You've upgraded my grading so much with your careful explanations. If there is one thing I could hope for, it's a deep dive on Davinci export settings! Thank you!!!
So I have a M2 MacBook Pro and for some reason I always thought the colors drift way too much after exporting in Davinci. I thought it needed calibration, but this video has one-handedly solved 95% of my issues. Cullen, I can not thank you enough for this video.
@@CullenKelly This is fantastic! Thank you! Why does everyone online push the Rec709A (Setting output color space to rec709 and output gamma to rec709A)? Also I'm assuming that if you have a calibrated reference monitor and an IO device you can just grade in rec709 gamma 2.4 without issues (besides maybe quicktime still showing things weirdly but the solution there seems to be to not use it and use Screen which allows you to configure the correct color management)
Until this video, I used to set my timeline to Rec.709 (scene) and my output to Rec.709-A, when using my Macbook Pro screen for grading Rec.709 footage. But Cullen is using Rec.709 2.2 for output, and feeding his custom LUT with a Rec.709 2.2 input (using the second CST node before the custom LUT). So, given that I follow the exact steps shown in the video, should I stop using Rec.709-A altogether?
Cullen, it looks like this is one of your most viewed videos, yet I feel like this video left many of us hanging for a follow-up video. Any plans to release more info in an attempt to solve this issue?
lol suggestion for next video: how to calibrate a monitor and create a 3d lut with DisplayCal. This could be very useful for many starting out and wanting to get serius about grading :)
It’s kind of miracle for me. I’ve been working on one project for two weeks and carefully following your tutorials. Finally I did achieve the results that I wanted. But yesterday I found new issue. After exporting my project I found it darker which I didn’t like it ( I’m never had this problem before on my iMac) I’ve spent the whole day yesterday till late night trying to find out how to solve this problem. I did lost my sleep over night, because this Saturday is the deadline for the project. To my surprise, when I opened UA-cam this morning to continue searching for the videos on how to resolve this issue, your video was first one on my homepage page in recommendations. I’m hoping it will help me to finish my project on time. 😊
I feel like a video like this for the new QD-OLED monitors would be amazingly helpful since they're going to be insanely color accurate looking at the specs, but the same issues you're solving here is needed
Just so people know the LG display used by Apple is very good, but the white point is at a weird spot and the entire colour gamut is shifted away from P3 standard toward the green end I believe. The display has ~95% DCI P3 coverage (When Apple say P3, they mean to their own P3 standard). It's a great screen, but the C3 and newer LG panels are more accurate and also a lot brighter (you can get them up to ~850 nits) so you could feasibly do the low-end of hdr grading on those. BUT in all of these cases, please create a colour profile for your monitor using a sensor, also you will want to redo this at least once every two months at least in the beginning to see if there is any shift.
I would love to see you do a video talking more about options for monitors and reference displays whether it be Ezios, LGC3 or Sony BVMs. A "guest engineer" to talk with you would be awesome.
Excellent information! Just downloaded the Mac Display LUT! I've got a M1 MacBook Pro with a choice of XDR P3 1600 Nit default or P3 500. Are they both going to be gamma 2.2? Also, your brightness setting looks to be about 75%. Was that as a result of calibration or a recommended brightness? Last question: Between a REC 709 gamma 2.4 calibrated BENQ SW-270C and the MacBook Pro, which would you consider more accurate? Thanks a ton!!
Hey Cullen. In a DWG colour managed project, are we able to use this LUT at the timeline level on the colour page, that way not having to turn it off on each individual clip and just once in a single node? Thanks so much for the info and look forward to the Gamma shift issue video.
This comment should really be higher...I was just trying to figure out if there's a way to not have to go through manually and disable every single node.
great video, many thanks! but why don't you just use that .lut as "video monitor lookup table" in the project settings? that way you don't have to manually adjust anything and just work and grade as you like, it would affect only the timeline viewer without affecting the exported video
So awesome! Thank you very much Cullen, this workflow is pretty straightforward, the explanation quite clear, and I’m sure this will be much appreciated by the amateur color community.
This is very interesting. Could we get a bit more detailed explanation of how you made that LUT and why it is necessary? And then also, if you do calibrate your monitor, how does that fit into this workflow? Is it simply a case of loading there ICC profile into the Mac OS and selecting it in that first step in the video?
The LUT is essentially correcting for ColorSync's incorrect interpretation of gamma 2.2 material. Regarding how this interacts with a custom calibration profile, I'm actually not sure as this isn't something I've tested...
What if you select rec 709A as the output color space under color management instead of rec 709 gamma 2.4 Do you get a more accurate representation on a Mac? Do you use it in tangent with your gamma 2.2 method
Thanks for creating this extremely helpful tutorial. You mentioned that these settings were intended for computer and smartphone output. In my case, my output will be a low end, digital cinema projector that does not conform to DCP or XYZ standards. Would you still recommend using the P3-600 nit display setting or should I be using the Digital Cinema D65 setting on my M3 Max MacBook Pro? And, if the latter, will your Rec 709 2.2 and LUT still apply?
Sorry, too many variables here to give a great answer in a comment. As a general guideline, if your color management is targeting display standard A, and your monitor is properly calibrated to that same standard, you can reliably target display standard B once grading is complete, and be confident that things will travel well when viewed on a display calibrated to display standard B. So for your workflow, you'd need ensure the destination projector is calibrated to a standard you can target in your color management.
Hi, first of thanks so much for the video - so helpful! I know you've said in other comments that you were planning on making videos about how to solve mac gamma shift on export, are you still thinking of doing these?
You're very welcome! And yep, this is still something I'm working on...there are lots of different causes for this, so it takes time to put together a comprehensive set of solutions!
Interesting. Just a thought could you not add the LUT to the Project settings /Colour Management/Video Monitor LUT then not have to worry about switching it off?
@@CullenKelly wait why? in another video and another comment on this video, I recall you suggested it was feasible or even better to a) color manage in nodes and b) add your correction LUT in "video monitor lookup table" at a project level. Side benefit of this, as I remember, is that the scopes don't change, so you can actually use them to evaluate your levels. Did I get it all wrong? Or part of it? Please find the time to reply, thank you dearly! =)
Hi Cullen; would it work for us to add the viewing lut on the timeline node since as i understand that comes after the clip nodes? Just eyeballing it it seems to give the same results but much easier to disable in the end!
That's very helpful, I always end up when grading on my Macbook on the go, darkening the image cos off using the display incorrectly, but after this you just save me too much of rendering and testing out lol. And ofcurse for my professional grading I always go with a trusty reference monitor in the grading room.
One question, wouldn't it be better to insert this LUT in the project settings as a PREVIEW LUT, which will only influence the visualization but will not be applied in the export, instead of going back to all the clips and deactivating the LUT?
Thanks for this Cullen - My M1 MBP gives me Apple XDR Display (P3-1600 nits) Apple Display (P3-500 nits) options - which one would work better ? And should Automatically adjust brightness be switched on or off?
