Convert log to rec.709 automatically with RCM | DaVinci Resolve Tutorial
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- Опубліковано 2 жов 2024
- Resolve Color Management is one of the easiest ways to instantly speed up your coloring workflow, as well as eliminate many of the common problems you encounter with non color-managed pipelines. Enjoy!
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Wow, Avery, this is the clearest explanation of RCM I've encountered! Nice work!
Thank you Curtis!
Timeline Colorspace Tipp: When working with LOG Footage (Example: S-Slog V-LOG), you shout set the Timeline Colorspace to SLOG etc too! Then Timeline Luminance will be set automatically set (SLOG-2 for Example is above 1500 Nits) even when you use some other LOG Material in the same project. But not when using REC 709 stuff. Choose a big Colorspace for Timeline gives you more values in grading and better Luminance. When you expose Slog correctly, you need at least 1500 NITS of Luminance
Oh. my. goodness. You literally have the best tutorial I've ever watched. Thank you for sharing this!!
Dude! The way you explain your videos is so professional and informative. Not only that, I love how you not only explain how to do something but why we should do it that way and the cherry on the top is how you go even further to make an example of alternatives that may not be as good. Your videos are so good we need more!!!
OMG .. you should make a complete coloring course. From a to z .. put a price on it and let me buy it .. you are AMAZING at teaching.. please upload more stuff.. please!!
You could have sold this information. It is Gold. It seems I just watched a world-class professionally made tutorial for free. My Best Wishes, Start a Patreon Page, you deserve your beer/coffee, rather more.
it's in the davinci manual; read it
@@petrub27 If it were up to you, there would be no teaching profession in the world. No Schools or Colleges, just Libraries.
@@daVinzyVisuals no no, you are talking about selling this information where it is already for free in the manual
@@petrub27 There's value in explaining this information - admittedly already in a manual - the way he does. It's much more interactive and accessible.
@@petrub27 That's true. When I opened the PDF it had animation, illustrations and examples that I could easily jump around on a timeline to. It's obvious that UA-cam is a dying platform that people don't use because of the rise of the new technology called books. The rest of these idiots on this thread are crazy. Books are the future and free online streaming platforms are on their way to die.
Finally someone who knows what they're talking about.
The single best colorist and grading educator on the Internet. Thank you for your videos!
Hi Avery, thanks for this video. Would you be able to make an updated video for the current Resolve? I can’t seem to find some settings that are mentioned here.
This was great, I’ve always hated the inconsistency of LUT transforms
is this feature only available in the studio version? For some reason it will only allow me to add in export gamma and colour space but no inputs in the free version.
The crazy thing about this is I knew of this but how you explain everything helped me to totally understand. You are so good at these tutorials. Not only that, but I can see amazing growth in you videos. I want to tell you thanks a lot for all you do AP. We really appreciate it.
Thank you Justin! Glad these videos can help!
Wow, thanks! I have been trying to understand color space conversion for a month. I even took some resolve masterclasses, color correction classes and nobody covered RCM.
Thanks for watching! If you liked it, and want to help this channel grow a little, feel free to share this video with others who'd like it too!
Also, many of you have been asking some great questions, so I've compiled the most common questions and answers here:
Q: What exactly is ACES? What's the difference between that and RCM?
A: Without getting deep into technical details, ACES is a color management system for the entire post-production pipeline. So the editor, VFX artists, colorist, etc. all use ACES to pass off files to each other and do their work. This makes sure that the footage is being viewed and interpreted correctly no matter who is working with it. There are some subtle downsides to using ACES as a colorist though, which I mention at the end of the video. RCM on the other hand is a color management tool that's just for the colorist. So it doesn't help anyone else in the post-production pipeline, but the trade off is that it's better integrated into Resolve, and provides a little more control.
Q: Why is RCM making my shot too bright and lifting my shadows?
A: Sounds like an issue with tone mapping. Note that if you just turn on RCM without activating tone mapping, your shadows will generally get lifted (bringing out all that noise), and highlights will get blown out. I also forgot to mention in this video that tone mapping and gamut mapping are new features in Resolve 14, so if you're using earlier versions of Resolve, those features won't be there.
Q: How do I retain all of the information from my original log footage? Is it gone once I convert to rec.709?
A: RCM is non-destructive, so all of the information in your original footage is still there. The correction process with RCM will feel and perform similarly to making corrections before a rec.709 conversion LUT. RCM just enforces a cleaner and more consistent workflow that's tailored a better to professional grading. Just make sure to set up your tone mapping settings, as not doing so will give some weird results.
Q: How do I deliver my images for the theater in DCI-P3?
