Bro this and the previous video is the best explanation I've seen on color balance on UA-cam, hands down. Simplified the process and helped me save a project. Too 🔥
@@VladislavNovickij yes, for me too! I can now think about (at least for some projects) either the complete switch from Premiere to DaVinci or at least the round trip option since my clients are often locked into Adobe and the integrations and their workflow isn't always straightforward enough to roundtrip. Thanks!
after watching your first video i kept coming back to experiment with the tip you gave me in the comments and i really appreciate you breaking it down further. as someone fairly new to the program this helps a ton, thank you for making this video!
Very, very interesting. You are an excellent teacher. I'm going to study your two videos very closely several times. Thank you for creating them for us.
This was the most helpful tutorial that I've had, and I've bought courses. My biggest issue was always when to apply the look, this has changed the game for me! Thank you!
Well Sir you actually made a very detailed and complex tutorial about your workflow. You taught me several new tricks that no one has ever showed us in their tutorials, so you deserve every possible support from us. Really you are one of the few youtubers who know how to teach.
Such a great deep dive in your process but I am happy I watched the first video first to really understand colour balance. And now with the rgb mixer things get even more clear regarding the process of actually being a colorist and not just using the tools half randomly. Please continue! You won my subscription already on the first video!
I just discovered your channel, but I'm already one step ahead from before. I kept watching similar stuff until today, your content and tricks are really fresh and informative !
@@VladislavNovickij to be honest I’ve been watching a lot of videos on UA-cam for coloring but they way you tell and show the details is really helpful, I hope you post more videos also for the Fusion tap and the workflow
This was fantastic, you're voice is super soothing. Before/afters at each step is something a lot of others miss and allows you to see the grade build nicely. Keep it up!
I just stumbled across your channel today and after watching this video I immediately subbed! Thank you for making this! looking forward to more awesome tutorials!
I was curious about the other nodes in the previous video. Thanks for showing the rest of them... you always learn something new (the luminosity node was it for me)
So many amazing little tips and tricks! Thank you! Were you taught these by someone else or does this knowledge come purely from time and experimentation??
Thank You. There’s alot useful information on UA-cam but I personally like to experiment and try different things and see what they does. If You have an idea of what You want to get by experimenting You find the tricks to do that 🤗
Man, this is great! I learned a lot from this vid. But what happens if you are grading not just one clip, but a sequence? Would you grade it the same way applying those 12 nodes or would you start to use groups in your color process?
Ohh thats great question, thanks🙌 If the sequence contains from the clips in the same location I would copy the same grade and make adjustments in exposure and balance if needed to keep the same look from shot to shot. If the location or time of day changes surely I would change the grade more to get an overall look/mood closer, so it won’t push You from the story.
Brilliant tutorial Vladislav 😊 You are definitely a professional! Could you please make more tutorials with Dehancer ? I’ve recently bought this plugin and still learning. When I do apply different films , my footage starts looking darker in the shadows ( where very important details a hidden from me ) and I don’t know how to combat with that. I did tried to use HDR tools but it is starting affecting the rest of the picture . I would appreciate any help and new tutorials from you.
Thanks alot. Sure I’ll be adding my full review of dehancer, of how I use it and when I use it, but surely I’m using some of its functions in every video but will go in depth about how cool and easy film looks You can get with it. Treid alot different Film Emulation plugins but Dehancer is the best so far.
Your color grading tutorials are fantastic! I have a question regarding the computer: how well do the M model laptops handle DaVinci Resolve? I'm currently using the previous generation i7, but it tends to start throttling after only 5-10 minutes
Thank You 🤗 The M models especially the Ultra ones handle Davinci Resolve really well. Its a huge boost in comparison to i7. An older i9 also works OK with the Resolve but struggles to play clips when color grade is added and extremelly slow when Noise Reduction is added. But still available to work with when you choose the hero frame and work on it. But disabling noise reduction node when You want to play the clip.
