Resolve 17 HDR CONTROLS Fix Skies EASY - Color Grading Workflow
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- Опубліковано 25 лис 2020
- Today I'll be showing how to get the most out of the NEW HDR Controls in DaVinci Resolve 17 and how to use them to make fine adjustments to your images and bring your color grading to the next level.
Red Sample Footage: www.red.com/sample-r3d-files
Black Magic RAW Sample Footage: www.blackmagicdesign.com/ca/p...
Download Davinci Resolve for Free: www.blackmagicdesign.com/prod...
Notes:
The goal of this video was to demonstrate how working in a larger color space will better let you take full advantage of the HDR controls and then I demonstrated that with the clouds, however there are something I want to clear up. Both of the cameras used have large dynamic ranges so there is quite a bit of depth to the clouds. This however is not always the case, especially if you're not shooting in a log format. The control themselves do not give you access to more data, they simply allow you to better control the data you already have.
Of course this also means that if an area is blown out, there's nothing that these controls can do to bring that information back. I just wanna make sure that no one is misled and is under the impression that these controls are are going to increase their dynamic range.
I also intended to showcase how you can take advantage of HDR without actually delivering in HDR. Using Black Magic's new Wide Gamut really allows you to dive deep into your image and tailor it to your liking. As I mentioned in the video this can also be done in a number of different color spaces using RCM, you also could use ACES though with ACES the controls for resolve will respond differently.
Finally, at one point in the video I say that BM Wide Gamut can hold more stops of dynamic range than current cameras can shoot. I'm sure somebody is going to point to some type of bracketed shooting technique eg. Red's HDRX, or just HDRI's in general. In that sense I guess you technically could bring in an image that has a larger dynamic range, but how practical is that for 99% of filmmaking (from a grading standpoint, of course they're used in VFX all the time), and even then you'd have to reach a point where the dynamic range would exceed the human eye which right now I have trouble seeing the benefit of doing this.
References:
Check out the DaVinci Resolve 16 reference manual to learn more you can find it in the help tab of Resolve.
The HDR Palette is currently covered in page 113 of the beta manual.
Gear I use:
Camera - Black Magic Pocket 4k
Microphone - Rode NTK
Main Lens - Meike 12mm f2.8
Other lenses - Meike 35 mm f1.7, Rokinon 50mm T1.5, Rokinon 24mm T1.5
Tripod - Velbon Videomate 638
Computer Specs:
CPU - Ryzen 1700x
GPU - GTX 1070
Monitor - Eizo CG2420 - Навчання та стиль
Y'all asked for it. So here's a simple workflow to get the most out of the HDR Controls in DaVinci Resolve 17.
This is what I have been looking for.. Thank u so much bro
Very clear walkthrough of HDR controls. Thanks so much. Happy holidays and Happy New Year.
Happy holidays to you as well. I'm glad you found it helpful.
Outstanding my friend. This helps a lot with the new controls for some learning DaVinci 17. I have years of experience with Premiere Pro and FCPX and this really makes a difference. Thanks
Happy to help!
I just learned so much about this essential new and complex workflow in only 10min! Wow, thank you, Nathan!
I really appreciate your thorough efforts to explain diverse niche topics. Your content seems to always fill in gaps most other grading teachers just skip over.
Wow!!! This is THE colour grading tutorial I’ve been looking for! You finally answered my questions about dynamic range usage and taught me how to really harness the power of Davinci resolve. Thank you so damn much!
Great video!
Great video, I have seen a few videos on using the HDR and Wide Gamut, and while I understood it from them on what it can do, and implemented it into my workflow, seeing your simple demo of switching from Rec.709 to the Wide Gamut and then utilising it with the HDR wheels, I will now adopt that into my workflow even more-so now, the additional range available in the editing really showed why it can be beneficial, particularly if you are looking to really trying to push the image :) thanks.
Great video! Going to try these out on some 6K Pro footage :)
This is so cool, being able to download the clip you are working with. Well... almost!!! (new subscriber)
I'd love to put up the actual shot, but it's from an unreleased movie I'm grading and I'm allowed to show it as an example, but not allowed to give it out, so I figured these could work as substitute. Thanks for the sub.
Hi Nathan,
I am starting a HDR project should I do my primaries in the HDR tools?
Also should I set my color settings to DaVinci Khala managed then DaVinci wide gamut or should I go custom and enter Sony SLog 3 ?
Please advise
Thanks
Ejaz
hey @Nathan Carter great video!! i had a question, would making a parallel/layer node and grabbing the specular highlights using luma range be the similar or equal result when using primaries?