So could I use that Mac viewer on the viewer lut option? So it's always on the viewer but doesn't affect the grade? Just so I don't forget it from time to time. Also, once I export to clients what should the output be? Im afraid that if I send a 2.2 to my client they could see it brighter than the still's I've been showing.
Should I calibrate my monitor or just choose a preset color profile? I ask because when I choose anything related to P3, I get a VERY cool image and is NOTHING like the calibrated display.
use the default one. Then you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That way you get a consistent result across both DVR and quicktime.
Interesting...have you had a chance to measure any of the other ColorSync presets available for the Apple displays. For instance, there is a "HDTV Video (BT.709-BT.1886)" one. I wonder how accurate that one is and if it could be used to grade for Rec.709 Gamma 2.4. Does it make any sense to use any of the other presets besides the "native" one for the display?
That's what I wonder too. Currently, I grade under HDTV Video display preset. The only thing I do, before I render, is put a CST on the last node, switch from gamma 2.4 to gamma 2.2, and tag the video gamma rec709-A on the delivery page. I can't remember the source right now. Although I think it works, I am never sure if this is the most efficient and right way because I don't have different devices around me.
+1 I had mine set to that, and it seems that what I see on DR compared to rendered piece seen in VCL, phone and other places is more accurate with this setting.
To achieve a proper macos color workflow, you shouldn't use anything aside from the default color profile. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That way you get a consistent result across both DVR and quicktime. Because your main goal is to match DVRs output with your display settings and deliver it AS IS with the correct gamma tag.
Cullen did say that the output tag should be Rec709 gamma 2.2 and of course, this will not solve the gamma shift issue which he also mentioned. Seems like there's more work to do to get the image out when dealing with the fact that many players assume a 1:1:1 color space / gamma.
Bro thuis is Why you are the man!. Just followed all the steps om My iPad Air m1 . I just recently switched from My Windows machine and got so frustrated. But now my results are stunning my exports look identical just wanten to gave you a big thank you!!
Rather than placing the LUT on a node, you can apply it to the color viewer in Resolve color settings. It only affects the color viewer, not the export or anything else.
Cullen, thanks for all the videos you put out. I reference your material often. And as a result I feel my grading has massively improved. I'm not a colorist by trade, but rather wear many hats. However, I have a question. This video specifically focuses on Apple displays. I use an ASUS ProArt and have been searching everywhere to figure out the best option to solve shifting. I have an UltraStudio 3G set up. Monitor is set to 709/2.4. I know recently you've been suggesting 2.2 for web. But I'm currently working on a short film that will live beyond web or Vimeo. However as I export for reviews I'm still experiencing massive shift in black levels between DR and what I see in QT exports. (I've done all the DR settings like 10 bit, Mac colors, 709a) I've been setting my Mac system settings to 709/2.4 for viewing. In this scenario, given my Mac Studio and Asus Monitor, would using the default Display P3 in my OS system settings for viewing after export be the best scenario for accuracy? When I remove the Ultrastudio and view the export on the same monitor with the same settings I get completely different results when it comes to contrast/black levels. I've air dropped to my iPad Pro and at full brightness is matches what I'm seeing in DR pretty well. Looks horrible in reference mode. I'm just feeling really lost on how to create a solid level of consistency when viewing across different monitors after export.
A huge thanks dear Cullen. Thoses precious advices on the DCI P3, the gamma 2.2, your macDisplay's LUT downloaded have solved my washed's flavors aspects when broadcasted onto plateforms, such as Vimeo or Ytube. As same as often I've read in the comments, I was questioning and dealing about this issue, then you've dedicated one tutorial in september onto this unsolved problem... Are you directly connected with us ? You've saved my day, thanks dear maestro. 🥰
This doesn't actually fix it. You just don't see it but others with displays that use gamma 1.96, 2.2 2.4 or even 2.6 will definetly notice. You need to entirely bypass apple color sync by using a blackmagic video card. That way resolve takes control of the HDMI output signal of the video card and directly exports the clean feed without mac os interfering in the middle.
@@shueibdahir if you did this, what settings would you then have to sidle or enable in order for the clean feed to display as accurately as possible on a Mac studio display?
First thing that came to my mind was to simply put Rec.709-A in the CST output node. Correct me if I tell bs, but isn‘t that the same or very very close to Gamma 2.2? I always thought Rec.709-A was especially designed for Apple displays to tackle the gamma shift of the output😅
This is a common solution to the "gamma shift" issue, but that's not an issue we're focused on solving in this video. In this one we're asking: “Am I getting an accurate rendering of my image while grading?” as opposed to "Do my exports match what I saw when grading?”. Hope that makes sense?
I have been so frustrated with grading in resolve after always knowing what I’m getting on Final Cut. The only thing that made my export as close to what I saw on my GUI was to have a CST from 709 2.4 to 709a . Made it look too contrasty but on export it looked like what I saw. SO FRUSTRATING. Hopefully this new setup will work. Thanks!
I’m using a 2017 iMac Pro and also an Apple TB Display. Your LUT saved me a lot of work as it has been challenging for months now to get the displays calibrated using a DataColor SpyderX calibration tool and DisplayCalc. With the latter, there is a yellow shift versus using the P3 (Default) gamma profile. I understand this is a year old post but I will ask… will you be kind enough to share how to use a calibration tool with DisplayCalc to calibration an Apple display? Thank you for this video and the LUT.
YES! I was waiting for a video by you on this specific topic, owning two Pro Display XDRs.. there is so much nonsensical information out there on this topic.. Thx Cullen, you're the man! Any advice on a calibration solution for the pro Display XDR? Is there any way to do this with lesser devices than the 15.000 $ ones that apple suggests? And the second question- I guess you output with Gamma 2.4, right? The Lut inverse-compensates while viewing for the 1-1-1 file tagging that lifts the image when viewed in the browser, right?
It does seem like there should have been a big disclaimer on this video that states, “don’t bother doing any of this until the gamma shift solution is provided” Without the gamma shift solution as an integral part of the strategies in this video, it becomes even more convoluted and confusing when you see a misaligned export. Key information needed here is what tagging option we use for exports. I’m happy to sit and experiment for several hours to find the answer, but are all viewers eager to do the same?
I see your point, but as I mentioned in the video, we actually need to start with an accurate reproduction of the image, then worry about maintaining that accuracy following export. Otherwise we're just struggling to ensure consistently incorrect reproduction, which is much harder, and not terribly useful. That said, the gamma shift issue is of course vitally important! More content to come on this topic.
@@CullenKelly He is right, though, you didn't tell us what gamma tag to use on export😅. This video is a bit frustrating to be honest, I feel even more lost than I was before. Because I don't see the difference between this method and using Rec709-A. My videos on my Mac looks accurate, but when I watch them on Pc/Android, they are way too saturated and much darker.