Please do a detailed tutorial on Rec709 and gamma shift on Mac. I understand that you have a Rec709 calibrated monitor. But what if you only have an Apple monitor that has a pre-calibrated Rec709 profile from the factory. I'm a little confused between the "Output color space" in the project settings and the CST OUT color space. My understanding is that in Davinci, you need to set Rec709-A in all possible locations and switch the Apple display to Rec709 before turning on Davinci. Then the gamma tags will be correctly set to 1-1-1 when exporting.
Thank You. I copy the same video couple of times, add them as sandwich on top of each other. In every below deactivating some grading nodes, then just use the video crop tool with keyframes to make an appearance of each video from left to right it the right time. Its easy to do, more complicated to explain without showing 🤗
Great question, thanks. Yes DR do not have D-log M. I have Mavic 3 Pro and tried different CST’s but still fill that simple DJI Lut for D-Log M to Rec709 at the end of the node tree works better with softer image contrast and colors, while DR is not added it to CST’s. I’m really waiting for this update too 🙌
Thanks and one more thing please davinci resolve color wheels is too small we have small LED please we want to see these wheels properly when you do adjustment make a some biger please
Great tutorial, thank you so much! I have a question regarding your technique: How can I properly balance colors when there are no clear reference points in the scene, such as black or white areas, or only minimal sections of these tones?
Thanks for the question. If there is no black or white reference in the scene the main thing I’m looking when ballance is the correct skin tone, surely if the scene is lit for a natural daylight and also always looking at the vectorscope. There are many other moments You can look at and what human eye is used to as correct, like green grass, blue sky and so on they should look correct to Your eyes. If theres nothing of that (white, black, skin…) in the shot then it can be balanced the way You like or want it to look.
Thank you for your quick reply. I've been applying what I learned by adjusting the temperature and tint, and isolating skin tones in a mask to analyze them clearly on the vectorscope. Could you consider creating a tutorial video that explores whether this method is the best approach, or if there are more effective techniques? It would be incredibly helpful to see these methods in action and learn more about optimizing color balance. Thank you for considering this!
To be honest, did not try with h264 but it will be harder. Should avoid some steps because of the 8bit h264. Its easy to damage such compressed image but most of the steps would work well for sure 👌
Could you clarify the differences between using Davinci Wide Gamut with in and out CST nodes, and simply using a single CST as a last node to transform a log file to Rec. 709?
I just prefer working in Davinci Wide Gamut color space, its a huge color space and also Davinci’s controls works best and more accurate in it. So I make CST in and then CST out at the end.
Thanks for making this video, super helpful. I still have one question. Why do you use the Davinci Wide Gamut Color Space? Should I do the same? I edit on a Mac Book Pro M1 connected to an external monitor (Dell UltraSharp U3223QE 4K) set to Rec.709, and a lot of people say I should set the Output Color Space to Rec. 709-A because I am using a Mac. Or should I also use Rec.709 and Gamma 2.4 as you do? I have watched a lot of videos regarding color spaces in Davinci and somehow it still drives me crazy because everybody is using something different. Thanks!
Hey thanks. I like working in Davinci WG color space because its a huge color space and I feel that all adjustments in Resolve works better for me. What about how I set my output for my MacBook so it won’t gamma shift on export: I go to the project settings / color management, leave Davinci YRGB Color science as it is, set Timeline color space as “Rec.709-A”, Output color space choose: “Same as Timeline”. Also in Davinci preferences / system / general I add ☑️ on Use Mac display color profiles for viewers. Thats all. Then my CST out is set Rec709 and gamma 2.4 because this is the gamma that my monitor is set for and it works for me well on the renders. I get the same image as I see in my Resolve’s timeline 👌
@@VladislavNovickij Thanks so much, really appreciate the detailed response. Not a lot of creators take the time to do that, so thanks so much! Will try it out and see how it works for me...
Hey great video. While I was following your tutorial, I came across a problem. When trying to apply the luminosity in the RGB mixer, the composite mode option does not appear in the drop down menu. What can I do?
