In general you want to expose correctly at capture and avoid any clipping which will remove any chance of getting details back in those areas. That said, for dark scenes you might not want to crush your shadows too much as it will be hard to get details back there without introducing a lot of noise on the small sensors you find on drones. Best of luck.
@@Resolve_This otherwise in the bright scenes I shouldn’t overexpose too much cuz it gonna be hard get back the highlight part. Did I understand it correctly sir that it depend situation and depend on different lighting.
Really helpful tutorial. Thank you. I’ve been a photographer for 40 years and I am great and Photoshop and Lightroom, but still a complete novice and video editing. This helps a lot to understand the workflow. DaVinchi Resolve is a bit daunting at first…
Sorry, but no. The number of Davinci users is growing at an incredible rate for so many reasons (speed, stability, free etc.) and it's all DaVinci Resolve in this house.
I really like the way you teach this kind of stuff! Btw, I have a Mavic 3 and usually shoot pictures. Recently I tried to shoot some video in d-log preparing myself for an iceland trip but when I edit them I always see noise in the shadows after the conversion (iso 400, the minimum for D-Log). Do you have any raccomandation? is it normal? Do you apply noise reduction (which I don't have since I don't own the full da vinci version) normally? Thanks in advance for the answer. Edoardo from Italy
Thank you very much. ISO 400 is where you get the largest dynamic range for D-LOG, but obviously that will introduce a bit more noise. I always use Noise Reduction on night/low light shots, and the price for the Studio version is well worth it for that feature alone. Davinci's NR is really good. Alternatively you can try to shoot HLG for low light shots. I made a comparison of LOG vs HLG shots at night here: ua-cam.com/video/lEAnsMM21M8/v-deo.html Happy grading!
Great video. Im hoping with crossed fingers to get a dji mini soon so found this very interesting, Back to davinci, in the preferences tab under general it says use 10 bit precision in viewers if available, i use a macbook pro m1 2021, should i have this box ticked. The pace that you do your videos is spot on and the way you teach is so easy to follow. many thanks and all the best
Thank you, much appreciated. Finding the right balance between going in depth and also keep a pace that satisfies most viewers is a tricky thing. The checkbox for 10-bit precision, only appears on macOS installations of DaVinci Resolve. Turning this checkbox on lets DaVinci Resolve display 10-bit images in the Viewer. So for a M1 MacBook Pro leave it ticked. Hope that helps.
Thank you another excellent and very clear tutorial. I am sad that I did not find you before. DJI being the specific space I am trying to work in. Using a Ronin 4D.
Welcome, and thanks for watching. I will continue to make videos focusing on correct colormanagement which is the most important thing to do right before grading, no matter what Log space you're shooting in.
Not sure if it’s still a bug, but last I checked, DJI showed the exposure according to the display LUT, and not the true exposure, which of course is a major flaw. Perhaps try to exposure to the limit of overexposure with the Display Lut on/off and see if that makes a difference?
Liked, Subscribed, and clicked the notification. I’m a Drone Pilot and Premiere Pro user. I’m not satisfied with my final product and am looking for an alternative. Everyone mentioned DaVinci. Keep up the hard work and content creation.
Thanks for the add. I will continue to add videos with Davinci tutorials ranging from beginner level to advanced users. I hope you will enjoy your Davinci journey - it's an amazing app.
@@deanfordcreative Your LUT will most likely take you from Log to Rec.709. If so, you'll benefit from doing your primary grading (exposure, balance, contrast etc) before the LUT where you have more data. Happy grading.
Yes, you can use CST's and a LUT, but you have to place the LUT in the right place in the pipeline. The LUT should have information of what input it expects, and what it outputs. Many LUT's will output rec.709, so you'll most likely do your primary grades before the LUT, and then you don't need to do another output CST if the LUT already takes care of that. Hope that helps.
You could gain from Exposing to the right (ETTR), but you have to take base ISO into account as you could introduce more noise by ETTR. Obviously you should never OVER expose and introduce clipping as those details will be lost forever. So at lower ISO's ETTR while checking that you're not clipping, and at higher ISO's be aware that noise might be an issue. Hope that helps. Happy grading.
Great video! I’m editing a video right now where I’ve shot the B-roll shots on the BMPCC 6K Pro at 6K 50 fps and all the aerials with Mavic 3 Cine in 5.1k 50 fps. I’ve been setting up my project settings for DaVinci YRGB Color Managed with an input color space of DaVinci WG/Intermediate, and a timeline color spaceoutput color space of Rec.709 Gamma 2.4. Then, on all the Mavic shots, I have just been selecting the clip in the Color page and right clicking while hovering over the clip on the viewer and then choosing Input Color Space and setting it to DJI D-Gamut/D-Log. I like how the footage looks without even grading it. My question is: does doing this still allow me to grade the log footage as long as I’m placing the nodes before the single one that shows up in the node tree, similar to the CST that you showed? Is there any advantage to using the CST versus my method of changing the input color space for the clip, or is my way basically doing the same thing?
