As mentioned in the video, I had some technical issues with recording this video. I chose to use Riverside.fm to make this video, which seemed like a great platform as it has local recording possibilities for video calls. However, I ran into some issues. Riverside claims to provide a ‘raw’ audio file of the participant(s) after the recording is done. This file turned out to be anything but ‘raw’. When a participant has noise reduction turned on in Riverside, that will also affect the recorded file. Riverside’s noise reduction is extremely aggressive and I had to do my best to restore Daria’s audio. The recording of a participant’s shared screen is another issue. Riverside records that online. Not locally like the ‘talking head’. This means that it’s heavily dependent on the quality of the internet connection, but will be quite low quality anyway. In this case it resulted in an extremely low quality recording of the shared screen. So I ended up re-recording most of Daria’s actions in Resolve. I complained to Riverside about this (and got a refund), but if anyone knows a good alternative that doesn’t have these issues, please let me know!
I watched the whole episode in one sitting. It was that interesting and informative. Daria really is THE Davinci Jedi. Daria was indeed very gracious with her time by sharing her wealth of knowledge. Her presentation was both informative and entertaining. What impressed me most is Panasonic’s own Colour Space being so large. Many people discredit or belittle Panasonic possibly because the cameras are so affordable to consumers like me and don’t have big price tags like Arri or Red, so therefore their image quality is reduced and not really worth considering. We both know different and put our money where our mouths are.😊 Well done to both of you. I sincerely hope this episode gets picked up by other Resolve Content Creators to promote. I’d say that Panasonic’s vlog Colour Space is actually “up there” with the Big Boys or at the very least nipping at their heels.
She is, isn’t she? I was also pleasantly surprised to hear about Panasonic’s colour space. I leant so much myself, making this video with her. I’m sorry we couldn’t get to the questions you submitted. Some were a bit outside of the scope of this video, but the video got a bit long as well.. But I guess your question for a cheat sheet has been answered in the form of this video 🙂 Thanks for watching Frank, as always!
Hey great job. Daria is her usual guru self in your video. I really enjoyed hanging out with her and Darren Mostyn in Portland in the summer. First night there we went out to the cheesecake factory and I was so excited that I think I talked for about two hours non-stop. Was the highlight of my summer. As far as color management - the one thing to keep in mind with RCM is that the output can't be turned off - so if you have it set to project settings to output to rec709 2.4 - you should be really careful with adding a CST or a LUT or plugin that does the transform because it will process the transform twice. And it will look oversaturated and different. Best practice is to use CSTs in a CCST node based color management and try not to use it in the davinci Color managed. I think that in this video that Daria at one point changed to the color managed process in the timeline but still had the project as not color managed. So the clips were showing as the source image because in the media pool they are in the project but not yet in a timeline. So they will still behave and look as the project settings. Enjoyed this discussion though. I am a big Daria fan. I tell people that she is as nice as she is smart- and I think she is brilliant. cheers
Thank you Jim! She is brilliant indeed! Great point about RCM. One thing to note though is that if you select ‘bypass color management’ for a particular clip, you can go ahead and work with CSTs without it converting it to the output twice. Thanks for watching and for what you contribute to the Resolve community on Facebook!
@@RedFrameTech That is true - but there really isn't any point in using a CST then. You can just right click the clip and choose the input. Anyway really interesting and well presented.
Wow, I am overwhelmed and will have to repeat the lesson a couple of times with my editing computer next to me. Bedankt for the efforts to both of you. Have a great Xmas!
I've watched many of her talks and every time there is something new I pick up. One year into DR color grading. I can't color grade in première anymore
She’s absolutely brilliant! I learnt so much myself, making this video with her. And yeah, once you learn how to grade in Resolve it’s almost impossible to go back to anything else 😄
If it’s necessary, yes. But this wasn’t necessarily a demonstration of how to balance and grade an image. Personally I start with exposure and then white balance. But you could do it either way.
My friend, can you summarize for me what type of screen I should use in order to get a very good result, please? I am lost from the large number of RUclips videos.
That’s a tough question. I personally don’t have a special monitor for grading. I learned how my monitor renders colors and accommodated for that with my grading. If you really want a grading monitor: Flanders monitors are good, but really expensive! I wouldn’t personally invest in that unless you are/are becoming a professional colorist. I am a videographer. So I do a bit of everything 😅
DaVinci wide gamut is just the working color space, not what gets displayed on your monitor. The output color space determines how it gets displayed, in this case Rec709 gamma 2.4. In other words, if you set your output color space to whatever your display can reproduce, you’re good and you can see exactly what you’re doing. Hope that helps!