Thanks for the question🙌 I go not color managed in this case. I use standard DaVinci YRGB it a default setting. I use Color Space Transform in my node tree as CST in and CST out.
Thanks for the question but Rec709 is really small and limited color space, You can transform it using CST to a wider one but this won’t give You more color range because of an image shot and compressed to Rec709 already.
Thank You. If You make an adjustments in Primary wheels, as I do here this works well on 8bit footage too, just be more careful with the secondaries like hue vs saturation and so on. Secondaries can damage 8bits 👌
Ar galite daugiau apie tuos Color Space Transform beginneriams paaiškinti. Kaip ir suprantama, jog visos kameros duoda skirtingas spalvas, ir reikia montaže susivesti į kažkokį vieną standartą, pvz., Rec.709. Bet kam tos Output Color Space ir Output Gamma? Ir kodėl tas importuotas footage toks "blogas"? Jeigu filmavimo metu buvo atsižvelgta į apšvietimą, white balansas padarytas, tai jau importavus į timeline turėtų būti daug maž "normalus" vaizdas. Dabar toks įspūdis filmuotojas tyčia sugadino exposure, white balansą, tyčia skin tonus nusuko, kad kuo daugiau darbo būtų coloristui.
Aisku. Is principo galima daryti tik output color space. Siuo atveju butu RedWideGamut, Log3G10 i Rec709, Gamma2.4 Bet tada vyktu colorgrade pries konversija RedWideGamut Colorspace pavidale. As pirma konvertuoju is RedWideGamut i DavinciWideGamut nes sita color space stambesne, platesne ir dirbu joje o gale is jos konvertuoju jau i Rec709
90% of my REBIRTH short film I have shot with Zeiss Planar 50mm and Distagon 25mm using Canon speed booster for full frame look. You can check it in my previous videos here on UA-cam 🙌 I love tha soft character of these lenses ❤️
Again, it makes zero sense that you’re not starting off with a good white balance setting in the red raw settings. Immediately applying such strong offsets will throw off all the color accuracies. Which is why you have to keep going back and forth with all of those various corrections afterwards. Setting a better white balance to start should make all that easier and more accurate.
Thanks for Your response. I’m showing an example that this bad WB footage could be also graded well. Easy to go back to raw settings and change it there but what if You have 10bit file like that with no raw settings available? Thats why I’m showing my method here, its all about this complexity for a good result.
@@VladislavNovickij ok, that is good, but I’d say that to your audience. Your previous video was specifically labeled to “never use the white balance settings,” which made no sense especially since you were using a raw format!
@@VladislavNovickij1st respect dp/director & their lighting along with set designing. If you feel something is completely messed up check your vectorscope, use hdr wheels if you don't want to use the raw tab, bring the skin on the line & everything will fall into the correct space. If dp wants to use keylight set to 2500k & fill at 6000k your little push from here & there can't make everything on a single line because that was dp's vision for the scene. Also if you feel skin was too saturated use 3*3 Matrix or RGB crosstalk to bring it down or just use some advanced tools. Same for the cool hair light. Also I am curious to see what's the NXT scene? How that was lit? And why someone will shoot with a completely off wb? Didn't expect another Hollywood secret sauce colorist to born. Srry mate.
Bro this and the previous video is the best explanation I've seen on color balance on UA-cam, hands down. Simplified the process and helped me save a project. Too 🔥
Thanks, so happy it helped 🤗🙌❤️
@@VladislavNovickij yes, for me too! I can now think about (at least for some projects) either the complete switch from Premiere to DaVinci or at least the round trip option since my clients are often locked into Adobe and the integrations and their workflow isn't always straightforward enough to roundtrip. Thanks!
We all appreciate you a lot ❤️❤️
Thank You 🙌❤️
Keep up these high quality vids
Thanks, I will ❤️🤗
after watching your first video i kept coming back to experiment with the tip you gave me in the comments and i really appreciate you breaking it down further. as someone fairly new to the program this helps a ton, thank you for making this video!
