shift..
So if i use color management in settings filming in CLog2 and change it to what you said, i dont have to use a CST in my grade right?
I’ve watched like 10 videos about this and you’ve explained it the best and quickest! Thank you.
Hi, so I have an AVC format, AVC Long codec from Panasonic G7. I don't see Capture gamma equation and Color Primaries in Catalyst Browse. What input color space do I set? Do I have to download a LUT or something? Thanks!
Hi, so this really depends on the picture profile or style that was shot with the G7. Sorry for not being clear about Catalyst Browse - this only works with Sony footage.
My hunch is that you will want to set it to REC.709 if it was one of the more standard Panasonic profiles. The camera manual is usual my first resource to finding the gamma and gamut out.
@@CreativeVideoTips Oh gotcha, I'll give that a shot, thanks!
Again, awesome video. I’m curious if I can use DR color management (wide gamut maybe not but SDR more likely) if I typically shoot cine2 with Sony a6400. I could change profiles as well if RCM would work better with a different Sony picture profile but I’ve been told many times the a6400 works best with cine2 since it’s 8bit and I was using a popular LUT and ETTR. What are your thoughts?
Thanks for watching. You could try doing some tests with S-Log 2, but it is a stretch for 8 bit to get pulled that far. It's certainly doable though. If all of my footage was cine2, then I probably wouldn't turn color management on, there is a disadvantage to it if you use Fusion graphics (meaning it ignores fusion) and I'm using fusion more and more each week. However, if you have a mix of some log formats with your cine 2 then it's a great way to help unify everything.
@@CreativeVideoTips Thanks for the info. I'll try some S-Log2 tests to see how they look. I'm starting to second guess buying the a6400 but for now I have to make it work. I was hoping to cut down on my color grading as it takes so long and i'm a beginner.
Excellent tutorial! I'm in DR 18 Studio. I followed your note below to uncheck "Automatic Color Management," but I don't see "DaVinci Wide Gamut" in the Color Processing Mode options. The closest is "HDR DaVinci Wide Gamut Intermediate." Is that what I should choose?
Thanks Jospeh, yes you're assumption is correct - they just changed the wording.
@@CreativeVideoTips I did all that an saved, but the footage stayed exactly the same
Nice job man. Really like your presentation style. Gotta take notes.
Thanks Jake! Always check the playback bar or description for those timestamps - I try to make things easy to find in there.
well using footage from Sony ZV1 Resolve actually DID know what color space it was from.
Hey that's great to hear. I'm curious, what color space did it tag it as?
@@CreativeVideoTips The clips i used HLG were picked up as "rec.2100 HLG", and the clips i used no picture profile at all were "rec.709(scene)"
@@JeffBourke Hey that is so cool! I didn't know resole could read those HLG clips correctly like that. awesome
@@CreativeVideoTips If only resolve could also read variable frame rate videos also lol.
Thank you! But i'm still not certain on what to settings to use in my color management. I am color grading on an apple screen, my main destination is RUclips but I still want my image to look at least very similar on TVs and want to get the most of the grade. What should I use? Some tutorial say to use Rec 709-A, others say to apply a CST node towards the end of the node tree. TOO MANY OPTIONS! Just want to set it and forget it.
I looked at my lastest upload on a regular tv and my main character looked like an umpa lompa
Wow…im subbed, more!
Awesome, thank you! You rock.
Dude don't change a thing in your style
You are too kind. Thank you, I am working on slowing some explanations down a little to help not lose anybody, but this is confidence inspiring that I"m on the right track.
@@CreativeVideoTips I think is perfect, remember, you just can't cater to everyone. Your videos are top, and it's expected to have some basic knowledge of NLE. In anyevent its clear anything you put you mind to, you will succeed. thanks again for the videos!