I'm learning editing. When it comes to colors I mostly do a bit of color correction, sometimes even a bit of grading. I only want to give a feedback when I say that your color grading course sounds really interesting, especially for colorists whose aim is to start a business. If I was a colorist first, I'd check out your course. But for me, your streams are already satisfying. Thank you, Cullen!
Cullen, your Grade School is God sent to help us do better in our craft. Thank you for sharing your expertise and wanting to help us to excel at DaVinci Color Grading. I have a question that you alluded to in one of your teachings, but I didn’t really understand. The pipeline is built in DaVinci Wide Gamut/DaVinci Intermediate allowing me to properly match two different cameras, but I’m having a problem dealing with DaVinci Titles and PNG Images imbedded in the timeline; they are funky! What am I missing? Again, thank you.
@@CullenKelly Cullen, as you suggested I placed the PNG graphics in their own Pipeline Group with the Input Color Space and Input Gamma set to Rec.709. The Output Color Space was set to DaVinci Wide Gamut and Output Gamma set to DaVinci Intermediate. I did not change the “End of Pipeline” Timeline Color Space Transform which had the Input Color Space set to DaVinci Wide Gamut and Input Gamma set to DaVinci Intermediate with the Output Color Space set to Rec.709 and Output Gamma set to Gamma 2.4 (used for the entire project). Images from both cameras and the PNG graphics look great but I’m still struggling with DaVinci’s Fusion Titles not maintaining their colors. I’m way out of my skill set to figure out what needs to be done and have spent too much time with no success. You’ve provided so much for so many that I hesitate to take any more of your time. So, if it isn’t worth it just say so and I’ll try something else for titles. Your training reduced my color matching of multicamera shoots by hours. Thanks again!
any chance to demonstrate or some tips to how to grade a " One Take " please , how to deal with skin if therse chaning light in the scene OR simple clip where therse characters walking around goes in & out from the frame !
Thank you, Cullen and Rafa again for all amazing work the you guys have been doing! My question is why during all the CST or ACES TRANSFORM demonstration you did, you din't change in project settings the TIMELINE COLOR SPACE keeping that set as - REC 709 scene - for both TIMELINE and OUTPUT ? I ask that because I learned from you that, even in YRGB using NODE LEVEL color management, setting TIMELINE in project settings according my working space is crucial for some key operations like COLOR WARPER, OFFSET ,,, Thank you again for your time.
Hie Cullen, thanks for your great youtube channel first. I learn a lot. I have some questions. Multicamera : For a multicamera project for example I have four cameras. The project is already shooted. Sony F3 in slog Fuji xt4 in flog and rec2020 Sony. A7III in cine 4 Sony A7SII in cine 4 I have managed these cameras in four groups and uses Davinci color management for grading. If I choose davinci wide gamut as a pipeline I notice that the sony F3 is rendered badly than if I transform with a CST in ACEScc first in a pre-group for this camera So is it possible to combine ACES with CST in a davinci wide gamut pipeline ? does it make sense ? or is it a bad idea ? What is the good workflow for cine 4 ( whitch is in a color space different than rec709 but not marked in Resolve). Manual Resolve Grading resolve In this manual there is the advice for raw footage to be translated in the timeline in rec709 ( in the raw palette in the left of the interface ) even if the timeline is davinci wide gamut in the project settings. The result is more saturation and contrast and I interpret this setting to be a solution to make quick adjustement. Does it makes sense ? LOOKS : If I want to make a look, you have adviced to grading after making the look in place. So if I want a look in a short movie and have several groups : what kind of looks could be created in the post group and in timeline level ? thanks best regards.
I need to get out of project tomorrow where I have a pre-rendered rec709 clip with the intro/titles. How would you exclude it from cc made at timeline level?
Hey Cullen, Is the "CKC-RUclips-FrameIO-LUT-v1.1.cube" the same thing as what you are showing in this video which is, "CKC-Web Viewing Transform v1.1"?
Thank you so much for this. Where can I find the web viewing transform? I've tried looking in your store and looking online and can't find it anywhere.
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
I'm learning editing. When it comes to colors I mostly do a bit of color correction, sometimes even a bit of grading. I only want to give a feedback when I say that your color grading course sounds really interesting, especially for colorists whose aim is to start a business. If I was a colorist first, I'd check out your course. But for me, your streams are already satisfying. Thank you, Cullen!
sir i feel very blessed that i can enrich my knowledge bcoz you are putting so much time and effort to teach us...thank u so much sir
Bring back the Sorcerer poster!