Thank You, much appreciate that 🤗❤️
This video and the last one were some of the next explanations of coloring that I've ever seen! Many thanks.
Thank You 🙌 I’m happy You like them.
Very, very interesting. You are an excellent teacher. I'm going to study your two videos very closely several times. Thank you for creating them for us.
Thank You for watching ❤️ Will be adding more soon. Glad to get such motivational comments 🙌
This was the most helpful tutorial that I've had, and I've bought courses. My biggest issue was always when to apply the look, this has changed the game for me! Thank you!
Thank You for watching and such warm feedback 🤗❤️
Thank you for this video. You have a subscriber here.
Thank You ❤️ Happy to hear that 🙌
that RGB Mixer trick is such a gem! Thanks for sharing!
Thank You. This trick is not for every scenario but in aome cases it really helps 🙌
One of the bests on youtube! Thank you
Not only are you really talented at color grading but you’ve got a great presentation and a very good teacher.
Thank You 🙏 happy to hear that 🤗
Well Sir you actually made a very detailed and complex tutorial about your workflow. You taught me several new tricks that no one has ever showed us in their tutorials, so you deserve every possible support from us. Really you are one of the few youtubers who know how to teach.
Thanks alot 🙌 So happy to read such comments ❤️
This is sooooo helpful! Thanks a lot!
@@TheStrade Thanks for watching 🤗
This is unbelievable! Stepped my color grading game to a whole new level, subscribed!
Great video, exactly what I needed, thank you so much to share your knowledge for free 🙏🏼
Such a great deep dive in your process but I am happy I watched the first video first to really understand colour balance. And now with the rgb mixer things get even more clear regarding the process of actually being a colorist and not just using the tools half randomly. Please continue! You won my subscription already on the first video!
Thank You 🙌❤️
Amazing👏!!! It will 100 percent improve my color grading skills 👌. I can't believe that 24 minutes video could be that useful!!! Thank you a lot!!! 🙏
Thanks alot, happy it helped You 🙌
Thank you so much for these detailed examples and workflows. I will definitely try them out in my next project.
Thank You for watching 🤗
I just discovered your channel, but I'm already one step ahead from before. I kept watching similar stuff until today, your content and tricks are really fresh and informative !
Thank You 🙌
definitely opened some doors in my brain for new techniques!!! thank you so much!!!
Great 🤗 Glad to hear that. Thanks for watching 👌
Dang I have so much to learn. This is a fantastic tutorial!
Thanks alot 🙌
This video is absolutely awesome. Thank you for the tutorial.
Thank You gor watching, happy You liked it 🤗
keep on doing great content like this! i learned so much!
Thank You 🤗 Really happy it helps You 🙌
Best workflow presantation, thank you❤
Thanks 🙌
This is very goooooooooood!!! Thank you for your sharing!! I love u
Thank You for watching and Your comment 🤗 Happy You like it 🙌
Love your video. You are pure tresure here on UA-cam!
Thank You 🤗 Happy You like it❤️
This is incredible
Well done. I appreciate your approch regarding not using Temp/Tint and am using it on my current job. Also, love your RGB Mixer trick. Thanks!
Thank You 🙌
that's very interesting, i will try this workflow for sure
Thanks 🙌 Let me know how it goes later 👌
@@VladislavNovickij to be honest I’ve been watching a lot of videos on UA-cam for coloring but they way you tell and show the details is really helpful, I hope you post more videos also for the Fusion tap and the workflow
This was fantastic, you're voice is super soothing. Before/afters at each step is something a lot of others miss and allows you to see the grade build nicely. Keep it up!
Thank You for such nice response. Hope You will like my new videos I’m preparing now and will be posting soon 🙌🙏
Best Ever Thanks
Thank You for watching 🙌
This was so detailed yet not at all complicated to follow and learn from! Thank you so much for taking the time to put this together 😄
Happy You liked that. Thank You for watching 🤗
I just stumbled across your channel today and after watching this video I immediately subbed! Thank you for making this! looking forward to more awesome tutorials!