Hmm. Yeah you could absolutely do that, but primaries by design have a broad impact. I understand that the area you're qualifying is selective, but I could see that potentially being an issue. That being said though I think the best way to get to the bottom of that would be through good ole gray scale testing. Great question!
Excellent tutorial, just one question. Just one more question. Within Davinci 18, if I import a Canon Raw DNG file into the project with a Davinci color managed wide gamut, the Canon DNG files are very dark. At least one stop. There is no option (right click input color space on the colorpage)) because I think it is a Raw file. So I add bypass color management (on the clip in colorpage), now the clips becomes better but it has less color. I have to add at least 35 percent more color. Is this normal?
u saved dollers,thank you so much, best video ever seen,god bless you
Glad it helped
does this apply to sony slog 2\3?
can you make a video on how to color grade slog2 or 3.
The way you did it using settings > color management> *.* would it apply for that kind of footage?
Glad you liked the video. Honestly I don't work with Sony footage too often, but there's some good videos out there. For the color management it would be just that simple, you may need to specify the particular log format though
Great
Amazing. It seems so easy. You are very talented 🤩. I am not sure to understand everything 😅. I hope the 17 will come soon. I have the 16 studio. But I have so much to learn by myself. Not easy sometimes. I use to have Drone ´a films
Thanks 🙏🏼 🤩
Awesome. Happy to help. From a stability standpoint I'd recommend waiting for the full release of 17, though the beta has some great features. If there's anything you need clarification on from the video feel free to ask away and I'll do my best to try and answer.
@@NathanCarterVids so great. Probably I will ask you sometimes. 🤩
Hello Nathan! Amazing video.
Could you please let me know what to use in color management preset when working with slog2?
So ultimately the color management preset you go with is totally up to you, however I do recommend the DaVinci Wide Gamut for the reasons shown in this video. With regards to what log format you use, it seems to do a great job automatically identifying what format is used and convert it to your desired output color space. For example I'm working on a project using a Fujifilm xt3 and a Sony A7sii and it seems to be doing a great job automatically managing everything.
@@NathanCarterVids Thank you so much man! Keep the videos coming. 😉
@@abhinavjoshua More on the way!
@@NathanCarterVids I tried using Wide Gamut, and it worked great, Resolve rendered the video and it looked exactly as it did inside Resolve, but when I uploaded the video to youtube it looked terrible, too dark and muddy. Is there a step I'm missing? I set the output to Rec709 but it still looked different from the rendered video on my PC, viewed through VLC.
@@mystic7splace UA-cam is crushing all by re-encoding all...save to MAIN10 if you want to keep it at a fine level in UA-cam and apply a small grain (yeah, adding the grain will help as YT will treat it as data in video and will not encode as much).
Many greetings and happy holydays Nathan!
So, how set yous Input Color Space on the color page? click right button on any clip and show this - Bypass, or Project Rec709 or BMD xxx Film v3?
So when using RCM in resolve 17, it appears to automatically pick your input. With aces however it still auto detects the IDT, but then you can also set it manually based on the clip. I hope that helps
@@NathanCarterVids RCM in resolve 17, it appears to automatically set Input CS on rec709, as output, and wide options seen only then set 'bypass"' manually {17 beta6} and where is white point on Fusion... phhhhhh anywhere. So, look and say U position ICS :))
Amazing knowledge. What is your background that you know all of this staff ?
Thanks. Really happy you found it helpful. I've owned and operated a production company full time for the past few years. Within the past two years I've started offering coloring services. As far as schooling goes, I should be a chemist haha, or at least that's what I got a degree in. Everything I know about resolve is from books, forums, and doing tests to see how things work. The manual is also a fantastic resource.
@@NathanCarterVids You could be a new Medelejew :) Appreciate your work. Happy to subscribe. Best of luck.
@@martincoolee Thank you. I appreciate the support.
Nice job Nathan, Since 17 came out I have thought that this control is the sleeper of the new controls. My guess is that colorists are going to flock to this tool in everyday workflows, more than the others. Kind of wished those little zone preview buttons were toggle. It would be nice to sometimes have them remain on and do some color fine tuning. I like the color warper as well. The magic mask to me needs some optimization from the BMD engineers. When I use it, my system seems to bog down quite a bit. But hey, it is the Beta.
I feel like you do some very good research on your tutorials, I appreciate that in the multitudes of youTubers that don't. Keep it up.
It's not toggle. However using your highlight top right of the viewer enables toggle, though not region specific if you're adjusting multiple regions within one node.
Also thank you. I try to do my research and testing to provide something new. While regurgitating the manual is easy and could make a video, there's plenty of other places that give you just that. Which I'm totally guilty of in the past a bit for sure.