Great question. Basically, when you work as you do here in a colormanaged workflow Davinci will take care of the workflow pipeline for you and fx. do exposure corrections on the Log part of the footage. The good thing about this workflow is that you can kind of set it and forget it. But, with the CST method that I choose to use most often, you take back that control of where in the pipeline you do your corrections, and with the colormanagement done in nodes, you have a visual presentation of what's happening and more manual control. Absolutely nothing wrong with your way of doing it, you're just leaving it up to DV to take care of the pipeline and it does an excellent job at that. Happy grading.
I’m not familiar with Premiere’s layout or workflow, but all the concepts and probably all the grading workflows and tools should also be available there. Happy grading.
Thank you for all that info! I am not sure about the first node you enter, at 8:44 ff. You call it a "Technical Conversion LUT". But when I add a node and drag the LUT onto it, nothing changes. Do I have to use a specific node?
@@Resolve_This But is it a "regular" node you add there? A serial node? My setup follows yours, so I think I have the same setup as you (but I am in DV 18, which looks a bit different compared to what you use in the video)
This Dlog Profile does give good dynamic range but regardless on how much light you get, the light meter and histogram is all that accurate. Dlog at 400 when the native is 100 from what I hear from DJI, makes it were you need to throw noise reduction in post nearly everytime if you are looking at that super clean footage, even with pro res. Some may not notice especially when thrown compressed footage to youtube and etc. Im about wonder if DLOGM is better for less noise since you can go to native 100. The Natural colors are way saturated and not natural regardless what you do with the white balance. Whats your experience with the best quality without throwing noise reduction in post? Its is DLOG or DLOGM for you. I notice you threw that f stop to hardly any stops, I see most folks float around f4 to f8 and f5.6 as a sweet spot for best sharpness.
I prefer D-Log over D-Log M. Unfortunately DJI's colorscience is wacky. D-log M is NOT the same on a Mavic 2, P4P or Mavic 3. DJI has not released a white paper on D-Log M. It's the Wild West. I know an independent developer who is making a 'correct' technical conversion LUT for the Mavic 3's. I'll post about that when it's ready. Stay tuned. And I agree, the sweet spot for me is f/4.5-5.6 and I always try to stay within that and be very carefull with exposure. Noise is always an issue on these smal sensor, and buying Hasselblad didn't do much good for DJI's colorscience team yet. I see a lot of tint and colors that are not accurate, but fingers crossed that it will improve. Hope the input helped a little bit. Safe landings.
How much to overexpose will definitely depend on the situation, but 1.7-2.0 sounds a bit too much? But in general you'll be able to pull more details in the highlights from exposing to the right, while reducing the noise in the shadows. So I would Expose as far to the right as I could get away with without clipping.
I apologize but I'm new at this. I'm still not quite clear on what I should do prior to applying the conversion LUT. I think the work flow would be to correct exposure, white balance and contrast before applying the LUT. So the LUT doesn't affect these values in any way? It just adjusts colors? Thanks.
When you do a conversion to Rec.709 you basically take your image from a large colorspace and place it in a smaller one. By doing that you obviously loose a lot of data, so that's the reason you'll want to do all your primary corrections (Exposure, Offset, Balance etc) before the conversion where you'll have much better control, and more data to work with giving yourself the best possible starting point. Remember primary corrections could (should?) be 80-90% of your final grade. Hope that makes sense. Happy grading.
Just in the first 5 seconds, the improper exposure and color grading on your own video right in front of your own computer setup... why would that give me any confidence in listening about drone exposure and grading???
I'd love to give it a look my man, but the video I'm watching is so obviously not colored or exposed or corrected, correctly... how can I have any confidence in what I'm hearing@@Resolve_This
![Lp. Сердце Вселенной #30 ДВА В ОДНОМ [Один человек]• Майнкрафт](http://i.ytimg.com/vi/nrXy15orKhY/mqdefault.jpg)
Sir for the expose the dlog should I overexpose a bit like 0.7-1.0
In general you want to expose correctly at capture and avoid any clipping which will remove any chance of getting details back in those areas. That said, for dark scenes you might not want to crush your shadows too much as it will be hard to get details back there without introducing a lot of noise on the small sensors you find on drones. Best of luck.
@@Resolve_This otherwise in the bright scenes I shouldn’t overexpose too much cuz it gonna be hard get back the highlight part. Did I understand it correctly sir that it depend situation and depend on different lighting.