Thank You for Your feedback 🤗 Happy to hear that ❤️
Amazing tutorial. Thank you. I like how you explain the method and why.
Thank You too 🙌 Still learning to explain 🤗 hope to become even better in future 👌
@@VladislavNovickij from another video I've seen. I've heard it's best to talk to the camera as an individual rather than "you guys" 👍
@@ayoubthegreat Ok thanks, thats a great advice
❤ such a beautiful tutorial and nice way of teaching. Amazing 😊
Thank You alot, glad You like it 🙌
Hey man. Your video it's pretty good. That's good for beginner like me. Thanks for your video,Man.
Thank You for watching 🙌🤗
You are doing really good content 🎉
I'm in love with your process xD
Thanks 🤗
Great Video , keep them up 😍 We learn together
Thank You 🙌 Yes I always learning something new and will all my life 😁
I was curious about the other nodes in the previous video. Thanks for showing the rest of them... you always learn something new (the luminosity node was it for me)
Thank You, me too. We are All always learning something new 🙌🤗
完全颠覆了我之前的认知。学到了无比惊艳的知识。十分感谢您！！！！！！
谢谢你🙌🙌🙌
Your video helped me understand my mistakes and learned new tips, thank you very much!!
Thank You for Your response 🙌 Happy to help 👌
this looks so easy! thanks, now I know how to balance colours, not just using temp and tint. good job!
Thanks mate🤗
Welcome 🤗
Amazing!
Thanks 🙏
This video is a treasure! Thank you!
Thank You for Your response 🤗
Great Vlad , useful info, thanks! Maybe the next video you can colorgrade commercial beauty look with shining skin
Thanks, maybe I can do that in future episodes.
Спасибо большое.
Всегда пожалуйста ☺️
So many amazing little tips and tricks! Thank you! Were you taught these by someone else or does this knowledge come purely from time and experimentation??
Thank You. There’s alot useful information on UA-cam but I personally like to experiment and try different things and see what they does. If You have an idea of what You want to get by experimenting You find the tricks to do that 🤗
Great video.
Thank You 🙌 Glad You like it 👌
wel done thanks
Thanks for watching 🤗
thank you bro👌
Thank You for watching 🤗
Woooow!!
Yes you did it! Thanks a lot man. :) I think you forgot something very important : color management
set up in project settings...
Thanks man 👌. I usually go with the CST’s
Brilliant! Thank you so much.
thanksss soo much :)
Welcome and thanks for watching 🙌
Another excellent video, please make a video of scenes in different lighting conditions like this.
Thank You, will do in future episodes 🙌
Great work more tutorials, please please
Thank You. More is coming 👌
Thank you verymuch for tut very userfull :)
Thank You for watching 🤗
Amazing work!
good tutorial
Thank You 🙌
More tutorials🤩🤩🤩🤩
more more more
Let's not forget that we are getting this info for free! Thanks for this again kind Sir! +1 Subbed!
Thank You 🙏
Thank you!
I need to put in to practice
🙌
Очень круто! Спасибо!
Man, this is great! I learned a lot from this vid. But what happens if you are grading not just one clip, but a sequence? Would you grade it the same way applying those 12 nodes or would you start to use groups in your color process?
Ohh thats great question, thanks🙌 If the sequence contains from the clips in the same location I would copy the same grade and make adjustments in exposure and balance if needed to keep the same look from shot to shot. If the location or time of day changes surely I would change the grade more to get an overall look/mood closer, so it won’t push You from the story.
thank you
Brilliant tutorial Vladislav 😊 You are definitely a professional! Could you please make more tutorials with Dehancer ? I’ve recently bought this plugin and still learning. When I do apply different films , my footage starts looking darker in the shadows ( where very important details a hidden from me ) and I don’t know how to combat with that. I did tried to use HDR tools but it is starting affecting the rest of the picture . I would appreciate any help and new tutorials from you.