Hey Cullen, is this supposed to be used in the same viewing environment as 709 2.4, meaning a dim environment and screen brightness at around 100 nits? Thank you for your continuous efforts! Michael
Hi Cullen. Great video. Does this information only apply to Apple’s own monitors, including iMacs and laptops? Or all monitors attached to Apple Mac computers?
Is the MacOs viewing transform for macbook pro displays or for external displays? I mean can I use it for my 15 inch MacBook display? I dont get it. Please help!
Hi Cullen! 👋 For my 16″ MBP 2023, I have two options: 1) Apple XDR Display (P3-1600 nits) and 2) Apple Display (P3-500 nits). Which one do I choose? Thanks!
I want to know as well. I currently have a $300ish LG monitor with a Datacolor SpyderX Pro calibrator. I'm guessing that's not good enough. Saving up for an Apple Studio Display. Reference monitors are waaaaay out of my budget.
I'm using ACES (IDT - ODT) instead DWG should i follow the instructions that you tell? (i also set my project color management to ACES and bypass it) btw, nice insightful video always Cullen!
Hey Ryan! Different color management systems can each have a slightly different method for targeting display spaces. But as long as you follow the other steps and are feeding the viewing LUT what it's expecting, in this case Rec709 Gamma 2.2, you should have no issues!
Thanks! Is this also applicable to third party external monitors such as the ProArt series? Does the ‘LUT’ work as it would with the Apple Studio display?
Is this about the grade itself or the exports? I work with your usual workflow but use Rec.709-A both in the color management and export settings (I use sRGB when using ACES). Exports look exactly the same on all my Apple devices and different PCs. I don't have gamma shift (used to when working on Rec.709 2.4) but I might have a slight tint shift depending on the monitor.
I use a similar workflow with the Bt.1886 reference mode enabled on my Apple display and to eye it’s a perfect match to a calibrated LG OLED, and by tagging Rec709-A I’ve also gotten consistent reproduction across apps/devices. Curious about Cullen’s thoughts on using the reference profiles that Apple is shipping with their more recent devices (including iPad Pro now)
forgive the confusion. so when we are exporting are we leaving the colour viewing setting on rec 709 2.2 even though the space of the delivery ie, tv, standard monitors etc is rec 709 2.4 ? or do we need to check that it is exporting for rec 709 2.4 ? so im using a colour managed workflow in davinci, with the Mac display option in resolve enabled. colour profile for monitor in settings set as P3, so the footage is auto adjusted for accurate rec 709. but when I use my MacBook Air M1 display I should be setting rec 709 2.2 gamma as the viewing space but it will be exporting for 2.4 standard. any help is welcome. thanks for the great video. and free viewing LUT.
It would really be important to know what settings we should set while exporting the actual output files. Project settings? (2.2)? Rec709a when exporting a h264? I can not get an accurate reproduction of what I see in Resolve in a final QT file with this workflow. I DO get an accurate reproduction when I don't do any of this, don't use the lut but just grade regularly and when outputting convert to rec709a via a CST AND a Gamma Tag when I want to export an h264. When I export ProRes Rec709 I just ignore all of this and export without any 709a tagging etc. should we set the output CST to 2.4 when we render a Prores? Or do we leave everything as is and export a prores with 2.2 gamma? This video is incomplete without those informations..
Tried your workflow with the Lut placed on timeline (But in Rec709 2.4 to match with my OLED) and it seems to be slightly more accurate than using the Rec709-A tag as output colorspace. Good work! Output also looks identical in every color-managed player such as Quicktime, Optimus, Chrome etc.
You don't have to use Rec709-a as an output tag, to achieve 1-1-1 gamma tag you should put rec709 / rec709 , that way you don't need to worry about quicktime messing up your work with gamma shift. everything is far less complicated. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That's it.
@@mattstahley6340 No, I always use the default Mac Display profile that comes straight out of the box. You don't have to squeeze your display output capabilities to get a decent picture with no gamma shift, you still won't get a properly calibrated gamma 2.4 if you change your display profile to whatever. So why bother :)
@@Rogeras32 So, pc/android users will still see an oversaturated video? Because, on Mac my export video looks accurate (safari-youtube-quicktime-preview), but on Pc they look way too saturated. It drives me crazy 😅...
Hi Cullen. I've used this lut on a few projects. When exported, videos look great on apple products but show wayy too much saturation on products other than apple's. So I had revert back turning the mac display color option off and the old rec709, gamma 2.4 transforms and timelines. Am I doing anything wrong?
How do you manage to always do the video that I need? 😂 But I'm not sure if we can still add the voyager luts on the timeline level with this workflow.
Fantastic. Hill Cullen, i have a great grading set up at home but now i’m flying a lot & might need to just grade on the new iPad Pro. I would love to know accurate setting alone on the iPad, maybe just for online exports. Also… what if my iPad pro was connected to my windows PC but using the new Remote Monitoring’ set up as a reference display. Any settings change there? I assume you don’t have windows but the iPad alone question i would love to know. Many thanks 😊
Have you tried an sRGB workflow? I set my MacBook Pro XDR display to the sRGB reference preset and output color space/gamma in Resolve to sRGB and it is by far the most consistent presentation across my MacBook Pro, iPhone and Windows Desktop. No gamma shifts across any of the devices. Input color space is CDNG (de-bayered into BMD Gen 4), working color space is DWG, output color space SRGB.
hello master, I have a Mac M3 Pro, I have calibrated it with equipment such as SPYDER 5 ELITE, do I have to turn it off "Use Mac Display Color Profile for Viewers or turn it on. Thanks
@@CullenKelly I'd say... If he made a good calibration... then why not? Wouldn't the colorsynk do exactly that: use the selected monitor profile for the transformation..? I would have expected a strong "yes" so maybe I don't understand what the "use mac display color profile" doeas, or there are other considerations..? thank you
Hi long time listener first time caller! I have an HP z31 they don't have HDR but they have the same color reproduction if not better. I usually run them in the Native color space preset, should i be using DCI P3 D65?
Thank you Cullen, I have few questions, What is the brightness level of the mac Display I have to setup at the start, As I know Rec709 is a 100 nit, so shall I pick my light meter and majr a 100 nit before starting, Second many Mac Display support HDR, is it possible to explain how to make it possible to grade HDR1000 or DolbyVision on a Mac Display.
Hi Cullen great video as always ❤ I have a question: Does this LUT work for any reference monitor calibrated to DCI-P3 D65 color space or just for Apple Monitors? Thank you in advance 😊
Surely storing the “display Lut” in the Display lut slot in Resolve preferences. Solves the problem of turning the final Node on and off. At delivery. Or does that output slot only apply to a clean feed output path?
Is it safe to infer then that I need to calibrate my iMac display *not* as 2.4 but rather *2.2* for a truly realized image-- even if output in DaVinch is gamma 2.4?