A: Grade the production to your liking in rec.709, then change your output color space to DCI-P3 for the theater deliverable. Luminance mapping should not be adjusted if you're grading in rec.709 and converting to P3, it should only be set at the start if you're grading in P3 to begin with (most projectors are 48 nits). Many colorists try to find an actual projector to grade with, since the response of projectors and monitors is significantly different. Even after the color space conversion, you'll find the "character" of the grade changes when projected, so many like to do some final tweaks in an actual theater before the final export.
Avery Peck hey man great stuff. would love to get in touch. Where can I find ya?
He Avery, one more question: Usually afaik it's custom to grade with "LOG controls" before then applying the LUT converting from Log to rec709 and after that only grade nodes using "Primary Wheels" control, because they are mapped this way. Which control is the one that should be used with RCM, because you mentioned they get remapped internally?
@@JoeSchroecker Good question. It depends on your working color space; you can use the LGG wheels if your timeline space is set to rec709, or the log wheels if set to something like Arri Log C.
Hey, thanks for all the info. Would you be able to point us where to look for activating tone mapping?
Literally every single video, answers one or more questions I had. 🙌
Perfect explanation and great visuals. Well done.
Thank you!
unfortunately, the settings are now different in Resolve 18 , its does show some of these parameters anymore under color management, YRGB Color Managed :(
One of the best tutorials ive ever watched. Its easy, well edited and the tempo even for me as a beginner is not too fast or slow. Thank u so much.
Your explanation really good. I like all of your videos. Thank you for sharing.
Dude, you have to take advantage of this situation. If your channel is on hype, youtube helps a lot and your videos will show on Recommended tab! growing up even more
really appreciate the videos you put up.. I learnt so much ..Thank you so much..
Thank you for this video, how does rcm work in davinici 17, color management looks a lot different in 17
You are amazing thank you i was looking for a video just like this to exaplain this process now i know :) Love you...
How is RCM different from colour space transform? And how are those two different from the conversion from log to rec709 you get when you use the colour match feature alongside the colour checker passport for video? Great tutorial, thanks! :) 👍
Yeah that was my current question as well. Because usually, I just use colour space transform to transform everything
@@zerocontentTV Same
Hey I like your all tutorials
It's clear & simple to understand
Thank a lot
RCM is a life saver, but you are a life improver! Your tutorials made me approach DaVinci with little to no understanding of the colorization process, and now my work looks way better than before, all thanks to you! You should start a Patreon account so people can support your future tutorials :)
Wow, thank you Alexandru! Glad I could help!
You are truly a lifesaver! This just do in one flow what I try to do while wasting hours of tweaking and fiddling. Thank you Sir, you have a fan! 🍺😌 Cheers!
Really nice video, Avery. I had been reading through the resolve manual and this is what I THOUGHT it was saying, and your video just kind of confirmed how it worked. Thanks again for posting this.
Excellent tutorial
Lol watching this 3 years later and the buttons of Color Space & Transform are either deprecated, or moved, or renamed, and as a newcomer I can't be sure. So:
Is "Timeline to Output Tone Mapping" now "Input DRT"?
Is "Timeline to Output Gamut Mapping" now "Output DRT"?
Is "Saturation Mapping" now "Saturation Preserving"?
Is "Saturation knee" now "Sat. rolloff start"?
Is "Saturation max" now "Sat. rolloff limit"?
Am I getting this right? Heeeeeeeelp
I would also love a confirmation on this if you get one.
I am so happy that I came across this channel. your knowledge is massive and you explain things in such a clear way! keep up the amazing work. I see many more subscribers in your future.
Another benefit of YRGB Color Managed over ACES is that, at least with today's Resolve (including 15), you can't separate color space and gamma with ACES. So for example, if you shoot with SLog2 gamma and SGamut3.Cine colorspace -- not an out-of-the-box pairing with Sony cameras -- you can tick the "Use separate colorspace and gamma" box and specify them independently, whereas with ACES this doesn't currently seem to be possible.
Very true!
Thank you Avery, I second Sigfús and Jamie's request for an update for Resolve 17!
I'm using DaVinci Resolve 17 and can't find Input Color Space on the Color Management tab. Has this been removed?
Avery - this is a fantastic tutorial. Keep it up!
yes this guy is the best
Always excited to see new content for you! Learn so much every time!! Thank you! Create a Patreon I would totally back you up.
