yes, many videos that said just shoot in S-Cinetone to save yourself a color grading mess for beginner. But thanks to your video it doesn't seems S-Log3 color grading is too complicated for beginner who just want to color grade the non commercial video footage. Those color grading items are largely similar to those RAW development adjustment in Lightroom and not a rocket science. Good job.
If only I'd found this sooner! I'm a novice videographer who knows very little about color grading. I've spent over a year messing around with the color wheels, curves, etc, without getting results close to this. Thank you so much!! Subscribed!
Hey, I love your content mate, always so inspiring! I just wanted to say that there is another advantage vs using a lut. The CST keeps the image in a float state, so if anything gets cliped during the conversion you can recover the details not only before, but also after the CST. That is not the case with a LUT
I am so glad I found your channel. I just started shooting video on my A7IV and spent hours trying figure out SLOG3, exposure and editing in Davinci…. You gave me the more usable, practical, and applicable information in 5 minutes than the 10+ hours of watching overly complicated , conflicting information that others post. Thank you so much.
try worked with managed color. Your footage starts out great. The look as exposed needs very little work. The color space you used to shoot doesn't come through in the metadata, so I guessed it was S-Gamut3.Cine/S-Log3. So putting I put that in as the clip's input color space. The project is DaVinci YRGB Color Managed custom, with input color space set to Rec. 709 Gamma 2.4, timeline color space is DaVinci WG/intermediate and luminance at SDR 100 nits. The output colorspace is the same Rec. 709 gamma 2.4 but will be tagged 709-A. Starting out the footage looks great.
Yeah, Sony's metadata doesn't come through in Davinci, got to input it manually or have a powergrade ready to drag and drop 🙂 appreciate the compliments!
@@DannyGan It's a big problem for me: shooters who don't send camera (or sound) notes, letting me know what they did. I often have to wrestle with them just to find out what cameras they used. And then never tell me what talent is on which audio track.
You are a great teacher. I have watched a ton of these color correction vids and yours is the most clear. You explain the why behind each setting. Thank you!
I see some work down stream from input cst using davinci wide gamut space and davinci intermediate and make their adjustments between that and the rec709 output cst. Any particual reason for that?
I love your tutorial, thank you! Instant follow :) There a a couple of things I still don't understand. First of all I have an A7C II, shoot in 10 bit S-Log3 and when I apply your CST recipe, the footage doesn't exactly look like the one I see when I review it directly on the camera (with gamma display assist of course). It's darker. Unless I turn the "adaptation" slider to something like 1, then it gets closer. I thought it would be like exact science between the two, but maybe the gamma display assist isn't so accurate? Second question might be silly: I shoot in SLOG3 with this settings: Exposure/Colour > Colour/Tone > Picture Profile and then set the Gamma to S-Log3 and Color to S-Gamut3.Cine. But on another menu, you can find this: Shooting > Image Quality > Log Shooting Setting ; then, select On (Flexible ISO) and Color Gamut set to S-Gamut3.Cine. What's the difference? Thank you for your help!
0:0410:05 how can we get those sliders in DaVinci? . In premiere pro, we can easily keyframe adjustment layer. But in davinci whole video is moving when I keyframe adjustment layer.
Hey thanks for the Video! im pretty new, and im trying to save a few good nodetrees as Powergrades with custom Titles, all named etc for a good structure and fast workflow. Do you als work with custom Powergrades?
Thanks! I have a question about matching Slog3 footage from Sony a6400 and a RGB footage from Canon 600D, if you could give your opinion. So, for the Slog3, I am adding a Color Space Transform node at the end of the graph and do my grading, which looks good. I am setting inputs to Slog3, output to Rec.709 with Gamma 2.4., as a learned in several videos. Cool, got that out of the way. Now, the Canon 600D footage is not a log format, and has the colours baked in, but I need to match it to Sony. I have learned that I can use CST node at the beginning of the graph, now with inputs of RGB and outputs of Slog3 (So, I want to output that RGB footage to look like the Slog3 one), which does indeed make it look very much like LOG. Now, if my logic is right, I could basically add one more node to the end of the 600D graph which would now have the inputs of Slog3 and output of Rec.709, same as for Sony, and I could do my grading in between. Does this make sense? Would this be a good starting point?