Really helpful tutorial. Thank you. I’ve been a photographer for 40 years and I am great and Photoshop and Lightroom, but still a complete novice and video editing. This helps a lot to understand the workflow.
DaVinchi Resolve is a bit daunting at first…
Boy do I know that feeling!!
Well explained sir!
Glad you liked it.;-)
Do you have a video showing color grading in Premiere?
Sorry, but no.
The number of Davinci users is growing at an incredible rate for so many reasons (speed, stability, free etc.) and it's all DaVinci Resolve in this house.
I really like the way you teach this kind of stuff! Btw, I have a Mavic 3 and usually shoot pictures. Recently I tried to shoot some video in d-log preparing myself for an iceland trip but when I edit them I always see noise in the shadows after the conversion (iso 400, the minimum for D-Log). Do you have any raccomandation? is it normal? Do you apply noise reduction (which I don't have since I don't own the full da vinci version) normally? Thanks in advance for the answer. Edoardo from Italy
Thank you very much.
ISO 400 is where you get the largest dynamic range for D-LOG, but obviously that will introduce a bit more noise. I always use Noise Reduction on night/low light shots, and the price for the Studio version is well worth it for that feature alone. Davinci's NR is really good.
Alternatively you can try to shoot HLG for low light shots. I made a comparison of LOG vs HLG shots at night here: ua-cam.com/video/lEAnsMM21M8/v-deo.html
Happy grading!
Great video. Im hoping with crossed fingers to get a dji mini soon so found this very interesting, Back to davinci, in the preferences tab under general it says use 10 bit precision in viewers if available, i use a macbook pro m1 2021, should i have this box ticked.
The pace that you do your videos is spot on and the way you teach is so easy to follow.
many thanks and all the best
Thank you, much appreciated. Finding the right balance between going in depth and also keep a pace that satisfies most viewers is a tricky thing.
The checkbox for 10-bit precision, only appears on macOS installations of DaVinci Resolve. Turning this checkbox on lets DaVinci Resolve display 10-bit images in the Viewer. So for a M1 MacBook Pro leave it ticked.
Hope that helps.
Thank you another excellent and very clear tutorial. I am sad that I did not find you before. DJI being the specific space I am trying to work in. Using a Ronin 4D.
Welcome, and thanks for watching. I will continue to make videos focusing on correct colormanagement which is the most important thing to do right before grading, no matter what Log space you're shooting in.
I'm having trouble with the right exposure in d-log! Do I always have to keep the color display assist selected by exposing to the right?
Not sure if it’s still a bug, but last I checked, DJI showed the exposure according to the display LUT, and not the true exposure, which of course is a major flaw. Perhaps try to exposure to the limit of overexposure with the Display Lut on/off and see if that makes a difference?
Liked, Subscribed, and clicked the notification. I’m a Drone Pilot and Premiere Pro user. I’m not satisfied with my final product and am looking for an alternative. Everyone mentioned DaVinci. Keep up the hard work and content creation.
Thanks for the add. I will continue to add videos with Davinci tutorials ranging from beginner level to advanced users.
I hope you will enjoy your Davinci journey - it's an amazing app.
@@Resolve_This I shoot DLog then add the LUT. THEN I tonal correct. From what you showed it appears you do that before and youretain more
@@deanfordcreative Your LUT will most likely take you from Log to Rec.709. If so, you'll benefit from doing your primary grading (exposure, balance, contrast etc) before the LUT where you have more data.
Happy grading.
Thank you very much for a great tutorial!.
So glad you like it and I appriciate your feedback. Good to hear.
superb !
Thank you. Glad to hear you liked it.
can i use color space transformation and than behind that a Film LUT? Like this: cst in, color grading, cst out and than the LUT.
Yes, you can use CST's and a LUT, but you have to place the LUT in the right place in the pipeline.
The LUT should have information of what input it expects, and what it outputs. Many LUT's will output rec.709, so you'll most likely do your primary grades before the LUT, and then you don't need to do another output CST if the LUT already takes care of that.
Hope that helps.
Am I supposed to over expose d log like other log profiles?
You could gain from Exposing to the right (ETTR), but you have to take base ISO into account as you could introduce more noise by ETTR. Obviously you should never OVER expose and introduce clipping as those details will be lost forever.
So at lower ISO's ETTR while checking that you're not clipping, and at higher ISO's be aware that noise might be an issue.
Hope that helps. Happy grading.
Very good tutorial.
Thank you very much.
Great video! I’m editing a video right now where I’ve shot the B-roll shots on the BMPCC 6K Pro at 6K 50 fps and all the aerials with Mavic 3 Cine in 5.1k 50 fps. I’ve been setting up my project settings for DaVinci YRGB Color Managed with an input color space of DaVinci WG/Intermediate, and a timeline color spaceoutput color space of Rec.709 Gamma 2.4. Then, on all the Mavic shots, I have just been selecting the clip in the Color page and right clicking while hovering over the clip on the viewer and then choosing Input Color Space and setting it to DJI D-Gamut/D-Log. I like how the footage looks without even grading it.