@@RedFrameTech Sorry im probably being dumb but.. how does changing the working colour space change the experience if what we are seeing is the output colour space. Maybe it changes the scopes.. maybe it changes the 'feel' of some controls?
Good question! It allows for working in a much larger color space. Cameras that shoot log usually capture much more information than can be displayed in Rec709. To make use of that extra information, we need to work in a larger than Rec709 space. It allows for more control over the extra information before it gets converted into rec709. Highlight roll off adjustments for example. If one were to do this while working in a rec709 space, things will fall apart/clip very quickly, because the extra information from what the camera captured is being disregarded in that case.
In addition, you can try this out yourself: Shoot a clip in log and grade one version of the clip in a wide colour space. Put a conversion LUT (log to rec709) on another version of that same clip and try to grade that clip after the LUT. You’ll notice that it feels very different and very much limited, even though you’re looking at both clips on your (probably) rec709 monitor
30 s. Exposure, WB on manual, standard LUTs, some screen you trust : you're done. Never try to match colors, unless for payed trivial products jobs. Designers just ask their operator to show the desired image. They never touch a cam. But for you it's only 30 s of settings. If you stay on this matter more than 3 minutes, you're craze or don't know what your doing. Never trust a chart on artistic projects, trust your eyes. So what's the deal ? DVWG all the way to Rec 709, done.
I’m not entirely sure what you’re trying to say here. But if you mean: doing a decent job of setting exposure and white balance in-camera, then I completely agree! And DWG to Rec709 is also my preferred workflow. Thanks for watching!
As mentioned in the video, I had some technical issues with recording this video.
I chose to use Riverside.fm to make this video, which seemed like a great platform as it has local recording possibilities for video calls. However, I ran into some issues.
Riverside claims to provide a ‘raw’ audio file of the participant(s) after the recording is done. This file turned out to be anything but ‘raw’. When a participant has noise reduction turned on in Riverside, that will also affect the recorded file. Riverside’s noise reduction is extremely aggressive and I had to do my best to restore Daria’s audio.
The recording of a participant’s shared screen is another issue. Riverside records that online. Not locally like the ‘talking head’. This means that it’s heavily dependent on the quality of the internet connection, but will be quite low quality anyway. In this case it resulted in an extremely low quality recording of the shared screen. So I ended up re-recording most of Daria’s actions in Resolve.
I complained to Riverside about this (and got a refund), but if anyone knows a good alternative that doesn’t have these issues, please let me know!
I never knew you got the legendary Daria on here! 😀
I felt so honoured! 😁
Thank you for this, Sebastiaan!
You’re welcome 🙂 learned a lot myself as well
Daria is GOAT
She is!
Great content, applied knowledge in a way that puts to shame spec reading "pro" yt channels. Thanks for bringing Daria. 🙏🏻
Thank you so much!
Daria is the best colorist 😇😇😇😊😊😊
For sure she is!
I watched the whole episode in one sitting. It was that interesting and informative.
Daria really is THE Davinci Jedi.
Daria was indeed very gracious with her time by sharing her wealth of knowledge. Her presentation was both informative and entertaining.
What impressed me most is Panasonic’s own Colour Space being so large. Many people discredit or belittle Panasonic possibly because the cameras are so affordable to consumers like me and don’t have big price tags like Arri or Red, so therefore their image quality is reduced and not really worth considering. We both know different and put our money where our mouths are.😊
Well done to both of you. I sincerely hope this episode gets picked up by other Resolve Content Creators to promote.
I’d say that Panasonic’s vlog Colour Space is actually “up there” with the Big Boys or at the very least nipping at their heels.
She is, isn’t she?
I was also pleasantly surprised to hear about Panasonic’s colour space. I leant so much myself, making this video with her.
I’m sorry we couldn’t get to the questions you submitted. Some were a bit outside of the scope of this video, but the video got a bit long as well..
But I guess your question for a cheat sheet has been answered in the form of this video 🙂
Thanks for watching Frank, as always!
@@RedFrameTech The episode is great.
Now if you could condense it to 5-10 minutes then you'd have a monster hit on your hands.
@@frankinblackpoolI guess I could make a condensed version of it 🤔
Hey great job. Daria is her usual guru self in your video. I really enjoyed hanging out with her and Darren Mostyn in Portland in the summer. First night there we went out to the cheesecake factory and I was so excited that I think I talked for about two hours non-stop. Was the highlight of my summer.
As far as color management - the one thing to keep in mind with RCM is that the output can't be turned off - so if you have it set to project settings to output to rec709 2.4 - you should be really careful with adding a CST or a LUT or plugin that does the transform because it will process the transform twice. And it will look oversaturated and different. Best practice is to use CSTs in a CCST node based color management and try not to use it in the davinci Color managed.