So the quick answer is no, its not the same. The colour space transform is meant for converting certain colour spaces only, if you put it into slog3 at the start, and convert back at the edn, it only means that you're WORKING in slog3 color space. It does not magically switch your footage to slog3. Your canon 600D footage is presumably already in rec709, hence you just need to match from there onwards. You don't have to do the cst part. Hope this was clear!
Hi Danny. Thanks for this video very, very instructive. I have one request though. I recently got a Sony Burano and I need to get around a workflow on how to color grade the XOCN LT. Can you make video like the one you did above, but this time for XOCN LT workflow? Thanks in advance.
yes, that was one of the addition I made in my more recent videos. But it's still the same. Timeline: Davinci Wide Gamut Output: Rec.709-A (Mac) / Rec.709 Gamma 2.4 (Windows)
can also share your slog3 camera settings? like detail, saturation, depth and etc. I'm still learning and maybe your setup is what I'm looking for? thanks a lot
Hi Danny, thanks for video! I was just using this video to train myself on davinci resolve. I do computer graphics and don't even have a camera. But the color space and gamma is really important to understand. Thanks again!
I don't know why but when I apply input color space my shots become over saturated and red. It is my first time shooting and editing in log 😢 I think I am doing it correctly. I even tried different color space and gamma to see if I was mistaken, any advice?
@@The_Cptn_Louk correct your white balance first in the camera setting. Then determine the type of your log footage type(slog 2,slog3,hlg) if u are using sony
Which node should the CST be in? Should it be the first node, or the node after primaries/look? If the latter, should you put it in 3, then further adjust the primaries and secondaries?
It's all up to preference, test out which works best for you. I like to work upstream the cst for reasons mentioned in the video. but there are people who will fight me on that. I'm too lazy to take on the fights, so do whatever works for you best. People will only see the outcome, nobody can tell if your cst is upstream or downstream. Cheers!
Great video Danny, thanks! Could you please share your color management settings for your UA-cam workflow? Color Science, Timeline Color Space and Output Color Space
I suggest you to do adjustments after the CST node, and also to turn off tonemapping to avoid clipping footage, adjusting before the CST is no problem if youre working with a single camera with a determined gamma and colorspace, however if you start mixing cameras, even on the same scene, the adjustments wouldnt translate accurately between cameras because Resolve wouldnt know the baseline adjustments for each gamma and colorspace. Keep up the good work!
Yes, this is a problem. But you can add the same camera clip to a group. Then translate the color space to a higher space(for example davinci wide gamut) at group pre-clip by different groups. You can do some adjust at clip. Last translate the color space from higher space to the out space at group post-clip or timeline. Learned from Darren Mostyn.
just watched your clip- instant follow. i am pretty impressed with how comprehensible this channel is. care to produce a video about skin tones specifically (maybe even with a side jab on sony cams cuz i feel they lack a bit of color rendition compared to cams like an alexa or a blackmagic) ?
I find Sony skintones quite good except for a slight tint of magenta, you can counter that by sliding in some green. But feel free to send me any footage you want me to have a go at 🫡
Hi, I get that using “input lut” make you lose information (in project settings / colour management) But why if you’re using “output LUT” it should be the same as your example ? If not there is something I still didn’t understand. Your example of using colour correction before / after “colour space transform” seems biaised to me because you’re applying the same correction to different colour space so obviously you have differences. What do you think ? I’m new to this so might be wrong but I’d like to understand fully. Thanks for your work ❤
Hi Nicolas, I'm don't think I understood your first question. But as to the example before/after CST, yes it's meant to show a difference because I want to show that you have more advantage working in the log color space rather than in rec.709.
Why not just use color managed workflow and set the input color space to s-log3? Isn't that the same thing but without having to explicitly create a cst node?
