Grade School: Pro colorist helps you upgrade your workflow
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- Опубліковано 16 лип 2024
- What habits and mistakes you need to drop from your grading, and what you can do instead? Cullen helps you refine and upgrade your color grading workflow during this live Q&A.
This episode of Grade School is answering questions based on these two videos:
3 Levels of color management (and 3 things colorists get wrong) • Three levels of color ...
The biggest color grading mistake on UA-cam • The biggest color grad...
00:00 Introduction
3:53 Initial thoughts regarding Color Management and Film LUTs
23:32 Does a color space transform overrule the color management done at the project level? What is the difference between input color space and timeline color space?
28:35 When should we use the custom max output in the color space transform when doing color management in nodes?
35:14 Should we cap the custom max output of the CST tool at 48 nits when targeting P3 for theatrical projection?
36:30 How do you deal with a project that is using a lot of speed ramps since they don’t translate well using XMLs?
40:04 If we want to create a warm/cold look shouldn’t we use a LUT that already provides that instead of balancing the image before the LUT?
43:50 How do you decide where your skin tone should be in terms of saturation since the vectorscope doesn’t provide that much information as the signal is very limited in that range?
48:30 Is there any site where we can find the proper color space and gamma from cameras that are not in ACES or RCM?
50:17 When I use an input transform from whatever log to DWG and an output to REC709 sometimes my clips start to flicker, any solution?
51:03 Toby Tomkins said that he prefers using the HDR global temp/tint because it is more linear. What are your thoughts on this way of balancing?
54:24 I struggle with achieving true white with color management, specially for resolve graphics, any insight for that?
58:09 Final thoughts and conclusions
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Get my free Kodak 2383 film print LUT for DWG and ACES here:
procolor.ist/freelut
Check out my ebook, The Colorist's 10 Commandments:
procolor.ist/ebook - Розваги
Great stuff as always Cullen! For those who have issues with colors from Fusion/Resolve graphics in RCM, here's a workaround I've managed to cobble together. Essentially, Fusion works in Linear color and doesn't properly communicate with RCM. To fix this in the Fusion tab, set-up two Color Space Transform nodes before the final output.
In the first CST, set your input color and gamma to match your project. In my case, that's Rec.709, Gamma 2.4. Output color and gamma need to be DaVinci Wide Gamut/DaVinci Intermediate (assuming you're using those as your timeline color space in RCM). Tone mapping can be set to either DaVinci or Luminance mapping, but make sure your Custom Max. Output is set to whatever your project is set to. Resolve defaults to either HDR 1000 or HDR 4000, so match whatever is there. Lastly, turn on Apply Inverse OOTF. That should be it for the first CST.
For the second CST (the one that comes before the final output), set the output gamma to Linear. That's it.
This *should* fix colors and white levels for graphics. Don't ask me why any of that works, but I've found it fixes most of my issues. If you do fading for white graphics inside of the Fusion tab, you may need to add an Alpha Divide node somewhere between the text/graphic node and the CSTs.
To simplify things, you can group both of those nodes and export them as a macro or setting and drag and drop them in the future.
Alternatively, you can avoid all of this by using a node-based system like Cullen with CSTs, but whenever I've tried this I get inconsistent results with colors in my renders.
The discussion at minute 14 is EXACTLY One of the problems I've been experiencing, even though I've been trying very hard to follow all of your instructions- to the point where I will have your video running in one window and my resolve running in another window and I try to copy you keystroke for keystroke. Once again, thank you very much for being one of the people I have learned so much about resolve and coloring from
Can we please get a different video other then color management? Really need one on how to conform..Like how you and clients pass footage back and forth. Example of their prep of project or clips they need to do and exporting them out. And then what we need to do on our end. Then best way to send back to them etc..This type of video would be super helpful..Thanks 🙏🏻🙏🏻
+1🙏🏽
@@CullenKelly Could you get more videos on how to create the look and how to get closer to the look you want (references).
@@CullenKelly definitely interested in your course🙏🏻👈🏻
Most interesting and helpful for video color beginners. Pace and tone made it easy to watch, for which as a neophyte I was very grateful.
This is gold. This answes so many questions that i have been confused on forever
Ah I was in the train yesterday, couldn't be here live but definitly watching the replay :D
Wow I thought the way you demonstrated the Film looks LUTs use within a color managed pipeline was the right way (I've been using them this way for very long) but actually never realized that these LUTs weren't expecting rec709 but film scans :0
appreciate the timestamps!
Love you videos, hope for a video on HDR VS SDR colour grading, and how to master SDR to HDR ❤❤❤
It is true about the Film Look LUT not being as good a result if not converting a true film scan, however to say not to use them at all seems to go against what TAC has taught me along with Walter and others.
Well missed another one live. I can do 9:00 am and still be able to think properly - 6:00 am I would need a week of getting up earlier and earlier, to be close to normal brain activity and retain your great information.
My question would have been the CST the color space "Adaption" slider. I generally don't touch that, but it appears to function as some kind exposure level slider.
Not sure exactly what it's doing under the hood. But generally, I can raise or lower exposure there for things that appear to be a few stops under or a few stops over.
But usually I have opted out of using it, and just pre- expose before the transform on a node on the actual clip.
Seems to me to be a Resolve trap that people might use when looking at one clip but setting up the CST for the whole group, and then setting up exposure to neutralize that wrong setting that was set on the pre-group.
Would have liked to hear your thoughts on that one.
Glad to hear you're working on DCTLs for cameras not currently supported by Resolve. I've actually done a decent amount of work on this already, so I filled out the contact form on your site so we could collaborate on this and speed it up for you if you'd like. Happy to share my code and learn something along the way.
I'd love a tutorial on this. Exported a LUT, ColorMatching a chart photographed in the mid day sun. Output is sketch -- over saturated and contrasty.