My question is: does doing this still allow me to grade the log footage as long as I’m placing the nodes before the single one that shows up in the node tree, similar to the CST that you showed? Is there any advantage to using the CST versus my method of changing the input color space for the clip, or is my way basically doing the same thing?
Great question.
Basically, when you work as you do here in a colormanaged workflow Davinci will take care of the workflow pipeline for you and fx. do exposure corrections on the Log part of the footage.
The good thing about this workflow is that you can kind of set it and forget it.
But, with the CST method that I choose to use most often, you take back that control of where in the pipeline you do your corrections, and with the colormanagement done in nodes, you have a visual presentation of what's happening and more manual control.
Absolutely nothing wrong with your way of doing it, you're just leaving it up to DV to take care of the pipeline and it does an excellent job at that.
Happy grading.
how would the grade work in premier layers ?
I’m not familiar with Premiere’s layout or workflow, but all the concepts and probably all the grading workflows and tools should also be available there. Happy grading.
Thank you for all that info! I am not sure about the first node you enter, at 8:44 ff. You call it a "Technical Conversion LUT". But when I add a node and drag the LUT onto it, nothing changes. Do I have to use a specific node?
You're welcome. Are you in a non-colormabaged Project? If it's color managed DV will do the conversion under the hood.
@@Resolve_This But is it a "regular" node you add there? A serial node? My setup follows yours, so I think I have the same setup as you (but I am in DV 18, which looks a bit different compared to what you use in the video)
This Dlog Profile does give good dynamic range but regardless on how much light you get, the light meter and histogram is all that accurate. Dlog at 400 when the native is 100 from what I hear from DJI, makes it were you need to throw noise reduction in post nearly everytime if you are looking at that super clean footage, even with pro res. Some may not notice especially when thrown compressed footage to youtube and etc. Im about wonder if DLOGM is better for less noise since you can go to native 100. The Natural colors are way saturated and not natural regardless what you do with the white balance. Whats your experience with the best quality without throwing noise reduction in post? Its is DLOG or DLOGM for you. I notice you threw that f stop to hardly any stops, I see most folks float around f4 to f8 and f5.6 as a sweet spot for best sharpness.
I prefer D-Log over D-Log M.
Unfortunately DJI's colorscience is wacky. D-log M is NOT the same on a Mavic 2, P4P or Mavic 3. DJI has not released a white paper on D-Log M. It's the Wild West.
I know an independent developer who is making a 'correct' technical conversion LUT for the Mavic 3's. I'll post about that when it's ready. Stay tuned.
And I agree, the sweet spot for me is f/4.5-5.6 and I always try to stay within that and be very carefull with exposure.
Noise is always an issue on these smal sensor, and buying Hasselblad didn't do much good for DJI's colorscience team yet. I see a lot of tint and colors that are not accurate, but fingers crossed that it will improve. Hope the input helped a little bit.
Safe landings.
Thank you buddy
Overexpose to 1.7 or 2? Like for S-log3?
How much to overexpose will definitely depend on the situation, but 1.7-2.0 sounds a bit too much? But in general you'll be able to pull more details in the highlights from exposing to the right, while reducing the noise in the shadows. So I would Expose as far to the right as I could get away with without clipping.
@@Resolve_This thanks, I just know I also go to 1.7 or 2 on S-log3 and it comes out perfect each time. I’ll experiment
I apologize but I'm new at this. I'm still not quite clear on what I should do prior to applying the conversion LUT. I think the work flow would be to correct exposure, white balance and contrast before applying the LUT. So the LUT doesn't affect these values in any way? It just adjusts colors? Thanks.
When you do a conversion to Rec.709 you basically take your image from a large colorspace and place it in a smaller one.
By doing that you obviously loose a lot of data, so that's the reason you'll want to do all your primary corrections (Exposure, Offset, Balance etc) before the conversion where you'll have much better control, and more data to work with giving yourself the best possible starting point. Remember primary corrections could (should?) be 80-90% of your final grade.
Hope that makes sense. Happy grading.
@@Resolve_This thanks very much for the quick reply
Just in the first 5 seconds, the improper exposure and color grading on your own video right in front of your own computer setup... why would that give me any confidence in listening about drone exposure and grading???
Give it a look - other have found it helpful. Have a great day.
I'd love to give it a look my man, but the video I'm watching is so obviously not colored or exposed or corrected, correctly... how can I have any confidence in what I'm hearing@@Resolve_This