You can ask in this fb group m.facebook.com/groups/245184039015257/?ref=sharem.facebook.com/groups/245184039015257/?ref%3Dshare&exp=93fa&mibextid=S66gvF
Man you are just amazing. I was scratching my head what is output gamma all these months. So my question is if i want to apply for LUT, do i need to follow same process
No dumb questions here mate~ Make sure you select 'Qualifier' tool on the bottom left of the viewer. Then go to the 3 dots on the top right of your scopes and turn on 'Display Qualifier Focus'
@@DannyGan also which computer for your workflow? I’ve come to find out my 2016 MacBook doesn’t handle anything over 8bit and I’m looking for a new setup.
Dude this is great content, thank you for sharing! One question (I'm only at 4:26 so ignore if you answer later): Why choose Rec.709? Are there other output display color spaces? Just curious! Thank you, subscribed, this is super helpful.
Rec.709 is kind of the most widely used display color space for any screen. You can choose to deliver in other color spaces, like sRGB (web), DCI-P3 (cinema) but then the consumer must view in that particular color space also. Since most devices display in Rec.709, hence it's the go-to delivery format. Hope this helps! Thanks for subscribing 🫡
@@DannyGan My dude! Really appreciate the response. Thanks for sharing your knowledge - already knocking out some really cool clips with the A7IV I just picked up thanks to your tutorials. Content like this really helps other creatives just get rolling, so thank you truly!
This such fantastic demonstration of the Sony camera in the SLOG3 Picture Profile, Danny. The dynamic range is unreal. I am just curious, but why are you converting the SLOG3 to REC.709 on the timeline versus using a Video Monitor LUT? For example, I shoot in HLG3 and need to upload the video in HDR onto UA-cam, therefore the color space needs to stay at Rec.2020. I use a LUT to see my changes better on my SDR monitor. I am struggling to get the colors right in my recent videos. Here are my settings: Input Color Space: Rec.2020 ; Rec.2100 HLG Timeline Color Space: Rec.2020 ; ST2084 1000 nit Output Color Space: Rec.2020 ; ST2084 10000 nit I would really appreciate the help. I think this video demonstrates the colors so well!
First of all, appreciate the compliments 🙏🏻 To be totally honest with you, I have no clue about the HDR workflow. But one thing I know is that you shouldn't be grading for HDR if your monitor doesn't have the nits to support it. For the question of why slog3 to rec709, instead of video minitor lut, I think that's 2 totally different tools meant for different uses. Just from what I understand, the cst conversion if the switch the actual colour space of the video clip, nothing to do with the monitor itself. The monitor should be calibrated and left alone. Outputting in HDR is not something 'normal' so there's a bit more work you have to put in to have the proper equipment and all
@@VeeTravels HDR for youtube is not worth it for most people. Very few people has proper HDR displays that has local dimming to view true HDR content(most HDR monitors are gimmick) For the majority of non HDR viewers, the youtube HDR to SDR conversion is not great, and your video will look worse than a high quality SDR video.
Very good tutorial!!! thanks, man I just discovered your channel, and I'm hooked. Question, for white balance, do you recommend using the temperature tool or balancing the highlight and shadows using the waveform in RGB?? What's the best way to white balance in DR18 :)
Thanks man! A principle I follow is use the most convenient tool for the job. I usually just use the temperature tool. But it is the same as adjusting the Gain wheel, you can try that out. If the Gain wheel gets you to your destination quicker, then that's better. You can also try HDR temp slider, rgb curves, custom DCTL but what I find best for me is still the simple temperature and tint tool.
Hey i have a question. I want to color grade my footage but i have only a nikon z50 wich has no log profile. So i made my own flat picture profile with the programm picture control utility 2 and uploaded it onto my camera. And now i want to convert it into rec 709 for applying luts and stuff like that. Is there a way to "reverse" the settings i made in picture control utility 2 so that i can work with rec 709? I hope you have time to answer Have a great day!
Short answer, no. Like you said, you made the flat profile, I believe its still in a rec709 colour space. There's no official technical conversion for your custom flat profile unless you make one
@@konstantinmuller4081 You can make your own lut in resolve, but eye balling color is not accurate. You can use a color checker patches to color correct your videos, then export a lut file.