Amazing video! The best explaining this topic! I have some questions... As someone already asked here. What is the difference between color space transformation effect vs RCM? Which color space should I work with if I'm working just with braw? I see some ppl using the transformation effect to go from BM film to rec and then to red or arri... Why? Sorry if this is to much but it's being hard to know how to start a well set up timeline and color management for grading
Hi, Avery! Your tuts are the best, no doubt. You have the talent of clear and simple explanation for tricky things. Love it! Thank you very much for sharing this with us! Can you advise me what is best to work with GoPro Protune and DJI D-Log which aren't listed in Resolve 14?
Thanks you very much again and can't wait for new tutorials.
I wish I'd seen this 2 weeks ago. It would have saved me an enormous headache. Thank you--this is lucid as can be. A question: what's the difference between "simple" and "luminance" tone mapping?
That was very well explained and useful. Thank you.
Since the Color Management tab has been reworked so heavily, would there be value in updating this video to account for the changes?
Definitely! I plan on revisiting color management in a future series.
Thanks so much for this! I was enjoying working this way in resolve 16 but seems that they have changed the settings in 17. Any advice how to work in 17? Thanks!
This is some incredible stuff! Great work man! What software do you use for motion graphics?
Would you recommend using RCM over the LUT workflow you go over in Part 1 of your series?
If most TVs display 100 nits and you edit with 500 nits wouldn't that mean that when you play de video on tv it will look very different?
Tomás M. Marzan i think he meant older displays right? Newer displays can produce a lot more.
Just use the broadcast safe function 0-100
You deserve way more subscribers! Quick question, should I use srgb or rec. 709 for videos going online? Thx!
This is an amazing, well explained video. Quick question however, why don't you use this method with your grades? Like as opposed to your "LUT Workflow" video where you use the Rec.709 Input Lut . Should I use this if I'm just starting out or should I use your method of boosting the color bars?
i did every stem ang nothing happens to my footage (pana_v-log)
Muito obrigado pelas informações. Nice work! Thanks
You are a legend, most useful channel of davinci resolve. im gonna keep supporting everything you upload!
Thank you Borja!
You're doing god's work my friend
Really great and helpful. Thank you.
Just a golden tutorial Thanks a lot 👍
Mind = Blown, thank you so much. I've learned more about coloiur grading in 4 of your videos than a month of other research! Are you on Patreon? Cheers
I mean, dude, you deserve more subscribers...I watched your video about skin tone, and I just tried this method with some of my footages shot on GH4 Vlog-L...It was mind-blowing...I used to use LUT to color correct Vlog footage, and it was never very satisfying. Plus a lot of people say shooting log in 8-bit is not ideal. But man, this method that you introduced, just changed everything...Thank you!!! I am sharing your video with my friends :)
Rio Jiang hi, is there vlog-l on the list?
This was incredibly helpful tutorial. My question is; is this method different from adding "Color transform" effect?
Glad you liked it! RCM and CST apply the exact same math; the differences are just a matter of workflow. RCM happens at a global project level, whereas CST is applied per node.
Avery Peck Thank you so much for your reply! I’m waiting for you to be back to UA-cam.
Also, I’d love to hear your opinion about “Shot Match to this Clip” feature on Davinci Resolve. I found it somewhat useful in some cases (especially when you want to imitate your specific favorite film etc.)
To be honest, I haven't really messed around with that feature, but I'll have to check it out. I'd always advocate learning to do it by hand of course over automatic methods, but that's cool that it works well!
Also, I meant to say earlier that I'm a fan of your channel! I've been a musician for a long time and finally started learning piano; your videos have been an inspiration!
Avery Peck When I tried to use that function for the first time I was actually surprised how well it worked so I’d like to hear your thoughts if you have chance to check it out.
That’s fantastic to know you’re playing piano, and thank you so much for checking my videos!
Just found your tutorials Avery. They are soooo much better than those you find usually on UA-cam. You are very knowledgeable and straight to the point. In other videos there is 15 minutes of blabbing and 30 seconds of real info. In your tutorials it's the opposite. Keep up the good work!
Input color space right click option gone in DR15?
What file type is the item you right clicked on? I'm on DR15 and it's there for all of my MOVs, MXFs and DNG sequences.
Dude your understanding of Color is absolutely blowing me away!
Thank you for a highly informative video.
As a french amateur, I'd say that this video is way over every other one I could watch up till there, than you for giving away such knowledge and professionalism !
Wow, what an excellent way to explain RCM. Everything Avery says in this tutorial is correct. Top notch. Would you consider doing a tutorial on ACES? Many thanks
Thanks for the awesome video! I can't find proper info on which color space input to use for HLG3 BT2020 (from Sony a7iii). Any Ideas? Thanks!
