Mastering Color Management in DaVinci Resolve: Input, Working, and Output Color Spaces Explained.
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- Опубліковано 7 вер 2024
- This video explains the basic concept of colour management within Davinci Resolve and the difference between Input, Working, and Output colour spaces. Davinci Wide Gamut Intermediate is in my opinion the best working colour space to convert all of your RAW and Log footage into before colour grading - and this video explains how.
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Davinci should be paying you. This should be the first thread one reads when tackling Color Management. Great job explaining the myriad of choices.
That's actually explained better than in the videos from the Blackmagic / Da Vinci Resolve guys themselves. Congrats and thanks a lot for this! 🙂
Thanks a lot!
Well explained. I watched numerous videos to comprehend CSM and CST but I always felt confused. Thank you for your time and effort.
I have watched around 20 plus hours of colourist videos this has been the best at least for understanding why we need to do this and it actually means thank you
Thanks man. What I loved about this video is that you got straight to the point without dilly dallying around on other things and you also explained things really well and in a simple way. Also like your visuals and audio quality and the way you speak. Very easy to watch and follow what you're saying. No drama and no fuss.
Cheers for that! Appreciate it.
Incredibly clear and concise. Thank you
Thanks a lot for this!
I've seen so many videos and read a lot of posts about color management, and this one is very simple but helped tremendously, thank you.
Thanks!
Im the newbie, the best and easiest I have seen about Color Management in Davinci ! God bless You
Great, stoked it helped!
This is a nice, simplified explanation that people can build from. I’ll share this method with my students, then advance from that. But I’ll keep it simple, early with them.
Thanks Brian!
you cleared most of my doubt , this was so useful thanks ! , after all this i realised : if i'm not wrong ,as GoPro already shoots in rec 709 even in flat mode That makes it less flexible to achieve a DSLR lvl color grade . all we can do some tiny adjustment to enhance it and make it abit better .
Yes that's right. If you already have a Rec709 image coming out of the GoPro there isn't much need to colour manage it if that is all you are working with, however if you are working with a range of other footage it is nice to pull it all into DavinciWG to grade.
You have made rather confusing concept really easy to digest. Thank you so much. Really love your content.
Happy to help! Thanks for watching.
You really know how to explain things in a very calm slow pleasing way especially for us newbs thank u
Thanks for this, glad it is helping!
Finally a quick, clear and concise explanation !
Thanks!
I watched the tutorials on the Black Magic website and while they are great, your tutorial explains perfectly what you need to do before starting in Davinci Resolve. I added a subscription because the tutorial is perfect. Thanks.
I'm trying to wrap my head around this workflow for a while, and what doesn't line up is the notion that when you grade between 2 CST nodes one of which converts into DWG and another from DGW, it becomes your working color space. Especially when you hear that Timeline color space is the Working color space. My brain explodes when I see that when you work this way within nodes and change your Timeline color space in the settings or on the nodes within that space that you thought was designated solely as a working color space - the image changes!! And I don't understand why, given that you were told only about two things - input color space and output color space. It seems there are more variables in this equation that affect the actual result which no-one talks about. Generally speaking it sounds simple and right, but when you try to change things here and there, you see that the general logic doesn't line up anymore showing that it's more complicated than it's taought...Do you know what happens within each node and why they have their own settings for Gamma and Color space, and why even CST node changes its behaviour being affected by those settings and Timeline color space DVR settings?
I use pipeline with as many groups as I have different cameras.
But the last way with the custom option and specifying the input color space for each clip is from far the best way to manage the CST.
Thanks a lot 🙏
You're welcome!
Yeah, great explanation of color space transformations that are absolutely necessary depending on what kind of footage you have. I really like the node based explanation first that can then be replaced by a global color management setting in project preferences. Kudos dude.
Thanks -- you just saved the day again.
That's a fantastic and simple to understand, explanation! I learned more from this than the many videos I've watched. Thank you!
Hey thanks for watching - Glad it helped!
This guy makes some under rated videos. Y’all should subscribe
Ha thanks Samuel!
Such a good explanation - all this vocabulary sounds so foreign but this video really helped!