If you send a clean signal (via decklink) to your monitor, then your output color space and gamma should coincide (if output color setting is rec 709 2.2, that your monitor should be set and calibrated for rec 709 2.2). On the flipside another approach with a "normal" monitor via hdmi for example (not betting my life on this) is that you calibrate your monitor targeting your monitor native space, in case for newer macs it's P3 D65 , hence leaving to OS color management (colorsync for apple) to do the transformation from your output color space (let's say rec 709 2.2) to P3 D65. In my mind it should be the same if I set the output color space to something different when I EXPORT. But Cullen would probably tell you that the correct workflow would be to change color management AND output color space to your target export, check that everything is ok, then export to that same space and gamma. I really hope my answer is correct, and clear enough. If someone has informed corrections or considerations, please don't restrain yourself!
This is awesome, I have always been curious because the MacBook Pro 16" has a lot of specific color profiles, and I was curious how good it could get. I have two questions, maybe there is a reason for this, maybe it doesn't work the way I expect... 1. Could you group your clips and then add the Input to the group pre-clip and and Output to the group post-clip? That would mean that your actual clip based node tree would be only focused on actual changes and would make it a little cleaner? i assume these changes are for every clip, so putting them on a different "level" then the clip would be more organized? I might be thinking about this wrong, so not sure if that makes any sense... 2. There is an option in Resolve, in the color management project settings called "Video monitor Look Up Table", I thought, and again, I am a total noob, so maybe it doesn't work with this flow, but I had thought that this would be the LUT you are using for your monitor, similar to the last node you have? I was curious if maybe it automatically doesn't apply it to the render as it marks it as only for visual reference while working? I can just imagine people forgetting to turn it off before rendering sometimes or maybe forgetting to turn it off on one cliip? Your workflow is very specific, so could be that that feature is meant for something different. sorry, I guess I have one more question, and that is on the MacOS display settings, mine has p3-1600 nits? Is that not useable in this flow? Both that and the P3-500 Nits are listed in the top section so I assume they are both "Native"? Edit to say thank you for all your content, great video!
Use the default color profile. Don't mess with these options, it doesn't matter. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. And that's it, your good to go. No gamma shift, the image looks exactly the same in DVR and in Quicktime.
Thanks Does it work the same with the video clean feed ? What would be the settings to benefit of the entire ColorSync profil of the Apple Display (Gamut P3D65 & Gamma 2.2 with 300 nits) ? Why not put the lut in Project Setting ➧ Color Management ➧ LUT ➧ Color Viewer LUT, instead ?
Was very excited about this video - but feel like it has only confounded my Apple MacBook workflow. I use display BT1886 preset and turn off Mac displays in DVR while working in rec709 Gamma 2.4 color managed project. Exports looks same on OLED; but stills always have a gamma issue with stills/exports when viewed on other apple devices etc not in that 1886 setting.. I am sure Cullen has more illuminating and susinct insights on all this Apple silliness.
Hey Sean! As I mentioned toward the beginning, this video isn't intended to address the gamma shift issue -- we're laying the foundation here, but "Do my exports match what I saw when grading?" is a distinct question from the one we're answering here: "Am I getting an accurate rendering of my image while grading?" More to come!
I have a MPB 16" and I found that if I (in System Preferences) set up a custom Display Preset, set it to Rec.709, D65, BT.1886, and then crucially UNTICK "Apply System Gamma Boost", and then grade into Rec.709 Gamma 2.4 in Resolve, then it translates perfectly between a UA-cam/Vimeo upload and Resolve. I wish we could move beyond this though and live life with a bit more colour. Most people not on PC or Android can reproduce P3 these days.
Hey great video, just one question. At 3:15, when selecting a display preset (P3-600nits) you left the "Automatically adjust brightness" option checked. Doesn't that create problems when editing? If yes what would be the "optimum" setting for brightness? (coming from a photo editing world where everything gets edited at 80nits I found this kind of weird).
as I see in a comments, we definitely need more information about gamma shift issue and 709-A tag. thank you, Cullen.
and apple studio displays, there's almost nothing
You've upgraded my grading so much with your careful explanations. If there is one thing I could hope for, it's a deep dive on Davinci export settings!
Thank you!!!
So I have a M2 MacBook Pro and for some reason I always thought the colors drift way too much after exporting in Davinci. I thought it needed calibration, but this video has one-handedly solved 95% of my issues. Cullen, I can not thank you enough for this video.
You got it!
@@CullenKelly This is fantastic! Thank you!
Why does everyone online push the Rec709A (Setting output color space to rec709 and output gamma to rec709A)?
Also I'm assuming that if you have a calibrated reference monitor and an IO device you can just grade in rec709 gamma 2.4 without issues (besides maybe quicktime still showing things weirdly but the solution there seems to be to not use it and use Screen which allows you to configure the correct color management)
Mate. I've been tearing my hair out trying to solve that gamma shift on export on my Mac. This fixed it, well explained. Legend
Until this video, I used to set my timeline to Rec.709 (scene) and my output to Rec.709-A, when using my Macbook Pro screen for grading Rec.709 footage.
But Cullen is using Rec.709 2.2 for output, and feeding his custom LUT with a Rec.709 2.2 input (using the second CST node before the custom LUT).
So, given that I follow the exact steps shown in the video, should I stop using Rec.709-A altogether?
Cullen, it looks like this is one of your most viewed videos, yet I feel like this video left many of us hanging for a follow-up video. Any plans to release more info in an attempt to solve this issue?
Ive tried a million things and nothing worked but this LUT did. Thank you bro. You the man
Can't tell you how much this helps!. Been researching this for a week now and so glad I caught this on your channel.
This right here saved me HOURS of frustrating work trying to just get the right baseline from which to start grading!!! THANK YOU SO MUCH!!!!
lol suggestion for next video: how to calibrate a monitor and create a 3d lut with DisplayCal.
This could be very useful for many starting out and wanting to get serius about grading :)
It’s kind of miracle for me. I’ve been working on one project for two weeks and carefully following your tutorials. Finally I did achieve the results that I wanted. But yesterday I found new issue. After exporting my project I found it darker which I didn’t like it ( I’m never had this problem before on my iMac)
I’ve spent the whole day yesterday till late night trying to find out how to solve this problem. I did lost my sleep over night, because this Saturday is the deadline for the project.
To my surprise, when I opened UA-cam this morning to continue searching for the videos on how to resolve this issue, your video was first one on my homepage page in recommendations.
I’m hoping it will help me to finish my project on time. 😊
Cullen this by far the best video I’ve watched, regarding this topic. As per usual, well explained and easy to understand. Thanks a ton 🙏🏼
So glad to hear it, thanks!
I literally asked you for this in a comment on your last video! You're so awesome. Thank you so much Cullen!!!! 😭😭
I feel like a video like this for the new QD-OLED monitors would be amazingly helpful since they're going to be insanely color accurate looking at the specs, but the same issues you're solving here is needed
Hey, could you also make a video about how to grade for cinema?