Thanks alot. Sure I’ll be adding my full review of dehancer, of how I use it and when I use it, but surely I’m using some of its functions in every video but will go in depth about how cool and easy film looks You can get with it. Treid alot different Film Emulation plugins but Dehancer is the best so far.
@@VladislavNovickij Thank you for your reply 😊I’m looking forward to your new tutorials, please keep making them !
@@UraFlight Sure I will, thank You too🤗
Your color grading tutorials are fantastic! I have a question regarding the computer: how well do the M model laptops handle DaVinci Resolve? I'm currently using the previous generation i7, but it tends to start throttling after only 5-10 minutes
Thank You 🤗 The M models especially the Ultra ones handle Davinci Resolve really well. Its a huge boost in comparison to i7. An older i9 also works OK with the Resolve but struggles to play clips when color grade is added and extremelly slow when Noise Reduction is added. But still available to work with when you choose the hero frame and work on it. But disabling noise reduction node when You want to play the clip.
Powerful video and your teacing styel is osm slow slow its osm am teach more of tricks to you
Thanks, really appreciate that 🤗
Nice color grading need new tutorial ❤❤
@@Bheru_editss Thank You 🙌
Nice video 😊😊❤
Awesome Video. Take my sub. Thank you very much ❤
Thank You 🙌
Please do a detailed tutorial on Rec709 and gamma shift on Mac. I understand that you have a Rec709 calibrated monitor. But what if you only have an Apple monitor that has a pre-calibrated Rec709 profile from the factory. I'm a little confused between the "Output color space" in the project settings and the CST OUT color space. My understanding is that in Davinci, you need to set Rec709-A in all possible locations and switch the Apple display to Rec709 before turning on Davinci. Then the gamma tags will be correctly set to 1-1-1 when exporting.
super tutoriel !
Thank You 🙌
Great video ! Vladislav, is it necessary to do CST IN and CST OUT if I shoot on BMPCC ? Maybe just CST OUT is enough?
Yes CST out is more than enough 🤗 Just Your camera color space to Rec709 👌
Thank You 🤗
@@VladislavNovickij OK. Thank you ! I see that you are interpreting the material from the RED. Then, apparently, we need a CST IN ...
Plz make something for Canon logs
Thanks, will keep that in mind 🙌
Incredible video! Just one question: Why do you apply the vignette before the RGB Mixer node? Or why do you apply the RGB Mixer after the secondaries?
Hey 👋 thanks alot. I find RGB Mixer gives better results in that case of use 🤗
@@VladislavNovickij thanks. Keep up the work!!
Good job! Maybe you can share this File for practice color graiding?
Thanks. This file is from Artgrid, You can download it if You have their license
It has not to do with the video. But I would like to know how you do the “before and after” of the end? 24:04 Thanks, amazing video.
Thank You. I copy the same video couple of times, add them as sandwich on top of each other. In every below deactivating some grading nodes, then just use the video crop tool with keyframes to make an appearance of each video from left to right it the right time. Its easy to do, more complicated to explain without showing 🤗
Great Video. What about if your input color space is DJI D-log m and it is not listed in DR?
Great question, thanks. Yes DR do not have D-log M. I have Mavic 3 Pro and tried different CST’s but still fill that simple DJI Lut for D-Log M to Rec709 at the end of the node tree works better with softer image contrast and colors, while DR is not added it to CST’s. I’m really waiting for this update too 🙌
you would think they would add the most common log profile for drone videos@@VladislavNovickij 😤
Please make a.video.to color grade 8bit fotage
Thanks for an idea 🙌 I think I can do that in my future episodes 👌
Thanks and one more thing please davinci resolve color wheels is too small we have small LED please we want to see these wheels properly when you do adjustment make a some biger please
Do you ever use the TIMELINE function within the COLOR PAGE?