It feels like a different language when you get started. All the big words sound complicated but ultimately simple processes.
True hero! Looked for a video like this for quiet some time
🙌
THANK YOU SO MUCH FOR THIS EXPLANATION!! Best and most clear explanation ive come across! Thank you!!
Glad it helped. Cheers for the watch!
Dude!! Thanks for this! Answered so many questions and you did it so concise and easy to understand! Thanks
🙌 Glad it helped!
Very helpful, first time I understood this in a bit more detail, thanks!
Thanks so much!
Best video I've seen explaining this. Instant subscribe and this is the first video I've seen of this channel.
Its arrived! After so long, finnally found what I once remember. When multiple color shades/tones are revealed on a females face (due to makeup) then you have color discernment. My 4k monitor is so stuck on sRGB that I made a combo: Apple RGB in color management, and added Adobe1998 to my LG driver folder in "drivers", then opened each file. Waalah, beauttiful!
This is cowboy color isnt it Joshua?
👏
Best explanation of this in existence. Thanks!
Thanks!
Very helpful. Thanks.
Cheers
You just earned yourself a new subscriber
Appreciate it!
Excellent! Struggling with so many color spaces, gamuts, etc. Confusing to me. Your video has laid a good foundation for me to learn DR and use it with pride later, hopefully! Ha.
Glad it helped!
This is the video I have been searching for months! Thank you!
Very good explanation especially with the custom settings
Thank you Wayne!
Outstanding explanation. Best I've come across yet, thank you Joshua
Thanks for the quick and clear explanation!
you explained well Thanks! great video
Great video. The only difference in my workflow on Resolve 18, is that within Project Settings, Color Management tab, I separate the Color Space and Gamma selections just so I’m explicit in the values for both. My only other change is that I shoot on RED, so my input color space/gamma are different. It’s great to validate that I have been on the right track!
Awesome. Great thoughts!
very great teacher. Thanks from tahiti - Joshua.
Appreciate it!
Great explanation! This makes more sense when trying to figure out color space.
I do pretty much the same workflow - but not sure how in your explanation that before when you had a couple of nodes before the CST that you claim you are then working under and in Arri Log C when it inherits the colorspace set in your project manager which later when you switched to it? - it was rec709(scene) and you had the Timeline checked to use the same colorspace. Resolve nodes before the CST has no indication of the color space and they don't read it backwards on the pipeline.
The next step that you did to put it into DWG made perfect sense. But to me if you had set up the ARRi log C in the project manager then it makes more sense. This I think is where all the confusion comes in as to wrapping your head around color management.
Also up until recently the default from Resolve in non color management was not Rec709(scene) - If I don't change it, the display changes - even though I am using a Ultrastudio 3g to feed my display. I find that a little strange as well. If my display is calibrated for Rec709 2.4 then why would I feed rec709(scene)?
Hey Jim, thanks for the clarification and correction! Always appreciate it. Yes, you are so right - I should have noted the timeline setting in project manager is essential to change if you were to actually work in ‘Log C’. I brushed over it to get to the DWG CST which is where I would normally work. Appreciate the note 👍
You are a good guy! Didn made this difficult😂
Incredibly clear , thanks
You are welcome.
Thanks Josh. First time I've come across your stuff. Really helpful!
Cheers, thanks Ivan!
Information that I was looking for .... simple and clear ! 👋
Glad it was helpful!
6:20 did you mean clips from multiple cameras ? Everything super clear on this video , just wasn’t sure what you meant here. Thanks for this tut - another easy-to-watch video.
Yeah that's right - multiple clips from multiple cameras.
wow brilliant
Cheers!
Thanks again for this clear explanation! at time 6:31 of your video, you right click on some of the clips to "manually" use "input color space" 🤔 so you do this, because they are not RAW footage so Resolve algorithm can't recognize them...? and they have to be "converted" manually...? (according to camera brand...) Thanks!
Yes that is right. If the footage is RAW then that 'input colour space' option won't be there. For all other footage you can manually change the input colour space.