Do it in a projection room
Thanks Cullen. Any calibration tips/LUTs for colourist using Resolve on iPad Pro please? It’s hard to tell what P3 color space it’s defaulted to.
I would love to know this
Me too🥺
Just so people know the LG display used by Apple is very good, but the white point is at a weird spot and the entire colour gamut is shifted away from P3 standard toward the green end I believe. The display has ~95% DCI P3 coverage (When Apple say P3, they mean to their own P3 standard). It's a great screen, but the C3 and newer LG panels are more accurate and also a lot brighter (you can get them up to ~850 nits) so you could feasibly do the low-end of hdr grading on those. BUT in all of these cases, please create a colour profile for your monitor using a sensor, also you will want to redo this at least once every two months at least in the beginning to see if there is any shift.
I would love to see you do a video talking more about options for monitors and reference displays whether it be Ezios, LGC3 or Sony BVMs. A "guest engineer" to talk with you would be awesome.
Excellent information! Just downloaded the Mac Display LUT! I've got a M1 MacBook Pro with a choice of XDR P3 1600 Nit default or P3 500. Are they both going to be gamma 2.2? Also, your brightness setting looks to be about 75%. Was that as a result of calibration or a recommended brightness? Last question: Between a REC 709 gamma 2.4 calibrated BENQ SW-270C and the MacBook Pro, which would you consider more accurate? Thanks a ton!!
Hey Cullen. In a DWG colour managed project, are we able to use this LUT at the timeline level on the colour page, that way not having to turn it off on each individual clip and just once in a single node? Thanks so much for the info and look forward to the Gamma shift issue video.
Great question! Yes you can!
This comment should really be higher...I was just trying to figure out if there's a way to not have to go through manually and disable every single node.
You're a mind reader! I was looking into this very question 24 hours ago! Thank you so very much
Same as me 😊I’m even contacted Davinci Resolve support. Waiting for a reply from them.
This is what I've needed FOREVER since getting a studio display, thank you! You're really almost the only one I can find on this.
Excellent work, Cullen!
great video, many thanks! but why don't you just use that .lut as "video monitor lookup table" in the project settings? that way you don't have to manually adjust anything and just work and grade as you like, it would affect only the timeline viewer without affecting the exported video
I want to know this too, but I applied the LUT in the video monitor lut and didnt work, did you try it?
So awesome! Thank you very much Cullen, this workflow is pretty straightforward, the explanation quite clear, and I’m sure this will be much appreciated by the amateur color community.
This is very interesting. Could we get a bit more detailed explanation of how you made that LUT and why it is necessary? And then also, if you do calibrate your monitor, how does that fit into this workflow? Is it simply a case of loading there ICC profile into the Mac OS and selecting it in that first step in the video?
The LUT is essentially correcting for ColorSync's incorrect interpretation of gamma 2.2 material. Regarding how this interacts with a custom calibration profile, I'm actually not sure as this isn't something I've tested...
Wow, thank you Cullen!
What if you select rec 709A as the output color space under color management instead of rec 709 gamma 2.4 Do you get a more accurate representation on a Mac? Do you use it in tangent with your gamma 2.2 method
Thanks for creating this extremely helpful tutorial. You mentioned that these settings were intended for computer and smartphone output. In my case, my output will be a low end, digital cinema projector that does not conform to DCP or XYZ standards. Would you still recommend using the P3-600 nit display setting or should I be using the Digital Cinema D65 setting on my M3 Max MacBook Pro? And, if the latter, will your Rec 709 2.2 and LUT still apply?
Sorry, too many variables here to give a great answer in a comment. As a general guideline, if your color management is targeting display standard A, and your monitor is properly calibrated to that same standard, you can reliably target display standard B once grading is complete, and be confident that things will travel well when viewed on a display calibrated to display standard B. So for your workflow, you'd need ensure the destination projector is calibrated to a standard you can target in your color management.
Hi, first of thanks so much for the video - so helpful!
I know you've said in other comments that you were planning on making videos about how to solve mac gamma shift on export, are you still thinking of doing these?
You're very welcome! And yep, this is still something I'm working on...there are lots of different causes for this, so it takes time to put together a comprehensive set of solutions!
@@CullenKelly Cool, looking forward to it!
Me too🥺🥺🥺🥺🥺
🙏
@@CullenKelly looking forward to this!
Awesome information !!! Please drop some affiliate links to entry level calibration tools and reference monitors.
Interesting. Just a thought could you not add the LUT to the Project settings /Colour Management/Video Monitor LUT then not have to worry about switching it off?
There’s just one way to find out I guess!
@@Visethelegendbump, in case the answer comes😉
@@sonidojamonSign me up for this info!
I wish this worked, but unfortunately it adds its own complications....happy to discuss further in Grade School!
@@CullenKelly wait why? in another video and another comment on this video, I recall you suggested it was feasible or even better to a) color manage in nodes and b) add your correction LUT in "video monitor lookup table" at a project level. Side benefit of this, as I remember, is that the scopes don't change, so you can actually use them to evaluate your levels. Did I get it all wrong? Or part of it? Please find the time to reply, thank you dearly! =)
Woah. What perfect timing.
i tried it, and it works :D.. i usually use rec709-A as my output instead of gamma 2.4.. but now i can confidently use gamma 2.4 as my output.
but in this he talks about putting gamma 2.2. Have u tried it?
Hi Cullen; would it work for us to add the viewing lut on the timeline node since as i understand that comes after the clip nodes? Just eyeballing it it seems to give the same results but much easier to disable in the end!
Great question! That's correct, it should work on the timeline level when doing node based color management!
That's very helpful, I always end up when grading on my Macbook on the go, darkening the image cos off using the display incorrectly, but after this you just save me too much of rendering and testing out lol.
And ofcurse for my professional grading I always go with a trusty reference monitor in the grading room.
One question, wouldn't it be better to insert this LUT in the project settings as a PREVIEW LUT, which will only influence the visualization but will not be applied in the export, instead of going back to all the clips and deactivating the LUT?
Please which color profile sould i use on my mac, I don't understand this video
Can you still make use of the waveform even though that last node is shifting the blacks / contrast?
Thanks for this Cullen - My M1 MBP gives me Apple XDR Display (P3-1600 nits) Apple Display (P3-500 nits) options - which one would work better ? And should Automatically adjust brightness be switched on or off?
for accuracy use HDR PQ preset on ur macbook screen
So could I use that Mac viewer on the viewer lut option? So it's always on the viewer but doesn't affect the grade? Just so I don't forget it from time to time. Also, once I export to clients what should the output be? Im afraid that if I send a 2.2 to my client they could see it brighter than the still's I've been showing.
Good questions. I agree, the LUT should be applied in the settings either as output LUT or as viewer LUT.
This video (and the free LUT) really saved my butt. Thank you!!!
Should I calibrate my monitor or just choose a preset color profile? I ask because when I choose anything related to P3, I get a VERY cool image and is NOTHING like the calibrated display.
Amazing workflow. Thank you for the tips!