I tried this method on slog-2 footage in davinci resolve. but I found it didn't work as well as applying the slog-2 LUT via the node tree. I think it's because I always want to de-sat the red once the conversation LUT is applied, and if I do this using RCM I get weird artefacts. I also dial in the slog2 settings in my A7SII so maybe that's why this occurs. Anyone have any other thoughts about why this might happen? Thanks :)
This is a killer tip! One question though: If I crank up the nits (timeline luminance), the white of e.g. text is no longer white, but more a grey. As I can‘t color grade text, I can‘t seem to fix this. Is there a fix / setting for that?
"Kinda REC709", "Sorta REC709"... "I give up", that part xD By the way, you gained a subscriber :D Very nice channel ^^
how do you not have 100,000 subscribers??? these videos are awesome. keep up the great work!
One day hopefully... :) Thanks!
Ok, I need to watch this video for the next 6 months until I get it haha the last 19k views were probably me haha you're welcome! and thanks :)
Thank you for the clearest explanation to be found on this! I am having issues in Resolve 15, if the Max. Timeline Luminance is set higher than 100. When it is set higher, cached (render cache in ProRes 422 HQ) clips display clipping at around 800 in the parade scope. If I use ProRes 4444 HDR the issue disappears, but this cannot be the solution. Do you think, this is a bug?
I just cant explain why there are negative feedback ?!!! It is one of the best explained and helpfull videos and the best part is , that is free. Amazing info Avery, thumbs upp!!!!
Hi Avery! Where are you? I litterally depend on your videos
Very clearly explained about RCM. Thank you!
Incredibly helpful and clear. Hoping this works with 4K DPX files scanned from 16mm neg.
I hope someone has the answer to this. But if my monitor is calibrated to 100 nits, what do I set the tone mapped nits to? My calibration or the max that the monitor is capable of?
WOW! Very Exceptional Explanation of RCM with less dribble about how smart you are but simplified definitive steps to mimic the process, done in 12 Min KUDOS!!! "SUBSCRIBED"
Your Video Avery is an amazing quick but very professionally focused look behind professional DIT matter! Thank you very much.
Man! Instructional beast. So rare to see this kind of eloquence of instruction. Thank you!!!!!
Hey Avery,
Super cool video to grasp a little more what’s going on with color management! Thanks for that.
In order to help clarifying even further, would you by chance know what are the differences between the different flavors of Rec709 one can find in Resolve
Rec709 (scene)
Rec709 gamma 2.2
Rec709 gamma 2.4
Rec709 HLG ARIB STD-B67
and After Effects
HD 709-A
HDTV (Rec709)
HDTV (Rec709) 16-235
REC ITU-R BT.709-5
and when to use and not use each one ?
Lastly, I think one of the most confusing parts of color management is related to output and monitoring profiles. Do you have another awesome tutorial planned regarding this ?
Keep up the good work. Thanks !!
My monitor (BenQ) has the capability to switch to rec709 and sRGB. Should I be color grading in rec709 or sRGB when using RCM to manage my grading? I'm using Braw in my pocket 4K
Amazing job, thanks!
@Avery Peck, Hi! My changes to the RCM space is yielding no difference in the footage at all. I have BMD Film footage. Not sure what I'm doing wrong, but I switched to RCM, changed the settings and then... nothing changes. Please help. Thanks.
Hallo from Indonesia,.. I'm just installed Davinci Resolve 15 on my computer after disappointing workflow with FCPX... it exported my video darker and not sure what's when wrong..
my question is and I'm hoping you could help me,.. What best workflow in Davinci Resolve 15 for color space...
I'm shooting my travel using GoPro Hero 6 (Flat),.. DJI Mavic Air (Flat) Fuji and iPhone X.. what is the best colorspace to work with this footage?
Is it Best to edit in REC2020HLG or REC709 Colourspace? Because I read that REC2020 is best for 4K footage..
I hope you can help me,.. Thank you very much...
My God....why the hell I didnt come across this video before!!!!..
Bro thnx so much for this info and saving our beginner's ass....haha..
Since you uploaded this in 2018..Have you done any more research on the latest 16th edition and going to share with us?
Thanx again from everyone...
An amazing explanation!!! My question is. So when would you apply a lut? After conversion or before? Thanks
incredible work, useful, clear, educational : essential !
Absolutely love your videos. Trying to Use RCM as you teach in the video for a multicam project but having problems. My three cameras are BMPCC and BMMCC, both shot internally in ProRes HQ using film. The third camera is Nikon d750 with HDMI output to Atomos Ninja Flame recorded in ProRes HQ, in camera profile set to Nikon Flat. Set RCM to blackmagic film as you do in this video as primarily my footage is blackmagic film footage. Having trouble with which input color space to choose for the Nikon Footage recorded prores HQ to Atomos. It defaults to Rec 709 Gamma 2.4. Should I use this or is there a better choice as Nikon cameras seem unsupported. Nikon users will probably have the same issue for Nikon Z6 footage recorded to Ninja V. Love your channel and look forward to future videos.