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Honestly, this is the best colour grading tutorial. I FINALY UNDERSTOOD HOW TO GRADE IN DAVINC!!!
yes, many videos that said just shoot in S-Cinetone to save yourself a color grading mess for beginner. But thanks to your video it doesn't seems S-Log3 color grading is too complicated for beginner who just want to color grade the non commercial video footage. Those color grading items are largely similar to those RAW development adjustment in Lightroom and not a rocket science. Good job.
If only I'd found this sooner! I'm a novice videographer who knows very little about color grading. I've spent over a year messing around with the color wheels, curves, etc, without getting results close to this. Thank you so much!! Subscribed!
NO PUEDO CREERLOOOOO, LITERALMENTE ME SALVASTE LA VIDA
¡ningún problema!
This is really helpful , could you please mention your project settings on color space your working on the timeline 🫶
this is the most helpful video for shooting SLOG3 and editing in post production. So glad I found your channel. Thank you so much!
Thank you for this I have a long way to go but I'm learning
actually i was watching and at the same time practicing
and my result was incredible.
THANK YOU SO MUCH🙏
Glad to hear!
Could u show us your "Color Management" settings too ?
I really preciated this, priceless for begginers!
I really love your style of teaching please keep making videos they are very helpful
Thanks! Will do 🤙🏼
Best quick tutorial on color grading with Davinci! THANK YOU VERY MUCH! You got yourself a sub man 👌🙌🏼
Thanks! Glad it helped 🙌🏻
OMG so stoked i found this page. Thanks for the super clear and straight to the point explanation.
This definitely will save me time color correcting. Thanks man
Technically it’s colour management, but yes, thanks for watching!
yes that haha@@DannyGan
OMG, thanks for this tutorial. With CST the look ist so much better than those LUTs or "do it yourself" gradings. Just put it in my playlist.
Hey, I love your content mate, always so inspiring!
I just wanted to say that there is another advantage vs using a lut. The CST keeps the image in a float state, so if anything gets cliped during the conversion you can recover the details not only before, but also after the CST. That is not the case with a LUT
yes, unless tone mapping is set to on, clipping may happen with adjustment post cst/
Thank you for teaching and giving the log footages
Hi, thanks fpr this video. Can I have the complete settings of the picture profile for sony A6400? Thank you.
I am so glad I found your channel. I just started shooting video on my A7IV and spent hours trying figure out SLOG3, exposure and editing in Davinci…. You gave me the more usable, practical, and applicable information in 5 minutes than the 10+ hours of watching overly complicated , conflicting information that others post.
Thank you so much.
try worked with managed color. Your footage starts out great. The look as exposed needs very little work. The color space you used to shoot doesn't come through in the metadata, so I guessed it was S-Gamut3.Cine/S-Log3. So putting I put that in as the clip's input color space. The project is DaVinci YRGB Color Managed custom, with input color space set to Rec. 709 Gamma 2.4, timeline color space is DaVinci WG/intermediate and luminance at SDR 100 nits. The output colorspace is the same Rec. 709 gamma 2.4 but will be tagged 709-A. Starting out the footage looks great.
Yeah, Sony's metadata doesn't come through in Davinci, got to input it manually or have a powergrade ready to drag and drop 🙂 appreciate the compliments!
@@DannyGan It's a big problem for me: shooters who don't send camera (or sound) notes, letting me know what they did. I often have to wrestle with them just to find out what cameras they used. And then never tell me what talent is on which audio track.
You are a great teacher. I have watched a ton of these color correction vids and yours is the most clear. You explain the why behind each setting. Thank you!
You are so welcome!
I just color graded using, this video. The results are amazing. You just got a new subscriber. Thank you
I see some work down stream from input cst using davinci wide gamut space and davinci intermediate and make their adjustments between that and the rec709 output cst. Any particual reason for that?
Thank you! This changes my color workflow.
I love your tutorial, thank you! Instant follow :) There a a couple of things I still don't understand.