Great tutorial, thank you so much! I have a question regarding your technique: How can I properly balance colors when there are no clear reference points in the scene, such as black or white areas, or only minimal sections of these tones?
Thanks for the question. If there is no black or white reference in the scene the main thing I’m looking when ballance is the correct skin tone, surely if the scene is lit for a natural daylight and also always looking at the vectorscope. There are many other moments You can look at and what human eye is used to as correct, like green grass, blue sky and so on they should look correct to Your eyes. If theres nothing of that (white, black, skin…) in the shot then it can be balanced the way You like or want it to look.
Thank you for your quick reply. I've been applying what I learned by adjusting the temperature and tint, and isolating skin tones in a mask to analyze them clearly on the vectorscope. Could you consider creating a tutorial video that explores whether this method is the best approach, or if there are more effective techniques? It would be incredibly helpful to see these methods in action and learn more about optimizing color balance. Thank you for considering this!
@@CerejaTech My next episode will be exactly about the skin tones 👌
@@VladislavNovickij Fantastic! Can't wait to see it.
Could you please mention the project setting for color ?
@@uclassic It is standard Davinci YRGB, not color managed. I show my settings I use in my video: “Common questions”
In your view , is it possible to grade H.264 rec.709 like this ?
To be honest, did not try with h264 but it will be harder. Should avoid some steps because of the 8bit h264. Its easy to damage such compressed image but most of the steps would work well for sure 👌
Could you clarify the differences between using Davinci Wide Gamut with in and out CST nodes, and simply using a single CST as a last node to transform a log file to Rec. 709?
I just prefer working in Davinci Wide Gamut color space, its a huge color space and also Davinci’s controls works best and more accurate in it. So I make CST in and then CST out at the end.
@@VladislavNovickij Thanks! Just learned new thing
Thanks for making this video, super helpful. I still have one question. Why do you use the Davinci Wide Gamut Color Space? Should I do the same? I edit on a Mac Book Pro M1 connected to an external monitor (Dell UltraSharp U3223QE 4K) set to Rec.709, and a lot of people say I should set the Output Color Space to Rec. 709-A because I am using a Mac. Or should I also use Rec.709 and Gamma 2.4 as you do? I have watched a lot of videos regarding color spaces in Davinci and somehow it still drives me crazy because everybody is using something different. Thanks!
Hey thanks. I like working in Davinci WG color space because its a huge color space and I feel that all adjustments in Resolve works better for me.
What about how I set my output for my MacBook so it won’t gamma shift on export: I go to the project settings / color management, leave Davinci YRGB Color science as it is, set Timeline color space as “Rec.709-A”, Output color space choose: “Same as Timeline”.
Also in Davinci preferences / system / general I add ☑️ on Use Mac display color profiles for viewers.
Thats all. Then my CST out is set Rec709 and gamma 2.4 because this is the gamma that my monitor is set for and it works for me well on the renders. I get the same image as I see in my Resolve’s timeline 👌
@@VladislavNovickij Thanks so much, really appreciate the detailed response. Not a lot of creators take the time to do that, so thanks so much! Will try it out and see how it works for me...
@@gabrielaaronmoser-diary Always welcome🙌 Ready to share everything I know and learn everything I don’t 🤗
Hey great video. While I was following your tutorial, I came across a problem. When trying to apply the luminosity in the RGB mixer, the composite mode option does not appear in the drop down menu. What can I do?
Hi, as I remember correctly the composite mode is available from Resolve 18 and higher. Please check if Your Resolve’s version is 18-19 and Studio.
What was the color management settings here?
Thanks for the question🙌 I go not color managed in this case. I use standard DaVinci YRGB it a default setting. I use Color Space Transform in my node tree as CST in and CST out.
And what are your project settings? in color management?
I use Color Space Transforms, color management is standard not color managed
Why is the grain necessary?
Its not necessary 🙌 But Ijust love ❤️ it, the texture it makes looks much less digital 👌
what CST nodes workflow should be done for regular android shots (without logs)? 709 to any wider color space than back to 709 in the end?