Hi Cullen
we need the rec 709A debate solved and put to an end. Nobody can agree on anything lol. Help us sir
in mac settings on macbook pro there is only colour profile which I have set to colour lcd, should we change this to display p3 or image p3 or ?
use the default one. Then you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That way you get a consistent result across both DVR and quicktime.
@@Rogeras32 yes, that is what I did earlier
Literally one of the best and most useful videos ever thank you so much
Glad it was helpful!
Interesting...have you had a chance to measure any of the other ColorSync presets available for the Apple displays. For instance, there is a "HDTV Video (BT.709-BT.1886)" one. I wonder how accurate that one is and if it could be used to grade for Rec.709 Gamma 2.4. Does it make any sense to use any of the other presets besides the "native" one for the display?
Wondering about that, too :)
also curious about this one...wouldn't we want to target P3-DCI or I also have the option for P3-D65...
That's what I wonder too. Currently, I grade under HDTV Video display preset. The only thing I do, before I render, is put a CST on the last node, switch from gamma 2.4 to gamma 2.2, and tag the video gamma rec709-A on the delivery page. I can't remember the source right now. Although I think it works, I am never sure if this is the most efficient and right way because I don't have different devices around me.
+1 I had mine set to that, and it seems that what I see on DR compared to rendered piece seen in VCL, phone and other places is more accurate with this setting.
To achieve a proper macos color workflow, you shouldn't use anything aside from the default color profile. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That way you get a consistent result across both DVR and quicktime. Because your main goal is to match DVRs output with your display settings and deliver it AS IS with the correct gamma tag.
Would you then tag your export as Rec709 gamma 2.2 as well?
That's also my question exactly!
no, because it won't carry over when uploaded to any video platform
Tag it 709-A
Cullen did say that the output tag should be Rec709 gamma 2.2 and of course, this will not solve the gamma shift issue which he also mentioned. Seems like there's more work to do to get the image out when dealing with the fact that many players assume a 1:1:1 color space / gamma.
Thank you so much! I've been wanting to find a solution for this for a long time! Your video was very helpful :D
Bro thuis is Why you are the man!. Just followed all the steps om My iPad Air m1 . I just recently switched from My Windows machine and got so frustrated. But now my results are stunning my exports look identical just wanten to gave you a big thank you!!
So happy to hear that!
Rather than placing the LUT on a node, you can apply it to the color viewer in Resolve color settings. It only affects the color viewer, not the export or anything else.
There's a good reason I don't suggest doing it this way! Happy to discuss further in Grade School
@@CullenKelly I’d be curious to know
@@CullenKellyi want to know aswell
Newbie comments maybe, but doesn’t using the four nodes slow down the machine compared to making changes in project settings?
Cullen, thanks for all the videos you put out. I reference your material often. And as a result I feel my grading has massively improved. I'm not a colorist by trade, but rather wear many hats.
However, I have a question. This video specifically focuses on Apple displays.
I use an ASUS ProArt and have been searching everywhere to figure out the best option to solve shifting. I have an UltraStudio 3G set up. Monitor is set to 709/2.4. I know recently you've been suggesting 2.2 for web. But I'm currently working on a short film that will live beyond web or Vimeo. However as I export for reviews I'm still experiencing massive shift in black levels between DR and what I see in QT exports. (I've done all the DR settings like 10 bit, Mac colors, 709a)
I've been setting my Mac system settings to 709/2.4 for viewing. In this scenario, given my Mac Studio and Asus Monitor, would using the default Display P3 in my OS system settings for viewing after export be the best scenario for accuracy? When I remove the Ultrastudio and view the export on the same monitor with the same settings I get completely different results when it comes to contrast/black levels.
I've air dropped to my iPad Pro and at full brightness is matches what I'm seeing in DR pretty well. Looks horrible in reference mode.
I'm just feeling really lost on how to create a solid level of consistency when viewing across different monitors after export.
Great video tnx. One question though, is this good for outputting a DCP for movie theatre screening?
A huge thanks dear Cullen. Thoses precious advices on the DCI P3, the gamma 2.2, your macDisplay's LUT downloaded have solved my washed's flavors aspects when broadcasted onto plateforms, such as Vimeo or Ytube. As same as often I've read in the comments, I was questioning and dealing about this issue, then you've dedicated one tutorial in september onto this unsolved problem... Are you directly connected with us ? You've saved my day, thanks dear maestro. 🥰
This doesn't actually fix it. You just don't see it but others with displays that use gamma 1.96, 2.2 2.4 or even 2.6 will definetly notice.
You need to entirely bypass apple color sync by using a blackmagic video card. That way resolve takes control of the HDMI output signal of the video card and directly exports the clean feed without mac os interfering in the middle.
@@shueibdahir if you did this, what settings would you then have to sidle or enable in order for the clean feed to display as accurately as possible on a Mac studio display?
First thing that came to my mind was to simply put Rec.709-A in the CST output node. Correct me if I tell bs, but isn‘t that the same or very very close to Gamma 2.2? I always thought Rec.709-A was especially designed for Apple displays to tackle the gamma shift of the output😅
This is a common solution to the "gamma shift" issue, but that's not an issue we're focused on solving in this video. In this one we're asking: “Am I getting an accurate rendering of my image while grading?” as opposed to "Do my exports match what I saw when grading?”. Hope that makes sense?
@@CullenKelly how do we then combine the 2 to solve both problems?
@@CullenKelly But it's only accurate for mac users..Because my videos looks way too saturated on Pc/Android
I have been so frustrated with grading in resolve after always knowing what I’m getting on Final Cut. The only thing that made my export as close to what I saw on my GUI was to have a CST from 709 2.4 to 709a . Made it look too contrasty but on export it looked like what I saw. SO FRUSTRATING. Hopefully this new setup will work. Thanks!
Same, 709-A across the board on project settings, CST, and export shows true on quicktime and youtube (no gamma or saturation shift)
I’m using a 2017 iMac Pro and also an Apple TB Display. Your LUT saved me a lot of work as it has been challenging for months now to get the displays calibrated using a DataColor SpyderX calibration tool and DisplayCalc. With the latter, there is a yellow shift versus using the P3 (Default) gamma profile. I understand this is a year old post but I will ask… will you be kind enough to share how to use a calibration tool with DisplayCalc to calibration an Apple display? Thank you for this video and the LUT.
This deserves a BIG THANK YOU!!
YES! I was waiting for a video by you on this specific topic, owning two Pro Display XDRs.. there is so much nonsensical information out there on this topic.. Thx Cullen, you're the man! Any advice on a calibration solution for the pro Display XDR? Is there any way to do this with lesser devices than the 15.000 $ ones that apple suggests?
And the second question- I guess you output with Gamma 2.4, right? The Lut inverse-compensates while viewing for the 1-1-1 file tagging that lifts the image when viewed in the browser, right?
So helpful, thanks Cullen! When adding film look related nodes, they should now be placed in between CST OUT & macOS node?