Thanks for this video! What I don't understand is the colour shift upon export, when I change my output gamma to Rec 709-A, I get no colour shift, I get the same Image as what I was viewing while grading. When I choose Rec 709 Gamma 2.4 I get a massive change
Hey, this is a really common problem and it has to do with how different programs read and interpret the original video. For example you will notice your videos look different between apple quicktime and VLC player, and it will also look slightly different on youtube / online. Rec709-A is the best Output Colour Space Tag to use to help display the video correctly with Apple Quicktime Player. This video might help a little with this: ua-cam.com/video/RJTO56capLU/v-deo.html
Ok , that makes it clear.
I am just playing around learning something new to see what i can do with davinci resolve 18 studio. Not a pro videographer but enjoy the creative and learning side.
Typically I have mostly DJI gear and a Nikon Z50 which don't seem well represented in the various gamuts and gamma lists.
Can you suggest a solution . I believe the Z50 is sRGB,AdobeRGB and RAW.
There is no colour space or gamma spec mentioned by the manufacturer for DJI gear. (8 bit colour and 10 bit D-Cinelike)
Thanks for your straight forward explanation in this video.
I don't know the Z50 vut DJI gear could shoot in D-Log and then in Davinci Resolve colour management settings you could select DGamut / D-Log.
@@JoshuaKirkNZ I have since learned that Nikon RAW is not a log format nor is the DJI D-Cinelike a true log format. Applying DJI D-log to D-Cinelike is too harsh as is N-Log for Nikon RAW. Gamma overcooked. D-Gamut with rec 709 gamma does produce a good starting point for DJI. footnote of interest Go Pro natural with arri3 is not too bad , gamma 2.4. Thanks for reply.
Thanks for the video. So I was thinking I was following you until the very end, but I didn't really catch how once you have the global settings set, how you can easily change between camera clips coming in that have different input color spaces. Maybe I need to watch it a few more times.
Can you do one video about explaining about how to deliver for cinema, for p3 , and how to convert your rec 709 to HDR if you want that option for delivery.
Nice explanation...Can u tell me what's the method u prefer mostly- CST nodes/ global color managed method & why?
I prefer using CST nodes over global colour management, becauase I still run into the odd issue with graphics and titles with a global colour management workflow.
Thank you for your work Joshua
Thanks for watching!
Oh, thank you for this video. The best explanation!
Thanks for the watch!
This is great! Thank you! What about DJI D-cinelike footage? It is Rec 709. What should I use for export settings?
this is what i need ,
Great!
👌🏻 Like the idea 🌈
Thanks
great explanation, thanks for making and sharing
Great explanations!. Many Thanks!
Very nicely explained ❤
Thanks a lot 😊
Thank you so much. Great tutorial.
Hello. I got a lot of help from your video. I have a question. If you specify the timeline color space as described in the video and work with , why is the graph stuck in rec.709 in CIE chromaticity?
best one so far!!
Cheers!
Super well explained!
Thanks!
everything was on spot thanks a milion !
Very good explanation!!
So what exactly is the input to working important? I see professionals not using it so I’m wondering what it helps with when grading. I guess my question is what is Davinci wide gamut?
Great post! so either approach is exactly the same? thanks!
Yes in theory. It's just a workflow difference.
I would love to see how to integrate this workflow while using the fusion page.
I don't like the fusion page! Haha, only because I don't spend a lot of time in it and to be honest I don't have a deep understanding of colour management for VFX workflows. What are you wanting to know?
@@JoshuaKirkNZ Well since my post I've learned a lot. I've been trying to find a way to easily make fusion viewing windows work outide of linear to rec709 viewing luts. it's doable with CST nodes inside fusion when working in DWG but once you start working in HDR deliverables it's an absolute nightmare.
Great explanation sir! Do you have a follow up video that explains how to work with the clips from different cameras, in order to obtain a similar look? For example, I record myself playing from different angles with different cameras (two iPhones from different eras and a Sony). Which is the proper way to make the clips look as homogenous as possible? I don't need to be perfect. Just enough similar to not disturb the viewer.