Cullen, your Grade School is God sent to help us do better in our craft. Thank you for sharing your expertise and wanting to help us to excel at DaVinci Color Grading. I have a question that you alluded to in one of your teachings, but I didn’t really understand. The pipeline is built in DaVinci Wide Gamut/DaVinci Intermediate allowing me to properly match two different cameras, but I’m having a problem dealing with DaVinci Titles and PNG Images imbedded in the timeline; they are funky! What am I missing? Again, thank you.
@@CullenKelly Cullen, as you suggested I placed the PNG graphics in their own Pipeline Group with the Input Color Space and Input Gamma set to Rec.709. The Output Color Space was set to DaVinci Wide Gamut and Output Gamma set to DaVinci Intermediate. I did not change the “End of Pipeline” Timeline Color Space Transform which had the Input Color Space set to DaVinci Wide Gamut and Input Gamma set to DaVinci Intermediate with the Output Color Space set to Rec.709 and Output Gamma set to Gamma 2.4 (used for the entire project).
Images from both cameras and the PNG graphics look great but I’m still struggling with DaVinci’s Fusion Titles not maintaining their colors. I’m way out of my skill set to figure out what needs to be done and have spent too much time with no success. You’ve provided so much for so many that I hesitate to take any more of your time. So, if it isn’t worth it just say so and I’ll try something else for titles. Your training reduced my color matching of multicamera shoots by hours. Thanks again!
any chance to demonstrate or some tips to how to grade a " One Take " please , how to deal with skin if therse chaning light in the scene OR simple clip where therse characters walking around goes in & out from the frame !
Thank you, Cullen and Rafa again for all amazing work the you guys have been doing! My question is why during all the CST or ACES TRANSFORM demonstration you did, you din't change in project settings the TIMELINE COLOR SPACE keeping that set as - REC 709 scene - for both TIMELINE and OUTPUT ? I ask that because I learned from you that, even in YRGB using NODE LEVEL color management, setting TIMELINE in project settings according my working space is crucial for some key operations like COLOR WARPER, OFFSET ,,, Thank you again for your time.
Hie Cullen,
thanks for your great youtube channel first. I learn a lot.
I have some questions.
Multicamera :
For a multicamera project for example I have four cameras. The project is already shooted.
Sony F3 in slog
Fuji xt4 in flog and rec2020
Sony. A7III in cine 4
Sony A7SII in cine 4
I have managed these cameras in four groups and uses Davinci color management for grading.
If I choose davinci wide gamut as a pipeline I notice that the sony F3 is rendered badly than if I transform with a CST in ACEScc first in a pre-group for this camera
So is it possible to combine ACES with CST in a davinci wide gamut pipeline ?
does it make sense ? or is it a bad idea ?
What is the good workflow for cine 4 ( whitch is in a color space different than rec709 but not marked in Resolve).
Manual Resolve Grading resolve
In this manual there is the advice for raw footage to be translated in the timeline in rec709 ( in the raw palette in the left of the interface ) even if the timeline is davinci wide gamut in the project settings. The result is more saturation and contrast and I interpret this setting to be a solution to make quick adjustement. Does it makes sense ?
LOOKS :
If I want to make a look, you have adviced to grading after making the look in place.
So if I want a look in a short movie and have several groups : what kind of looks could be created in the post group and in timeline level ?
thanks
best regards.
Hey man. What movies have you color graded that I would know? 👍🏻
I need to get out of project tomorrow where I have a pre-rendered rec709 clip with the intro/titles. How would you exclude it from cc made at timeline level?
Hey Cullen, Is the "CKC-RUclips-FrameIO-LUT-v1.1.cube" the same thing as what you are showing in this video which is, "CKC-Web Viewing Transform v1.1"?
Thank you so much for this. Where can I find the web viewing transform? I've tried looking in your store and looking online and can't find it anywhere.
never mind, I found it!
It is on his website included in the starter pack. Here is the link- starterpack.cullenkellycolor.com/
@@CullenKelly no worries!
Or you could just convert to rec709a via a cst and Tag as that during export.
Will the 2383_DWG_to_DWG_v2 LUT be released anytime soon ? Let's get more details about what's changed !
@@CullenKelly Awesome Cullen ! Great adjustments on the LUT ! Love the density on the orange tones ! Thanks !