I'd suggest putting any and all look nodes before your output CST!
It does seem like there should have been a big disclaimer on this video that states, “don’t bother doing any of this until the gamma shift solution is provided”
Without the gamma shift solution as an integral part of the strategies in this video, it becomes even more convoluted and confusing when you see a misaligned export.
Key information needed here is what tagging option we use for exports. I’m happy to sit and experiment for several hours to find the answer, but are all viewers eager to do the same?
I see your point, but as I mentioned in the video, we actually need to start with an accurate reproduction of the image, then worry about maintaining that accuracy following export. Otherwise we're just struggling to ensure consistently incorrect reproduction, which is much harder, and not terribly useful. That said, the gamma shift issue is of course vitally important! More content to come on this topic.
@@CullenKellyany update to the second series? I had assumed another video was soon to follow?
@@CullenKelly He is right, though, you didn't tell us what gamma tag to use on export😅. This video is a bit frustrating to be honest, I feel even more lost than I was before. Because I don't see the difference between this method and using Rec709-A. My videos on my Mac looks accurate, but when I watch them on Pc/Android, they are way too saturated and much darker.
Thanks for this great tip!
Hey Cullen, is this supposed to be used in the same viewing environment as 709 2.4, meaning a dim environment and screen brightness at around 100 nits? Thank you for your continuous efforts! Michael
Hi Cullen. Great video. Does this information only apply to Apple’s own monitors, including iMacs and laptops? Or all monitors attached to Apple Mac computers?
Anyone know the answer to this? Thank you.
Is the MacOs viewing transform for macbook pro displays or for external displays? I mean can I use it for my 15 inch MacBook display? I dont get it. Please help!
Hi Cullen! 👋 For my 16″ MBP 2023, I have two options: 1) Apple XDR Display (P3-1600 nits) and 2) Apple Display (P3-500 nits). Which one do I choose? Thanks!
I'd go with #2!
Many thanks, Cullen! Will be grading a ton of HLG drone footage...
Thanks for the video. What calibration device would you recommend for my Apple Studio Display? I've heard too many conflicting reports! Cheers.
I want to know as well. I currently have a $300ish LG monitor with a Datacolor SpyderX Pro calibrator. I'm guessing that's not good enough. Saving up for an Apple Studio Display. Reference monitors are waaaaay out of my budget.
So good bro, thank you.
I'm using ACES (IDT - ODT) instead DWG should i follow the instructions that you tell? (i also set my project color management to ACES and bypass it)
btw, nice insightful video always Cullen!
Hey Ryan! Different color management systems can each have a slightly different method for targeting display spaces. But as long as you follow the other steps and are feeding the viewing LUT what it's expecting, in this case Rec709 Gamma 2.2, you should have no issues!
thank you so much for this valuable information! please turn on the “super thanks” so we can donate for these incredible tips. 👍
Thank you!!!!!
Thanks! Is this also applicable to third party external monitors such as the ProArt series? Does the ‘LUT’ work as it would with the Apple Studio display?
Is this about the grade itself or the exports? I work with your usual workflow but use Rec.709-A both in the color management and export settings (I use sRGB when using ACES). Exports look exactly the same on all my Apple devices and different PCs. I don't have gamma shift (used to when working on Rec.709 2.4) but I might have a slight tint shift depending on the monitor.
I use a similar workflow with the Bt.1886 reference mode enabled on my Apple display and to eye it’s a perfect match to a calibrated LG OLED, and by tagging Rec709-A I’ve also gotten consistent reproduction across apps/devices.
Curious about Cullen’s thoughts on using the reference profiles that Apple is shipping with their more recent devices (including iPad Pro now)
@@matthewblacklock2972 @oshrigetreuer1490 would love to see a follow up on this!
Can i put the viewing transform on the timeline nodes to be easier turn off? I think its applied after the clip timeline?
I've been looking for this video since 2019
forgive the confusion. so when we are exporting are we leaving the colour viewing setting on rec 709 2.2 even though the space of the delivery ie, tv, standard monitors etc is rec 709 2.4 ? or do we need to check that it is exporting for rec 709 2.4 ? so im using a colour managed workflow in davinci, with the Mac display option in resolve enabled. colour profile for monitor in settings set as P3, so the footage is auto adjusted for accurate rec 709. but when I use my MacBook Air M1 display I should be setting rec 709 2.2 gamma as the viewing space but it will be exporting for 2.4 standard. any help is welcome. thanks for the great video. and free viewing LUT.
It would really be important to know what settings we should set while exporting the actual output files. Project settings? (2.2)? Rec709a when exporting a h264? I can not get an accurate reproduction of what I see in Resolve in a final QT file with this workflow. I DO get an accurate reproduction when I don't do any of this, don't use the lut but just grade regularly and when outputting convert to rec709a via a CST AND a Gamma Tag when I want to export an h264. When I export ProRes Rec709 I just ignore all of this and export without any 709a tagging etc.
should we set the output CST to 2.4 when we render a Prores? Or do we leave everything as is and export a prores with 2.2 gamma? This video is incomplete without those informations..
Yeah I'd really like a better dive into what the export settings need to be.
Tried your workflow with the Lut placed on timeline (But in Rec709 2.4 to match with my OLED) and it seems to be slightly more accurate than using the Rec709-A tag as output colorspace. Good work! Output also looks identical in every color-managed player such as Quicktime, Optimus, Chrome etc.
You don't have to use Rec709-a as an output tag, to achieve 1-1-1 gamma tag you should put rec709 / rec709 , that way you don't need to worry about quicktime messing up your work with gamma shift. everything is far less complicated. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That's it.
@@Rogeras32 Do you use the built in HDTV BT709 display profile?
@@mattstahley6340 No, I always use the default Mac Display profile that comes straight out of the box. You don't have to squeeze your display output capabilities to get a decent picture with no gamma shift, you still won't get a properly calibrated gamma 2.4 if you change your display profile to whatever. So why bother :)
Do you mean at "Timeline level" (not Clip)?
@@Rogeras32 So, pc/android users will still see an oversaturated video? Because, on Mac my export video looks accurate (safari-youtube-quicktime-preview), but on Pc they look way too saturated. It drives me crazy 😅...
Hi Cullen. I've used this lut on a few projects. When exported, videos look great on apple products but show wayy too much saturation on products other than apple's. So I had revert back turning the mac display color option off and the old rec709, gamma 2.4 transforms and timelines. Am I doing anything wrong?
same for me, have you found a solution? Because he never talks about that unfortunately
How do you manage to always do the video that I need? 😂 But I'm not sure if we can still add the voyager luts on the timeline level with this workflow.
Fantastic. Hill Cullen, i have a great grading set up at home but now i’m flying a lot & might need to just grade on the new iPad Pro. I would love to know accurate setting alone on the iPad, maybe just for online exports. Also… what if my iPad pro was connected to my windows PC but using the new Remote Monitoring’ set up as a reference display. Any settings change there?