First of all I have an A7C II, shoot in 10 bit S-Log3 and when I apply your CST recipe, the footage doesn't exactly look like the one I see when I review it directly on the camera (with gamma display assist of course). It's darker. Unless I turn the "adaptation" slider to something like 1, then it gets closer. I thought it would be like exact science between the two, but maybe the gamma display assist isn't so accurate?
Second question might be silly: I shoot in SLOG3 with this settings:
Exposure/Colour > Colour/Tone > Picture Profile and then set the Gamma to S-Log3 and Color to S-Gamut3.Cine.
But on another menu, you can find this:
Shooting > Image Quality > Log Shooting Setting ; then, select On (Flexible ISO) and Color Gamut set to S-Gamut3.Cine.
What's the difference?
Thank you for your help!
Try exposing like this ua-cam.com/video/jbsyuqsrGwc/v-deo.htmlsi=GGlH7vPc8zZrOaE-
hey danny that was very helpful, as i just started with davinci. see you around buddy.
I will be purchasing tomorrow!!!
Dude you went up and showed exactly what I was looking for. Looking forward to learning more from you. Liked and subbed. Greetings from Malaysia too!
0:04 10:05 how can we get those sliders in DaVinci? . In premiere pro, we can easily keyframe adjustment layer. But in davinci whole video is moving when I keyframe adjustment layer.
Color Grade Before & After Wipe Tutorial | DaVinci Resolve Tutorial
ua-cam.com/video/aFCYgJsfaIY/v-deo.html
When applying luts, it is better to put it before rec709 cst? To retain the colour details?
Depends on the LUT itself, what color space is it made for
Many thanks for this medium lesson, I Was search a while, this sipmle Sony S-log3 "FX Color Space" resolve :)
Hello! In the CST, I saw other tutorials saying you should set output gamma to rec709. Are there any pros and cons to rec709 vs gamma 2.4?
I am also interested in the answer to this question
dude you are so detailed. thank u so much for explaining everything because most of the color grading tutorials don't explain in depth! thanks!!!!
Appreciate it 🙌🏻
What are your color project settings for your timeline? Also Slog, or Rec709?
Timeline Color Space: DaVinci Wide Gamut
Output Color Space: Rec.709-A
direct to the point. this tutorial is easy to follow. thank you
Hello
How do I find out what Input Color Space I have to take for my camera?
Sony A74
Thanks for your help.
You can set your camera to S-Log3
Thank you. Great instructional video
Thank you for the good description 👊🤝
Amazing tutorial, thanks Danny Gan!
I wish that I would have seen this video a long time ago! Great work 😬
It really help me to understand the color space and how it works! Thanks man!
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Thanks for sharing your opinion about color grading workflow, it opens my vision of way to work
Glad to help!
Hey thanks for the Video! im pretty new, and im trying to save a few good nodetrees as Powergrades with custom Titles, all named etc for a good structure and fast workflow. Do you als work with custom Powergrades?
Yup. SIMPLE NODE TREE for Any User Level | Visionary Powergrade Template | DaVinci Resolve 18 Tutorial
ua-cam.com/video/sNliaFMPTBI/v-deo.html
Thanks! I have a question about matching Slog3 footage from Sony a6400 and a RGB footage from Canon 600D, if you could give your opinion.
So, for the Slog3, I am adding a Color Space Transform node at the end of the graph and do my grading, which looks good. I am setting inputs to Slog3, output to Rec.709 with Gamma 2.4., as a learned in several videos. Cool, got that out of the way.
Now, the Canon 600D footage is not a log format, and has the colours baked in, but I need to match it to Sony. I have learned that I can use CST node at the beginning of the graph, now with inputs of RGB and outputs of Slog3 (So, I want to output that RGB footage to look like the Slog3 one), which does indeed make it look very much like LOG.
Now, if my logic is right, I could basically add one more node to the end of the 600D graph which would now have the inputs of Slog3 and output of Rec.709, same as for Sony, and I could do my grading in between. Does this make sense? Would this be a good starting point?
So the quick answer is no, its not the same.