Did anyone notice the problem of the Highlight Recovery checkbox in the Camera RAW tab not working properly when working in RCM?
I have clips shot in BRAW on Pocket 4K, turn the checkbox on and it works for some time, but after plating the clip it resets, even though the checkbox is still on. so I have to turn it On/Off in order it to work again, but then it fails again. When working in the standard DaVinci YRGB Color Science, there's no such problem. but RCM is so much better to work in :(
As usual - the best explanaition of the problem. I've got a question. What about cameras, that do not support any log like e.g. Sony A6000 (The best settings, to make the most look like log is to make a movie in neutral profile with -3 -1 -1 settings). How to convert such flat linear profile to rec 709. Would appreciate your support!
Just a note for anyone using Panasonic GH5 Vlog clips.
The Panasonic clips are wrongly listed in the clips metadata as:
Colour Primaries: BT 709
Transfer Characteristics: BT 709
Matrix Coefficients: BT 709
Therefore Davinci Resolve sees this and consequently doesn't perform the colour space transformation.
A workaround is to set up RCM listing Panasonic Vlog as the input colour space and the Timeline Colour Space as Rec 709, the output colour space also to Rec 709. Click save and nothing will happen. Now, select all your Log clips in the media pool and right click on one of them, select input colour space, and click Panasonic Vlog......boom. You will need to right click every subsequent clip you import and select the Log colour space as above.
Hope that's useful to someone.
Now I'm curiuos what are the exact differnces between ACES and RCM
Hi Avery, do you have any idea why does the qualifier reacts much worse when using RCM in comparison how it reacts when using LUT (Talkin BRAW to rec709)? Thank you and thank again for all the wisdom you have been sharing.
What is the difference in setting the color space in the project settings window vs. using the OpenFx Color Space Transform? When I compared them it looked like they both effected the color differently. Can you explain the difference?
Great explanation! My brain need this kind of visual examples and schemes to understand this things ! I have one question, i have to match two different cameras and I need your advice.
I have two different angles and for cut I setup everything wit Multicam but when I try to correct and match this two cameras nothing happens. I used Canon Eos R, and Panasonic Gh5.
Surely there's some steps I miss, what you think could be the right procedure?
Thank you 🙏
What time line resolution do you use for you 6k video? Do you use 6144x3456?
In regards to ACEScc, how do you set the color space for footage shot on different cameras after Color Management has been set to ACES - SLog2 - Rec 709?
Does this have something to do with the OFX ACES Transform tool?
Thanks for this. Good explanation of RCM. You can do this on clip to clip bases by using color transform plugin. Also matching cameras this way is not as accurate as I think you let viewers believe. Say you shoot two different cameras, say C300 and C300mkii. Trust me in an interview setup where both cameras have the same object in frame this will only get you so far. You’ll still need to do some HSL and WB adjustments.
Another VERY important thing for most new people to understand is that log profiles come with a specific color space that you can change in camera or can’t change in camera. Example would be 5D4 and C300mkii. There is also color matrix which can not be compensated for via this method.
I am not trying to be negative but just trying to point out the other nerdy stuff.
NB. Many computer monitors are actually sRGB which is super close to rec709 however new iMacs are actually P3 color space. That being said a monitor can be calibrated to different color spaces and depending on the monitor might or might not be able to “display” the targeted color space fully.
Brightness is also very important when it comes to grading. The monitor can be calibrated to a collar space and a specific brightness value. If the brightness value of the screen is drastically changed then the calibration is not accurate anymore. For example grading something on 100 nits and 500 nits will most likely result in a very different contrast when it comes to the grade. This can be extremely important when you’re dealing with lots of shadow detail that has a noise in it. All I’m saying is be careful with your display’s brightness and be consistent.
Hope this helps and doesn’t confuse ;).
Thank you for you hard work on the video.
avery i have a question. i have a benq pv270 as monitor. it is capable of 250 nits, but BT.709 stipulates a standard peak white of 100nit. so when i calibrated it i set a luminance of 100cd/m2. then i set rcm to 150. is that right or should i set the luminance to 250cd/m2 and then rcm to let's say 350 ? thanks
YOU'RE THE BEST, MAN!!! Outstanding video.
You have the best Davinci Resolve tutorials. Thank you so much for the videos and continue making more like this. Am so pumped to start color grading in Resolve now
Don’t you have to tweak all your grading and everything if you need to change your output (from rec709 to p3, for example)