I think that in this video that Daria at one point changed to the color managed process in the timeline but still had the project as not color managed. So the clips were showing as the source image because in the media pool they are in the project but not yet in a timeline. So they will still behave and look as the project settings.
Enjoyed this discussion though. I am a big Daria fan. I tell people that she is as nice as she is smart- and I think she is brilliant.
cheers
Thank you Jim!
She is brilliant indeed!
Great point about RCM. One thing to note though is that if you select ‘bypass color management’ for a particular clip, you can go ahead and work with CSTs without it converting it to the output twice.
Thanks for watching and for what you contribute to the Resolve community on Facebook!
@@RedFrameTech That is true - but there really isn't any point in using a CST then. You can just right click the clip and choose the input. Anyway really interesting and well presented.
@@JimRobinson-colorsTrue, unless you need to use a plugin that doesn’t support davinci wide gamut. Interesting discussion though 🙂
This was fantastic. Very helpful and thorough and well-explained. Thank you 🖐
You’re most welcome 🙂
Wow, I am overwhelmed and will have to repeat the lesson a couple of times with my editing computer next to me.
Bedankt for the efforts to both of you. Have a great Xmas!
Thanks for watching Wolfgang! Happy holidays!
Daria is fantastic -- when she talks about Resolve, I listen.
Same 🙂
Great content and very informative,Thank you all
Absolutely helpful. She is an awesome teacher, very well done.
I've watched many of her talks and every time there is something new I pick up. One year into DR color grading. I can't color grade in première anymore
She’s absolutely brilliant! I learnt so much myself, making this video with her.
And yeah, once you learn how to grade in Resolve it’s almost impossible to go back to anything else 😄
Hello, thank you both for this video.
Very nice. Thank you Red Frame. Going to study this video at length. Love here as a teacher. I tool her 4 hour color grading course twice. Great job.
Thank you! She is an excellent teacher indeed.
Thank you very much for this great video, Sebastian. Very useful information very nicely presented. I adore all your videos.
All the best!
Thank you 🙏 All the best to you too!
So she doesn't start with white balancing the footage? I see some RUclipsrs start there first.
If it’s necessary, yes. But this wasn’t necessarily a demonstration of how to balance and grade an image.
Personally I start with exposure and then white balance. But you could do it either way.
My friend, can you summarize for me what type of screen I should use in order to get a very good result, please? I am lost from the large number of RUclips videos.
That’s a tough question. I personally don’t have a special monitor for grading. I learned how my monitor renders colors and accommodated for that with my grading. If you really want a grading monitor: Flanders monitors are good, but really expensive! I wouldn’t personally invest in that unless you are/are becoming a professional colorist. I am a videographer. So I do a bit of everything 😅
Thanks for the nice answer. I think I will buy this expensive screen because my mood at work is broken
18.35 - sets to davinci wide gamut. Now can the monitor reproduce that gamut? And if not how does one know what one is doing?
DaVinci wide gamut is just the working color space, not what gets displayed on your monitor. The output color space determines how it gets displayed, in this case Rec709 gamma 2.4.
In other words, if you set your output color space to whatever your display can reproduce, you’re good and you can see exactly what you’re doing.
Hope that helps!
@@RedFrameTech Sorry im probably being dumb but.. how does changing the working colour space change the experience if what we are seeing is the output colour space. Maybe it changes the scopes.. maybe it changes the 'feel' of some controls?
Good question!
It allows for working in a much larger color space. Cameras that shoot log usually capture much more information than can be displayed in Rec709. To make use of that extra information, we need to work in a larger than Rec709 space. It allows for more control over the extra information before it gets converted into rec709. Highlight roll off adjustments for example.
If one were to do this while working in a rec709 space, things will fall apart/clip very quickly, because the extra information from what the camera captured is being disregarded in that case.
In addition, you can try this out yourself:
Shoot a clip in log and grade one version of the clip in a wide colour space.
Put a conversion LUT (log to rec709) on another version of that same clip and try to grade that clip after the LUT. You’ll notice that it feels very different and very much limited, even though you’re looking at both clips on your (probably) rec709 monitor
30 s. Exposure, WB on manual, standard LUTs, some screen you trust : you're done. Never try to match colors, unless for payed trivial products jobs.
Designers just ask their operator to show the desired image. They never touch a cam. But for you it's only 30 s of settings. If you stay on this matter more than 3 minutes, you're craze or don't know what your doing. Never trust a chart on artistic projects, trust your eyes. So what's the deal ? DVWG all the way to Rec 709, done.
I’m not entirely sure what you’re trying to say here. But if you mean: doing a decent job of setting exposure and white balance in-camera, then I completely agree!
And DWG to Rec709 is also my preferred workflow.
Thanks for watching!