Fantastic video! Easily, the best colour management workflow video currently up on UA-cam. Thank you! There simply are not enough videos about colour management workflows around but far too many about the basics of grading/correcting.
I can say to you that for an english movie, it's INCREDIBLY comprehensible for a native french-talking people without closed captions. Perfect. Congratulations ! I learn some things. Thank you and continue !
regardless of what you are teaching ! you are made to teach, hope you are not giving up soon cuz your channel is underrated ! u'll success with a bit of hard work and a semi nice room as your studio
fantastic video. clearly explained and easy to understand. i'm just learning about how all this works and i'm confused about the different rec.709 options. being (scene), 2.2, and 2.4. i can see they affect the brightness (gamma?) of my image but i'm not sure what each one is for and which one i should be using. if you could explain this or make a video on it i'd really appreciate it. thanks!
Thanks so much for your video! So useful. One thing I am confused about, when you are looking to output to various color spaces you will see the drastic color changes reflected accordingly. If you wanted to maintain a consistent look across let's say Rec.709 and a ACES 2065-1 with the drastic differences would you then create two separate timelines with the needed output color space then compensate for the reflected visual changes? And in that case you could get "close enough" but they wouldn't be the same? Thanks again! Your content is priceless! Amazing stuff
You're seeing those dramatic differences because there is a mismatch between your output format and your display's format. Setting the output to Rec.709 and watching on a Rec.709 screen will look more or less the same as setting it to DCI-P3 and watching on a DCI-P3 screen. However, setting the output to DCI-P3 and watching on a Rec.709 screen or vice versa would not look correct. The image you see should only be treated as accurate if your output transform matches your display. Otherwise, it is not reliable.
@@VideoTechExplained Your explanation is very helpful for me but does that mean the only way to edit a rec.709 or srgb video on a wide-gamut monitor like the new MacBook is to set the output format to P3 to correctly show it on the wide-gamut screen for the color correcting process then change the output format to rec.709 or srgb for exporting?
@@malageb1 I'm not 100% familiar with Mac OS's implementation of the wide gamut display, but theoretically, yes. If the display is calibrated for P3 then the preview should also be P3. I would recommend double checking this with other Mac users, though
That’s the point and goal of color management, to adjust various input to a single “lowest common denominator” output device. If using a wider gamut monitor you don’t see the color in the image to the full potential of that device but to the gamut limits of the output gamma which have been selected. The working space is simply a box which needs to be big enough 🎉to hold both the input color gamut and the output. By way of analogy if you ship fruit and need a box just big enough to either ship a pear, an apple or an orange. The baseline colorspace is CIELab which is based on the gamut of color the average human can perceive but some working spaces are even larger because some sensors record wavelengths in the IR and UV ranges we can’t see. On digital cameras “cut” filters are placed over the sensor it prevent the UV and IR from reaching it. Without a UV cut filter fabrics with UV brighteners are rendered lighter in color by the camera that we see then.
Literally the only video on UA-cam that clarifies scene referred and display referred thank you so much 🙏🏽🙏🏽
Indeed!
Yo dude ur actually a legend for making this video 🙏🏻 So well explained, thank you !
Fantastic video! Easily, the best colour management workflow video currently up on UA-cam. Thank you! There simply are not enough videos about colour management workflows around but far too many about the basics of grading/correcting.
I can say to you that for an english movie, it's INCREDIBLY comprehensible for a native french-talking people without closed captions.
Perfect. Congratulations ! I learn some things.
Thank you and continue !
Ah, I was looking for a quick little de-mistifier on colour management and specifically ACES. Very helpful! Thanks!
Superb presentation. Truly superb. Born teacher.
regardless of what you are teaching ! you are made to teach, hope you are not giving up soon cuz your channel is underrated ! u'll success with a bit of hard work and a semi nice room as your studio
Signed in especially to give this a thumbs up.
Excellent work young man.
about the best description of Color Management I've come across
OUTSTANDING video sir, this explains so much so well!
Just stumbled across the channel. Outstanding video that was extremely clear and well taught.
Your content is really valuable and you are very good explaining it. 🎉
fantastic video. clearly explained and easy to understand. i'm just learning about how all this works and i'm confused about the different rec.709 options. being (scene), 2.2, and 2.4. i can see they affect the brightness (gamma?) of my image but i'm not sure what each one is for and which one i should be using. if you could explain this or make a video on it i'd really appreciate it. thanks!
Excellent content.
Amazing work thank you. Please keep them coming.
Great rundown of the formats and workflow!
Yes we did enjoy... good work as always... waiting for the next one.
You have a gift for teaching
Alright! Been waiting for this one!
Thanks so much for your video! So useful. One thing I am confused about, when you are looking to output to various color spaces you will see the drastic color changes reflected accordingly. If you wanted to maintain a consistent look across let's say Rec.709 and a ACES 2065-1 with the drastic differences would you then create two separate timelines with the needed output color space then compensate for the reflected visual changes? And in that case you could get "close enough" but they wouldn't be the same? Thanks again! Your content is priceless! Amazing stuff
You're seeing those dramatic differences because there is a mismatch between your output format and your display's format. Setting the output to Rec.709 and watching on a Rec.709 screen will look more or less the same as setting it to DCI-P3 and watching on a DCI-P3 screen. However, setting the output to DCI-P3 and watching on a Rec.709 screen or vice versa would not look correct.
The image you see should only be treated as accurate if your output transform matches your display. Otherwise, it is not reliable.
@@VideoTechExplained Your explanation is very helpful for me but does that mean the only way to edit a rec.709 or srgb video on a wide-gamut monitor like the new MacBook is to set the output format to P3 to correctly show it on the wide-gamut screen for the color correcting process then change the output format to rec.709 or srgb for exporting?
@@malageb1 I'm not 100% familiar with Mac OS's implementation of the wide gamut display, but theoretically, yes. If the display is calibrated for P3 then the preview should also be P3. I would recommend double checking this with other Mac users, though
You my friend produce great content!
My sincere thanx!
seeing this...subscribed, well explain
Bruh 😎 what a legend 🔥🔥🔥
Thank you
very good, It was all ok, except one point, 'EXR' PART, would appreciate if you please elaborate this topic.
Great content.
The thing is, no matter what I record in or transform, the Color never moves outside the 709 triangle on the scopes.
That’s the point and goal of color management, to adjust various input to a single “lowest common denominator” output device. If using a wider gamut monitor you don’t see the color in the image to the full potential of that device but to the gamut limits of the output gamma which have been selected.
The working space is simply a box which needs to be big enough 🎉to hold both the input color gamut and the output. By way of analogy if you ship fruit and need a box just big enough to either ship a pear, an apple or an orange. The baseline colorspace is CIELab which is based on the gamut of color the average human can perceive but some working spaces are even larger because some sensors record wavelengths in the IR and UV ranges we can’t see.
On digital cameras “cut” filters are placed over the sensor it prevent the UV and IR from reaching it. Without a UV cut filter fabrics with UV brighteners are rendered lighter in color by the camera that we see then.
Anyone know how to transform color space for lut (without davinci CST) ?
In Resolve you can apply the CST and then right click on the clip and export the grade as a LUT