The colour space transform is meant for converting certain colour spaces only, if you put it into slog3 at the start, and convert back at the edn, it only means that you're WORKING in slog3 color space. It does not magically switch your footage to slog3.
Your canon 600D footage is presumably already in rec709, hence you just need to match from there onwards. You don't have to do the cst part.
Hope this was clear!
@@DannyGan Great, thanks for the answer!
Thank you so much for this video 🙏🏾
Hi Danny. Thanks for this video very, very instructive. I have one request though. I recently got a Sony Burano and I need to get around a workflow on how to color grade the XOCN LT. Can you make video like the one you did above, but this time for XOCN LT workflow? Thanks in advance.
I haven’t touched any XOCN footage yet, if you don’t mind sharing some with me, I would love to make a video. visionarycolour@gmail.com
What settings do you use for color management in project settings? Wish the video started there
yes, that was one of the addition I made in my more recent videos. But it's still the same.
Timeline: Davinci Wide Gamut
Output: Rec.709-A (Mac) / Rec.709 Gamma 2.4 (Windows)
@@DannyGan wow thanks for the quick reply - subbed!
Hi, This video is so helpful. Thank you for making it. I wanted to know if you knew how to do this in premiere pro?
An amazing tutorial, thank you so much for that ❤
Thank you for this tutorial, Danny! Are you a Malaysian too?
Yes, I am!
Which Input should I use in CST when I shoot with PP off, I can't find anything for that and would be happy for some help :)
if your PP is off, you don't need to colour manage assuming it is in Rec.709
does this apply to 8bit camera like sony zve10?
can also share your slog3 camera settings? like detail, saturation, depth and etc. I'm still learning and maybe your setup is what I'm looking for? thanks a lot
Nicely done Sir.
Hi Danny, thanks for video!
I was just using this video to train myself on davinci resolve. I do computer graphics and don't even have a camera.
But the color space and gamma is really important to understand.
Thanks again!
I don't know why but when I apply input color space my shots become over saturated and red. It is my first time shooting and editing in log 😢 I think I am doing it correctly. I even tried different color space and gamma to see if I was mistaken, any advice?
@@The_Cptn_Louk correct your white balance first in the camera setting. Then determine the type of your log footage type(slog 2,slog3,hlg) if u are using sony
Hello,im using the canon m50 m2,can you make a video haow to color grade the neutral picture profile(totally minus setting, saturation etc)
Super clear and tutorial. Thank you!
For applying the standard LUT presets, which node you are prefer? Before CST or After CST?
Some LUTs work better in a Rec709 colour space (after) but I would recommend you to test it out yourself because I really can't say
Which node should the CST be in? Should it be the first node, or the node after primaries/look? If the latter, should you put it in 3, then further adjust the primaries and secondaries?
It's all up to preference, test out which works best for you. I like to work upstream the cst for reasons mentioned in the video. but there are people who will fight me on that. I'm too lazy to take on the fights, so do whatever works for you best. People will only see the outcome, nobody can tell if your cst is upstream or downstream. Cheers!
And to your question about workflow, yes you should apply cst first then adjust other nodes
Hi, what picture profile does Sony a6000 use? Mind sharing the cst for this particular camera?
You'd have to check your settings, but if I were to bet, it would be slog2/s.gamut3
@@DannyGan my camera settings? Where to check that? Slog2/s.gamut3, I'll try that on. Appreciate your reply!
Great video Danny, thanks! Could you please share your color management settings for your UA-cam workflow? Color Science, Timeline Color Space and Output Color Space
Its pretty much like in this video, except I think I have timeline color space set to DWG as default
Hey mate !
Which timeline color space do you use, please ?
Davinci WG/Intermediate
Thanks !!@@DannyGan
I suggest you to do adjustments after the CST node, and also to turn off tonemapping to avoid clipping footage, adjusting before the CST is no problem if youre working with a single camera with a determined gamma and colorspace, however if you start mixing cameras, even on the same scene, the adjustments wouldnt translate accurately between cameras because Resolve wouldnt know the baseline adjustments for each gamma and colorspace. Keep up the good work!