Great video
Thanks!
if your timeline is set to Rec709 in the master settings would the CST LogC to DWG cause the controls you are working with to apply Rec709 corrections to DWG footage giving you incorrect controls?
How do you select the output gamma? 2.2 , 2.4 or 2.6? What does this depend on?
Thank you for the nice video. I ve watched maybe 10 Videos, but many show different results. I feel the same Colormanaged equals the dual colortansform nodes. How ever I see many in their videos combining it anyways. So i wont do that twice anymore thanks to you :) My issue is the CIE Chromaticity. It always shows Rec709 and the colors in that small 3D Cube. Only if I set output color space to DWG than it shows the color space there as well. I am just saying. I never see any difference. So basically the scops dont show what I should see. With the node structure the CIE Should change from before and after that workspace. Do you get my point? Would highly appreciate to understand this better. I pretty well know the differences. Also my color management works pretty well (unless als imported pngs etc are interpreted as slog as well. But I like it. I just never fell a difference beetween the colorspaces.
How do we find the input color space?
Joshua, thanks for an easy, straight-to-the-point explanation of color spaces in Resolve. One question: how does all this change (if it does) if "color science" in project settings in changed to "DaVinci YRGB Color Managed"?
The colour science in project settings is a global setting for how Davinci is going to use colour management. The 'YRGB color managed' changes the way you manage colour throughout your project - instead of using CSTs on your nodes. That setting essentially gives Resolve the reigns to manage the colour transforms for your footage itself and then when you colour grade you are colour grading inside the timeline colour space your set.
I have to ask. Since ari log is a representation of the entire visible spectrum captured by a sensor, then when it (or anything else) is displayed on a computer monitor, It's rec 709 automatically. Not calibrated correctly but still rec709 ? As that's all the monitor can display.
In either of the two working modes, both in the project settings and using the cst nodes at the input and output, how should I apply the luts that need a Cineon input?
Thank you for your videos!!
You can use a CST (Color Space Transform) before the Cineon Lut to convert whatever colour space is before into Cineon. For example if you are inside a DWG working colour space - the CST would convert from that into Cineon. It sounds like that Lut will probably give you a Rec-709 output so youll need to convert it back to DWG with another CST. Best practice would be to start using Luts designed for a DWG to DWG workflow - It will make life much easier.
I want to use a node CST structure from camera to DWG and back to 709 at the end. When I add a serial node between the CST nodes my view changes to the node I'm working on. I can get it to look good but it excludes the CST node back to 709. Is this a setting I have wrong? Hopefully that makes sense. Basically the only way it works is if I grade in my final CST node.
Subbed!
👏
I’m a bit confused, do you in fact just need to skip the first bit and just change the settings in davinci?
Also, if you film using a monitor, do you infact need to put the monitors colour space in or still the cameras? I’m using the atomos ninja V which I believe is Rec 709?
Hi Joshua, thanks for the video. I have a doubt. Can you make a video to explain what is tone mapping and gamut mapping and is it important to understand those? Thanks!
Very nice videos. And I general if I use this kodak or Fuji luts and I want to use additional lut(from outside DV) should I put it after or before the Kodak LUT? :)
The Kodak Lut will only work if they are designed for the working colour space you have selected. In this case Davinci Wide Gamut is the working colour space.
I am curious how much better this is than applying a conversion LUT onto a node instead. That's the way I typically do it
It depends on what your conversion LUT is doing. A colour space transform 'technically' changes your footage from one colour space to another in a non destructive way. A conversion LUT could achieve the same thing if you get the right one, but I haven't seen any that do it as cleanly or accurately across all the different colour spaces as a CST.
if you using nodes for noise reduction or effects such as halation, which should happen before the CST (please correct me if I am wrong)
How can you do that, when you are working in the DV color managed science?
Or do you get the same results with these effects after the CST working in DWG/intermidiate?
I'm not sure if noise reduction and halation need to be added before CST? I haven't had any issues inside a colour managed workflow. Some plugins aren't designed for a DWG working colour space so that is something to watch out for.
