Thanks for the video! I would like to know how to organize color management for a large project with several scenes and different cameras at the timeline, group, post- and pre-group level! many UA-camrs explain everything on the example of one frame. but the project is never one frame. information about the organization of the project is very necessary
Hey Barrett! Absolutely love your informative videos. Was just wondering if you could make a video on using third party LUTs With Resolve Color Management. Thanks!
Great explanation. I would like to see a simple explanation on how this ties into the project settings color management when the video shot is rec 709 GoPro.
Nice videos man. Just followed you. You are a good teacher and I like your explanations, hat’s hard to find on UA-cam is vids about tutorials of simple editing of simple daily life scenes like for example: a forest scene, a street, a room etc. Something that is easy and intuitive for you as a professional but not very clear for beginners of DaVinci. You definitely can make something beautiful with those scenes and without annoying LUTs, just your skill and intuition, vision of tones in certain scenes, why this why that, that would be great to watch .Thanks
I had wondered about this as I dabbled in resolve when I got into using the BMPCC, but never did enough to actually go looking for a QOL solution. Thanks for giving me a few key words and terms to Google if it ever comes up in the future! Especially helpful for me to be able to direct someone else here too. As Henry Ford said, I don't need to know everything about cars, as long as I know who has the answers to my questions.
Hi Barrett, could you make a more in-depth video on the Tone Mapping and Gamut Mapping options? I already know from Cullen Kelly about the OOTFs and what the Mapping is basically doing, but I keep running into issues with neon lights or other very oversaturated light sources when grading. Turning on Saturation Compression alone didn`t help much with it. It was Sony Venice footage. Thanks, all the best from Germany
Most important thing is to set your timeline color space to whatever your working color space is. (So DWG, ACES, Arri LogC, etc ). I use DWG so that's what I default to Then make sure your output settings match your delivery spec/calibrated review device (for most SDR work that will be Rec709 Gamma 2.4)
Great explanation! I personally like to enable Tone Mapping on display-referred images. This way the color management pipeline/roundtrip doesn’t change those images 👍🏾
Mr.barret,i have a question.when grading multiple camera clips,you can add each one of them in to it's own group right?when you do that ,we get post clip and pre clip group.can i use clip tranformation in to davinci wg in pre group and wg to rec.709 in the post group?and so how does that affect on the clip node tree.does work like a sandwich?(pre group-clip-post group)
Hey! Sorry for my slow reply. I always work in 2.4 for SDR work, but that is in studio with controlled lighting. 2.2 can make sense when your working in a brighter environment
One question What does the timelinesettings do. In my theory i can skip IDT. Set the Timeline colorspace to davinci WG/Intermediate and the Output colorapace to rec709. The ODT is set from blackmagicgen5 to rec709 Is this also a correct way If not what are your timeline settings or doesnt it matter if you have the idt and odt? How does the timeline setting affect the management? Thanks in advance🙏🏻 didint get this since years
It's pretty subjective, either can work. I know a colorist who exclusively uses Arri's log as his intermediate space That said, tools and plugins for Resolve often use Davinci Intermediate as their default so it can make sense to adopt it to standardize your workflow and tool compatibility
Hope this channel picks up, you do a great job at explaining things in a concise easy to fallow way.
I appreciate it!
Thanks for the video! I would like to know how to organize color management for a large project with several scenes and different cameras at the timeline, group, post- and pre-group level! many UA-camrs explain everything on the example of one frame. but the project is never one frame. information about the organization of the project is very necessary
Thanks for the suggestion! 👍🏻
Hey Barrett! Absolutely love your informative videos. Was just wondering if you could make a video on using third party LUTs With Resolve Color Management.
Thanks!
Great suggestion! I'll keep this in mind
Great explanation. I would like to see a simple explanation on how this ties into the project settings color management when the video shot is rec 709 GoPro.
Thanks for letting me know 👍🏻
Nice videos man. Just followed you. You are a good teacher and I like your explanations, hat’s hard to find on UA-cam is vids about tutorials of simple editing of simple daily life scenes like for example: a forest scene, a street, a room etc. Something that is easy and intuitive for you as a professional but not very clear for beginners of DaVinci. You definitely can make something beautiful with those scenes and without annoying LUTs, just your skill and intuition, vision of tones in certain scenes, why this why that, that would be great to watch .Thanks
Appreciate it! I'll keep that in mind 👍🏻
Great!!! Thank you!!
I had wondered about this as I dabbled in resolve when I got into using the BMPCC, but never did enough to actually go looking for a QOL solution. Thanks for giving me a few key words and terms to Google if it ever comes up in the future! Especially helpful for me to be able to direct someone else here too.
As Henry Ford said, I don't need to know everything about cars, as long as I know who has the answers to my questions.
Glad I could help!
Hi Barrett, could you make a more in-depth video on the Tone Mapping and Gamut Mapping options?
I already know from Cullen Kelly about the OOTFs and what the Mapping is basically doing, but I keep running into issues with neon lights or other very oversaturated light sources when grading. Turning on Saturation Compression alone didn`t help much with it. It was Sony Venice footage.
Thanks, all the best from Germany
I'll keep this in mind for future content 👍🏻 You're right that sometimes gamut mapping at the end doesn't fix the issue
Thank you for this informative video. What would your project setting be when doing the color management on a node based structure?
Most important thing is to set your timeline color space to whatever your working color space is. (So DWG, ACES, Arri LogC, etc ). I use DWG so that's what I default to
Then make sure your output settings match your delivery spec/calibrated review device (for most SDR work that will be Rec709 Gamma 2.4)
Great explanation! I personally like to enable Tone Mapping on display-referred images. This way the color management pipeline/roundtrip doesn’t change those images 👍🏾
That can be a great call 👍🏻
Mr.barret,i have a question.when grading multiple camera clips,you can add each one of them in to it's own group right?when you do that ,we get post clip and pre clip group.can i use clip tranformation in to davinci wg in pre group and wg to rec.709 in the post group?and so how does that affect on the clip node tree.does work like a sandwich?(pre group-clip-post group)
Pre clip groups can work great! I know this is popular on documentaries with a lot of mixed camera types
Hey thanks for the video. I am wondering what gamma i should use for youtube and social media: 2.2 or 2.4?
Hey! Sorry for my slow reply. I always work in 2.4 for SDR work, but that is in studio with controlled lighting. 2.2 can make sense when your working in a brighter environment
One question
What does the timelinesettings do. In my theory i can skip IDT. Set the Timeline colorspace to davinci WG/Intermediate and the Output colorapace to rec709.
The ODT is set from blackmagicgen5 to rec709
Is this also a correct way
If not what are your timeline settings or doesnt it matter if you have the idt and odt?
How does the timeline setting affect the management?
Thanks in advance🙏🏻 didint get this since years
Hey! The timeline color space setting affects color space aware tools and default color tagging
Why not transform everything to arri log c? What is the benefit of transforming it Davinci Wide Gamut?
It's pretty subjective, either can work. I know a colorist who exclusively uses Arri's log as his intermediate space
That said, tools and plugins for Resolve often use Davinci Intermediate as their default so it can make sense to adopt it to standardize your workflow and tool compatibility