That's why you work in DWG or Aces
Yes, this is a problem. But you can add the same camera clip to a group. Then translate the color space to a higher space(for example davinci wide gamut) at group pre-clip by different groups. You can do some adjust at clip. Last translate the color space from higher space to the out space at group post-clip or timeline. Learned from Darren Mostyn.
Can i edit,cut slog footage in folmora?and export high quality file for color grading.I want to know this process?
Great info good sir! I love how you used the Zoom H5 as your mic, that's awesome!!
Thanks a lot for Practice footage
Thank you danny its a big help
What do you mean by crushing the shadows around 7:10?
just watched your clip- instant follow. i am pretty impressed with how comprehensible this channel is. care to produce a video about skin tones specifically (maybe even with a side jab on sony cams cuz i feel they lack a bit of color rendition compared to cams like an alexa or a blackmagic) ?
I find Sony skintones quite good except for a slight tint of magenta, you can counter that by sliding in some green. But feel free to send me any footage you want me to have a go at 🫡
This is gold
Very helpful video👌👍
Thanks bro! Very useful
can you change the colour space in camera? my video file properties keep telling me the colour space in REC709 even though I'm shooting in slog3...
Sony Cameras doesn't have the metadata to tell Resolve that it's S-Log3. You'll have to follow the steps in this tutorial.
Hi, I get that using “input lut” make you lose information (in project settings / colour management)
But why if you’re using “output LUT” it should be the same as your example ? If not there is something I still didn’t understand.
Your example of using colour correction before / after “colour space transform” seems biaised to me because you’re applying the same correction to different colour space so obviously you have differences.
What do you think ? I’m new to this so might be wrong but I’d like to understand fully.
Thanks for your work ❤
Hi Nicolas, I'm don't think I understood your first question.
But as to the example before/after CST, yes it's meant to show a difference because I want to show that you have more advantage working in the log color space rather than in rec.709.
Don't the project settings (color management) also need to be setup a certain way before this can work ?
Not really, it works like this by default. But you can further tweak the timeline color space of you choose to.
Why not just use color managed workflow and set the input color space to s-log3? Isn't that the same thing but without having to explicitly create a cst node?
To avoid doing things “under the hood”, you can specify what goes in log color space and what goes to rec709 color space specifically.
what did you usedfor time line ? rec 709 or davinci wide gamat
I have it set to davinci wide gamut by default
do you have like a private chat or something to ask questions on these type of things? i have trouble editing videos. sorta like a beginner.
You can ask in this fb group m.facebook.com/groups/245184039015257/?ref=sharem.facebook.com/groups/245184039015257/?ref%3Dshare&exp=93fa&mibextid=S66gvF
what is ITU709 MATRIX in sony and a sinification ?
Amazing tutorial Danny! Thanks for sharing~
Thanks love 🙂
can you please share the s-log setting
Man you are just amazing. I was scratching my head what is output gamma all these months.
So my question is if i want to apply for LUT, do i need to follow same process
Yup, the LUT will sit where the CST is in the video
hey this might be a really dumb question but how did you use the qualifier to scan the vectorscope? I can't seem to figure it out! thank you
No dumb questions here mate~
Make sure you select 'Qualifier' tool on the bottom left of the viewer. Then go to the 3 dots on the top right of your scopes and turn on 'Display Qualifier Focus'
What is your codec setting on camera and davinci also?
XAVC S 4K in MP4 H264
@@DannyGan also which computer for your workflow? I’ve come to find out my 2016 MacBook doesn’t handle anything over 8bit and I’m looking for a new setup.
M1 macstudio, make sure you're on the studio version of davinci resolve to work with 10bit
Can this work on Sony zv e10
Dude this is great content, thank you for sharing! One question (I'm only at 4:26 so ignore if you answer later): Why choose Rec.709? Are there other output display color spaces? Just curious! Thank you, subscribed, this is super helpful.