Thanks for the question but Rec709 is really small and limited color space, You can transform it using CST to a wider one but this won’t give You more color range because of an image shot and compressed to Rec709 already.
Will this work on 8bit 4:2:0 as well?
Thank You. If You make an adjustments in Primary wheels, as I do here this works well on 8bit footage too, just be more careful with the secondaries like hue vs saturation and so on. Secondaries can damage 8bits 👌
@@VladislavNovickij ah thanks alot... I'll give it a go...
@@LeafOfAutumn05 Let me know how it goes 🤗
@@VladislavNovickij sure I'll update
What are the specs of your computer?
Tęskite, tęskite.
Butinai 👌
Ar galite daugiau apie tuos Color Space Transform beginneriams paaiškinti. Kaip ir suprantama, jog visos kameros duoda skirtingas spalvas, ir reikia montaže susivesti į kažkokį vieną standartą, pvz., Rec.709. Bet kam tos Output Color Space ir Output Gamma?
Ir kodėl tas importuotas footage toks "blogas"? Jeigu filmavimo metu buvo atsižvelgta į apšvietimą, white balansas padarytas, tai jau importavus į timeline turėtų būti daug maž "normalus" vaizdas. Dabar toks įspūdis filmuotojas tyčia sugadino exposure, white balansą, tyčia skin tonus nusuko, kad kuo daugiau darbo būtų coloristui.
Aisku. Is principo galima daryti tik output color space. Siuo atveju butu RedWideGamut, Log3G10 i Rec709, Gamma2.4 Bet tada vyktu colorgrade pries konversija RedWideGamut Colorspace pavidale. As pirma konvertuoju is RedWideGamut i DavinciWideGamut nes sita color space stambesne, platesne ir dirbu joje o gale is jos konvertuoju jau i Rec709
To answer your question, it’s because he’s not correcting the white balance in the red raw settings.
Do you use a speed booster or and adapter on the Zeiss planar ?
Yes I use Canon speed booster for a full frame image size 🙌
@@VladislavNovickij thank you, that was helpful.. keep up the good work
90% of my REBIRTH short film I have shot with Zeiss Planar 50mm and Distagon 25mm using Canon speed booster for full frame look. You can check it in my previous videos here on UA-cam 🙌 I love tha soft character of these lenses ❤️
@@VladislavNovickij that's awesome, the footages look soft and buttery. I like it a lot. I think I will also get myself that Lense. thank you
Again, it makes zero sense that you’re not starting off with a good white balance setting in the red raw settings.
Immediately applying such strong offsets will throw off all the color accuracies. Which is why you have to keep going back and forth with all of those various corrections afterwards. Setting a better white balance to start should make all that easier and more accurate.
Thanks for Your response. I’m showing an example that this bad WB footage could be also graded well. Easy to go back to raw settings and change it there but what if You have 10bit file like that with no raw settings available? Thats why I’m showing my method here, its all about this complexity for a good result.
@@VladislavNovickij ok, that is good, but I’d say that to your audience. Your previous video was specifically labeled to “never use the white balance settings,” which made no sense especially since you were using a raw format!
@@hautehussey Great but I specially keep that as before and show the whole grade here 👌
@@VladislavNovickij1st respect dp/director & their lighting along with set designing. If you feel something is completely messed up check your vectorscope, use hdr wheels if you don't want to use the raw tab, bring the skin on the line & everything will fall into the correct space.
If dp wants to use keylight set to 2500k & fill at 6000k your little push from here & there can't make everything on a single line because that was dp's vision for the scene.
Also if you feel skin was too saturated use 3*3 Matrix or RGB crosstalk to bring it down or just use some advanced tools.
Same for the cool hair light. Also I am curious to see what's the NXT scene? How that was lit? And why someone will shoot with a completely off wb?
Didn't expect another Hollywood secret sauce colorist to born. Srry mate.