I assume you don’t have windows but the iPad alone question i would love to know.
Many thanks 😊
ipad has no colorsync, this issue is tied only to macos.
Have you tried an sRGB workflow? I set my MacBook Pro XDR display to the sRGB reference preset and output color space/gamma in Resolve to sRGB and it is by far the most consistent presentation across my MacBook Pro, iPhone and Windows Desktop. No gamma shifts across any of the devices. Input color space is CDNG (de-bayered into BMD Gen 4), working color space is DWG, output color space SRGB.
Interesting!
hello master, I have a Mac M3 Pro, I have calibrated it with equipment such as SPYDER 5 ELITE, do I have to turn it off "Use Mac Display Color Profile for Viewers or turn it on. Thanks
Sorry, I haven't tested that workflow so I can't say!
@@CullenKelly I'd say... If he made a good calibration... then why not? Wouldn't the colorsynk do exactly that: use the selected monitor profile for the transformation..? I would have expected a strong "yes" so maybe I don't understand what the "use mac display color profile" doeas, or there are other considerations..? thank you
Hi long time listener first time caller! I have an HP z31 they don't have HDR but they have the same color reproduction if not better. I usually run them in the Native color space preset, should i be using DCI P3 D65?
Thank you Cullen, I have few questions, What is the brightness level of the mac Display I have to setup at the start, As I know Rec709 is a 100 nit, so shall I pick my light meter and majr a 100 nit before starting, Second many Mac Display support HDR, is it possible to explain how to make it possible to grade HDR1000 or DolbyVision on a Mac Display.
I have these same questions. What would the XDR display workflow be?
@@BestPlayedLoudLtd Find an app that can calculate nits through the camera. Find the proper brightness setting. Leave it on forever.
Bro question: how can I use cineon film looks when I have resolve color management on ?
Thanks a lot! But I don’t get what are export gamma settings? 2.2 also for mp4 export?
Hi Cullen great video as always ❤
I have a question: Does this LUT work for any reference monitor calibrated to DCI-P3 D65 color space or just for Apple Monitors? Thank you in advance 😊
Surely storing the “display Lut” in the Display lut slot in Resolve preferences. Solves the problem of turning the final Node on and off. At delivery. Or does that output slot only apply to a clean feed output path?
Same question - worth a try to see.
@@TheRealBarkinMaddI leave this here in case someone comes back with test results 😂
Is there a way to make this technique work if I'm using film emulation powergrades?
Is it safe to infer then that I need to calibrate my iMac display *not* as 2.4 but rather *2.2* for a truly realized image-- even if output in DaVinch is gamma 2.4?
If you send a clean signal (via decklink) to your monitor, then your output color space and gamma should coincide (if output color setting is rec 709 2.2, that your monitor should be set and calibrated for rec 709 2.2). On the flipside another approach with a "normal" monitor via hdmi for example (not betting my life on this) is that you calibrate your monitor targeting your monitor native space, in case for newer macs it's P3 D65 , hence leaving to OS color management (colorsync for apple) to do the transformation from your output color space (let's say rec 709 2.2) to P3 D65. In my mind it should be the same if I set the output color space to something different when I EXPORT. But Cullen would probably tell you that the correct workflow would be to change color management AND output color space to your target export, check that everything is ok, then export to that same space and gamma. I really hope my answer is correct, and clear enough. If someone has informed corrections or considerations, please don't restrain yourself!
Answer to myself: No. Just tell Davinci Export that you wish to use a 2.2 gamma profile baked in
This is awesome, I have always been curious because the MacBook Pro 16" has a lot of specific color profiles, and I was curious how good it could get. I have two questions, maybe there is a reason for this, maybe it doesn't work the way I expect...
1. Could you group your clips and then add the Input to the group pre-clip and and Output to the group post-clip? That would mean that your actual clip based node tree would be only focused on actual changes and would make it a little cleaner? i assume these changes are for every clip, so putting them on a different "level" then the clip would be more organized? I might be thinking about this wrong, so not sure if that makes any sense...
2. There is an option in Resolve, in the color management project settings called "Video monitor Look Up Table", I thought, and again, I am a total noob, so maybe it doesn't work with this flow, but I had thought that this would be the LUT you are using for your monitor, similar to the last node you have? I was curious if maybe it automatically doesn't apply it to the render as it marks it as only for visual reference while working? I can just imagine people forgetting to turn it off before rendering sometimes or maybe forgetting to turn it off on one cliip? Your workflow is very specific, so could be that that feature is meant for something different.
sorry, I guess I have one more question, and that is on the MacOS display settings, mine has p3-1600 nits? Is that not useable in this flow? Both that and the P3-500 Nits are listed in the top section so I assume they are both "Native"?
Edit to say thank you for all your content, great video!
Use the default color profile. Don't mess with these options, it doesn't matter. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. And that's it, your good to go. No gamma shift, the image looks exactly the same in DVR and in Quicktime.
Thanks
Does it work the same with the video clean feed ?
What would be the settings to benefit of the entire ColorSync profil of the Apple Display (Gamut P3D65 & Gamma 2.2 with 300 nits) ?
Why not put the lut in Project Setting ➧ Color Management ➧ LUT ➧ Color Viewer LUT, instead ?
Can you calibrate your Apple display with Calman Home and Patterns for Mac?
You are a savior. :)
Was very excited about this video - but feel like it has only confounded my Apple MacBook workflow. I use display BT1886 preset and turn off Mac displays in DVR while working in rec709 Gamma 2.4 color managed project. Exports looks same on OLED; but stills always have a gamma issue with stills/exports when viewed on other apple devices etc not in that 1886 setting.. I am sure Cullen has more illuminating and susinct insights on all this Apple silliness.
Hey Sean! As I mentioned toward the beginning, this video isn't intended to address the gamma shift issue -- we're laying the foundation here, but "Do my exports match what I saw when grading?" is a distinct question from the one we're answering here: "Am I getting an accurate rendering of my image while grading?" More to come!
I have a MPB 16" and I found that if I (in System Preferences) set up a custom Display Preset, set it to Rec.709, D65, BT.1886, and then crucially UNTICK "Apply System Gamma Boost", and then grade into Rec.709 Gamma 2.4 in Resolve, then it translates perfectly between a UA-cam/Vimeo upload and Resolve.
I wish we could move beyond this though and live life with a bit more colour. Most people not on PC or Android can reproduce P3 these days.
this should be the correct workflow, right? Choosing reference mode Rec.709, D65, BT.1886 to be sure that your work is not affected by colorsync etc.
Hey great video, just one question. At 3:15, when selecting a display preset (P3-600nits) you left the "Automatically adjust brightness" option checked. Doesn't that create problems when editing? If yes what would be the "optimum" setting for brightness? (coming from a photo editing world where everything gets edited at 80nits I found this kind of weird).
For some reason the export looks brighter than in resolve.