There are so many standards, but all the values differ, theres only one stable base to compare by. After reading here it was simple:
Thanks
cool man
Thanks
Can i ask the output what if its for a DCI export for festival screenings, or just general viewing but not online what output would i use as REC709 if its not for online viewing and a feature film being screened at a festival or just screening else where what output setting would i use? I've always seen people that do youtube tutorials automatically go to REC709 but ive always wondered what about none online output settings? For example at the moment i am using for a huge short film shot on the Mini Ursa 12K i'm using
DaVinci YRGB Colour Managed in the colour science with
SDR P3 D60 Cinema as my colour processing mode and
P3 D65 (scene) as my output colour space as i know this is going to festivals and cinema screen's.
I have checked on my commercial TV Sony Bravia 55inch in relation to my grading reference monitor to make of not sure and it all comes out perfectly so i'm wondering why these are not explored in tutorials and why i see so many tutorials that have the auto go to REC709. As much ads i am questioning it this is great video. Many Thanks
Hi, loved the video! Could you tell me if there's a way to know your clips' input color space? I don't know what profile I used to film my clips:/
There isn't an easy way to find this without asking the camera op.
One odd question, when a new node was created underneath the OG node remained "01" while the node now in front of it is "02"...but when I create that second node it automatically makes it "01" and the OG becomes "02"...why is that happening, and does it really matter? Thanks!
Question if certain cameras don’t appear in your input colour space where online do you download them from? I can’t seem to find anyone about this.
On my Davinci studio I’m missing certain arri cameras and others I shot on but don’t know where to download and install that specific colour management profile.
Hello, what Color space transform you use for gopro footage?
What are your thoughts on using output color space as Rec 709 and then output gamma as Rec. 709-A instead of just Gamma 2.4 for those working on Macbook Pros? I find that this output gamma is the only one that matches my timeline after export. When I use regular Gamma 2.4 everything gets washed out, which makes all of my coloring almost pointless.
Yeah definitely. I would change the output to 709-A on export but keep grading in a Gamma 2.4 environment.
Yes same here!
good
Thanks
I have just discovered you, having swapped from FCPX to Davinci Resolve Studio, and great clear Videos. For this one, I have one question. I understand the Node tree order and what you are doing, but if I was to add a Node for Exposure, another for WB, another for Creative etc etc, do I put those behind the Working Space node you have in the middle ie: Between the Working space Node and the final CST to convert everything back to REC709, or do I put them before? I am assuming they go between the middle Node you have, and the last Node? If you could confirm, I would appreciate it, as I don't want to start implementing this incorrectly across my Projects. Great Video and thanks !
Hi Paul, yes that’s correct you would place your corrections after the transform to Davinci Wide Gamut so your adjustments sit ‘inside’ the working colour space. If you place them before that CST you are then applying your adjustments to your RAW footage which changes from camera to camera. Hope that helps.
@@JoshuaKirkNZ perfect thanks !! I’ll follow this from now on and thanks again for the prompt response !!
Thank you !
You're Welcome
if you working on a mac ive seen some set the output to rec709 type a whats the difference with 2.4 as i noticed you are also editing on apple eco system
Rec709-A is a tag that helps colour accuracy when viewing your videos on Quicktime.
@@JoshuaKirkNZ would suggest delivering final deliverables in gamma 2.4 or 709-a?
@@blueprintstech5638 Yes I used Rec-709-A for my final deliverables on Frame.io or for the client to download.
Clearly explained! Thanks, Joshua. What's the difference using rec709 vs rec709-a as OCS?
Thanks for watching! Rec709-A is designed primarily to be a tag that Apple Quicktime interprets correctly.
Great tutorial! Is it possible to setup so DaVinci always opens with three three node setup?
And does the node color management setup override the system color management setup?
Hello Joshua, thank you soo much for creating and sharing this knowledge! 🌻Quick question: Most of my videos I shoot on an iPhone 13, as that's the camera I can afford atm. Can I still set the Color management as explained? Hope to read your reply, thank you!!
Hey Lia, Yes you can, but if your videos are already in a rec709 colour space (ie they look good and have contrast and saturation) then the 'input' colour space is rec709.
Thanks for sharing 😊