@@caseyandtim I'm thinking about making a video on this topic someday. Essentially there are two steps:
1. Linearize the image - here, you convert the image from log to scene linear. If you're lucky, your camera manufacturer will have provided this transfer function in a PDF somewhere on the internet (like Arri). Otherwise, you basically have to fit the parameters yourself, which I wrote a program to do if you have taken a bracketed set of exposures.
2. Identify the color gamut - once your image of the color chart is in scene linear and you have some sort of reference image (say, in DaVinci Wide Gamut) of your color chart that tells you what code values you want each patch to be, you can identify a 3x3 matrix that can be applied to your linearized image to match it to the reference one. I again have written a program to do this but it's essentially a classic least-squares problem.
3. Integrate steps 1 and 2 into your workflow by converting to linear, multiplying by your selected 3x3 matrix, apply gamut compression (if necessary) and then apply the necessary log curve to transform from linear to DaVinci Intermediate or whatever your working gamma is.
You can write up all the chosen parameters from steps 1 and 2 in a DCTL and that's basically it
@@thatcherfreeman I'm looking to linearize the insta360 1-inch.
If I provide bracketed photos of a color card, would you be able to run your pipeline?
I was unaware of DCTL. That feels like an interesting opening for programmatic control.
@@caseyandtim So long as the camera shoots in a Log profile, 9 times out of 10 it should fit into my pipeline reasonably well. Not sure if that camera does some sort of internal HDR or how exactly they've processed that, so depending on how that's implemented it may or may not be possible to color manage it.
Basically I'd need you to shoot a color chart with many different exposure values (say, one or two stop increments -4 stops to +4 stops) without moving the camera and at a fixed ISO/WB so the images are aligned, and to shoot those in a log profile.
@@thatcherfreeman log but not raw.
Shooting brackets on a pair of tripods tomorrow. I really appreciate the offer.
This was heaped on top of the general confusion regarding color profiles -- trapped inside the live action Speed Racer palette.
I will be in for FILMIC Pro log DCTLs :)
Hi Cullen another great class again. Thank you. I'm always confused with some of the settings in Resolve. The "Data Level" settings. These mainly resides under Master Settings>Video Monitoring; Video Capture and Playback settings and in the Deliver page>Advance settings. Can you guide us , what do these settings mean and when to use Video option and Full option and there's an option called "Retain sub-black and super-white data"? Thank you.
спасибо!
For lots of fusion, do you recommend dwg as a node rather than color management setting?
(still catching up on all your amazing videos)
Excellent. A lot of incredibly useful tips and pointers here. For reasons only related to my own projects, I work extensively with groups. In a RCM environment, is there any practical or technical reason to place a DWG-capable LUT- such as your Elements LUTs- at the Timeline level instead of the Group Post-Clip? Obviously the same LUT would need to be applied to each group using Post-Clip- so there's a workflow convenience issue- but I was curious if there's any behavioral or pipeline problems on top of that.
@@CullenKelly ah, glad to know that. Thank you kindly.
CULLEN! 😊
I dont know if this has been answered before, but if my main market is the internet, should i be switching to different gamma curve?
Hey Cullen, firstly, LOVED the live workshop you did, gained lots from that (and all your other videos). I have a question, hope you don't mind me posting here; I have a monitor that can show the DCI-P3 color space, but does not have a preset for REC709. In this case, how would I set up my colour management nodes when outputting for online/broadcast. Is the best option to grade with the monitor in DCI-P3 but with broadcast safe selected, and then do exactly the same node inputs/outputs? (and maybe just check it in sRGB after to see how it looks) Cheers!
Or is my best bet just to return the monitor and find one that also displays the rec709 space...
@@CullenKelly thanks Cullen! Appreciate the advice
Am I right in saying, that if your color managed ‘timeline colour space’ is rec709, then there is NO way to change that to say, DWG ‘timeline colour space’ with CST nodes correct?
Because i’ve done many tests & I can’t find a way, which is fair enough
aqui en Caracas Venezuela con mi pelicula abierta en magick mask y volteando a verte mientras construyo una escena con dos planos
In custom settings for a color managed workflow, the default input and output DRT are set to "DaVinci"... curious why you set the input to "none" and output to "luminance mapping"? Perhaps you've explained this another tutorial you've done, but I've seemed to have missed where you explain that one. Thanks!
@@CullenKelly thanks for the response! I actually started playing with right after asking this question and it was interesting to see how it differed from the default settings. The biggest difference I could see is in how it translated the highlights to not be as hot right out of the gate, which I liked a lot. I'll definitely be playing with it more on future projects!
Hi, how can I get a msg when next grafeschool is aired? Is there a contact list?
Hello, quick question.
just wanna know if its ok to have Davinci wide gamut and AcesCCT Tone as my working space, question is, if tone curve needs to be matched with color space? Thank you very much.
The answer to your question is basically no, the tone curve and gamut are not fundamentally connected in any way for scene referred intermediate color spaces. Really, your working color space could be almost any combination of gamut and tone curve (though picking small color spaces is typically a poor choice). That being said, by mix-and-matching it will be impossible to find any LUTs that would be compatible with your workflow, and you may have some disagreements if you have collaborators on your project (say, VFX people who want to deliver in ACEScg) because your pipeline is nonstandard.
Hi Mr Cullen It would be very kind if you could include DJI drone like D-CINELIKE please and Thank you
Hey Cullen! I was checking out the Colloid website and the shop tab/master bundle links aren't working. Is there an update happening?
@@CullenKelly Thanks for the update. Excited to see a new product if it happens!
I think it’s a bug when resolve refuses to change the input color space until after several attempts.
@@CullenKelly thanks! Keep the content coming 👍
1 hour video... Should be a way make them shorter