Dude. I would honestly pay for your content. If you ever make a deep-dive, maybe a project-based series, let me know.
Thank you, I really appreciate that. For the new year I'm considering potentially doing deep dives, but I'm reluctant to put it behind a paywall. Maybe I could have the base tutorial for free on youtube, then an extended version that goes further in depth, cause they're a lot of stuff that gets cut to help make sure the video is fast and engaging so it gets picked up by the algorithm. Still need to refine what that would look like though. Thanks
@@NathanCarterVids That makes sense. Just something to consider. I've found that the stuff that "ups my game" is really worth it in the long run. I've done Photoshop for decades (literally), paid for one small course for $20 last year and picked up three little tips that made a huge difference in my workflow just by watching someone do an edit session. I really like how well you explain things.
@@RodrigoM thank you. I'll think about that for sure. I've totally been there myself too, just getting those extra tools in your toolbox can be super helpful.
Thank you Nathan. But what I'm a little confused about is...we can't always use HDR for correcting. It has to be a certain kind of footage...yes, no? When I plays with Red footage it works really well, if I work with 8-bit Sony footage it does not work well, or is not needed. Your thoughts on when to use and when not to?
Hmm well bit depth will make a difference on fine tonal adjustments, and chroma sub sampling will be apparent when making color changes. However when shooting in a log format, then working in a large color space, you should see an increase in control within the hdr controls. I personally find they're great for finer control and small details. Also really helpful for balancing shadows.
@@NathanCarterVids Thank you for all your help… Looking forward to your next video. Don’t stop now! LOL.
Was the footage HDR or does this work for any footage?
Will you ever use primaries again?
Yes all the time. I really like these for smaller adjustments. I could totally see someone using only HDR controls though.
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it`s all good but I don`t understand when you switched to different color spaces. How do I know if I need it? How do I decide which one to choose? I don`t have BMPCC, just an old Canon for both video and audio
Great question. Does your cannon shoot in a log format or is it linear?
@@NathanCarterVids definitely not log, and probably not linear, I'm just using the most neutral settings si the picture is slightly washed out
@@insertanynameyouwant5311 right so from what you're describing it sounds like you're already in rec 709, just kinda washed out like you described so no worries about RCM I'm thinking.
@@NathanCarterVids understood thanks!
Hello how edit music-vidéos in davinci resolve 17 with the color grading
I'm not sure I understand the question.
@@NathanCarterVids okay good how edit music-vidéos in davinci resolve 17
@@ardinsmith7377 on the edit page
@@flipnap2112 ok bro
Wish DR just had a grey filter like raw therapy has...
Great tutorial man, thanks ! I just hate that kind of music.. everybody is using it and it is really annoying
no more feeling like i need to sacrifice a setting in camera or buy a $500 filter to get the sky right. you get a follow.
Awesome really happy to help. As longs as it's not clipped you can do quite a lot with it. Thanks for the sub.
@@NathanCarterVids i don’t i use my false colors and learned my meters. hard to make a mistake now unless i’m on too much caffeine
SHIFT+H and then grab the zones so that you don't click and back :)
Solid tip!
Wow, I'm a beginner about two months. I saw you had sample footage and I was excited, then your voice made my eyes glaze over as I didn't understand anything you were talking about until around 2:15 when you said we can control the clouds
Thanks for the feedback. It's always tough to know how much info to give, as you don't want to overwhelm folks, but you also want enough info to accurately describe what's happening.
Your ISO set too high on the video.. no?
For my on camera stuff? It's only 1600 on a pocket 4k that below the higher ISO, as they are 400, and 3200, with the higher ISO kicking in at 1250. The noise comes from it being a bit dark behind me in some spots, recorded at q5 with super cheap glass. Noise reduction can solve it, but on top of the (at times) effects heavy intro for some of these tutorials results in crashing and Vram issues. New GPU's are way over priced right now. So a while ago I decided a tutorial with a hint of noise in the first 50 seconds, is better than no tutorial at all. However I will note that I now work with primarily pre rendered assets so I add NR when possible. May have to bite the bullet and overpay for a 3000 series GPU anyway though.
Makes me sad that 17 just refuses to install on my pc, lol
Hmm I know I'm replying late, but were you able to figure it out?
@@NathanCarterVids Yes! Thank you for your reply!
My device manager claimed I had the newest driver for my graphics card, but when I went to Nvidia's website I found a newer one there that fixed everything up.
Now I'm in HDR land!
@@Joshua-iz1go Awesome. Happy to hear it.
Terrible teacher. He never says why is he "grabbing." What step in grading is this? And, why talk so fast?