Rec.709 is kind of the most widely used display color space for any screen. You can choose to deliver in other color spaces, like sRGB (web), DCI-P3 (cinema) but then the consumer must view in that particular color space also. Since most devices display in Rec.709, hence it's the go-to delivery format. Hope this helps! Thanks for subscribing 🫡
@@DannyGan My dude! Really appreciate the response. Thanks for sharing your knowledge - already knocking out some really cool clips with the A7IV I just picked up thanks to your tutorials. Content like this really helps other creatives just get rolling, so thank you truly!
This such fantastic demonstration of the Sony camera in the SLOG3 Picture Profile, Danny. The dynamic range is unreal. I am just curious, but why are you converting the SLOG3 to REC.709 on the timeline versus using a Video Monitor LUT?
For example, I shoot in HLG3 and need to upload the video in HDR onto UA-cam, therefore the color space needs to stay at Rec.2020. I use a LUT to see my changes better on my SDR monitor.
I am struggling to get the colors right in my recent videos. Here are my settings:
Input Color Space: Rec.2020 ; Rec.2100 HLG
Timeline Color Space: Rec.2020 ; ST2084 1000 nit
Output Color Space: Rec.2020 ; ST2084 10000 nit
I would really appreciate the help. I think this video demonstrates the colors so well!
First of all, appreciate the compliments 🙏🏻 To be totally honest with you, I have no clue about the HDR workflow. But one thing I know is that you shouldn't be grading for HDR if your monitor doesn't have the nits to support it. For the question of why slog3 to rec709, instead of video minitor lut, I think that's 2 totally different tools meant for different uses. Just from what I understand, the cst conversion if the switch the actual colour space of the video clip, nothing to do with the monitor itself. The monitor should be calibrated and left alone. Outputting in HDR is not something 'normal' so there's a bit more work you have to put in to have the proper equipment and all
@@DannyGan OH I thought outputting in HDR is pretty normal now.
@@VeeTravels HDR for youtube is not worth it for most people. Very few people has proper HDR displays that has local dimming to view true HDR content(most HDR monitors are gimmick) For the majority of non HDR viewers, the youtube HDR to SDR conversion is not great, and your video will look worse than a high quality SDR video.
Cool guy, easy tutorial, ty
how to you export my colorer washes away from Mac and I have tried rec709 A but not working
You can find help here
facebook.com/groups/245184039015257/permalink/2130363537163955/?mibextid=W9rl1R
I WAS DOING HELLA SHIT COLOR GRADING hhhahaha thankk you for the easy quick steps
Very good tutorial!!! thanks, man I just discovered your channel, and I'm hooked. Question, for white balance, do you recommend using the temperature tool or balancing the highlight and shadows using the waveform in RGB?? What's the best way to white balance in DR18 :)
Thanks man! A principle I follow is use the most convenient tool for the job. I usually just use the temperature tool. But it is the same as adjusting the Gain wheel, you can try that out. If the Gain wheel gets you to your destination quicker, then that's better. You can also try HDR temp slider, rgb curves, custom DCTL but what I find best for me is still the simple temperature and tint tool.
@@DannyGan Thanks man!!!
Nice & simple
How do you get your scopes to not appear as full screen please?
Exit full screen window in DaVinci then restart the software
beautiful!
the explanation of the upstream workflow to the CST is so good, i am glad i learned this today from your video
Thank you sm❤
BEST. Good vid.
Hey i have a question. I want to color grade my footage but i have only a nikon z50 wich has no log profile. So i made my own flat picture profile with the programm picture control utility 2 and uploaded it onto my camera. And now i want to convert it into rec 709 for applying luts and stuff like that. Is there a way to "reverse" the settings i made in picture control utility 2 so that i can work with rec 709? I hope you have time to answer
Have a great day!
Short answer, no. Like you said, you made the flat profile, I believe its still in a rec709 colour space. There's no official technical conversion for your custom flat profile unless you make one
@@DannyGan and how do i make one?
@@konstantinmuller4081 You can make your own lut in resolve, but eye balling color is not accurate. You can use a color checker patches to color correct your videos, then export a lut file.
Hi why when I uploaded my graded footage to iphone it has different colours?
you might want to calibrate your monitor, or maybe your iphone has 'true tone' turned on