I applied this colour management workflow to my last project, and it got me much closer to the cinematic look I'm chasing. BTW you became my DVR go-to guru. I realised you can't listen to too many ppl when it comes to colour grading. And you're definitely an extremely reliable source of colour magic wisdom
I'm confused, at 4.51min you set Timeline Color Space : Rec.2020 and Output Color Space BlackMagic Design 4.6k Video Gen 3. // Is that what we need to do or did you just make that up? Cause you say "you can chose anything" How do we set it up then?
Because here the point is the DaVinci YRGG. If you set that Color Science, you can choose any timeline color or output space, does not matter. Because, you will colorgrade in a NODE level! So. If you want to colorgrade like after 4:51. With nodes, you choose DaVinci YRGB. So in this video he is teaching us to colorgrade on a node level. Since this video i understand a lot, and colorgrade with nodes only. H.265 10 bit, (Rec 2100) @@hypelightsband
i don't think this video is theoretically accurate. davinci works in 32-bit floating precision no matter what color space you are working in. you don't gain dynamic range by adding a color space transform node. color space transforms are injective functions, which means they are invertible. this means no information is "lost" regardless of what transform you add. it will change the amount you have to touch each wheel to make a certain difference, and which wheels you have to touch. but no matter what color space transforms you add, it is always possible to achieve the exact same look, but the path there and the nodes to use are just different. when you copy paste the S-curve from the beginner node to the pro node, you cannot expect the results to be the same. the S-curve would have to be drawn differently since you have applied different transforms. you cannot say that "detail is protected" in the pro version, it's simply because the S-curve shape is not correct and equivalent in the beginner version. while the workflow you present here may make the grading processes easier, or closer to what something you are used to, it does not theoretically make sense. anyway thanks for great videos. i have learned so much from you
hi qazi, very good video, thank you for the precious tricks. My question is this: would have been the same if i changed my timeline color space in DWG instead of using 2 CST in the pipeline?
Thank you and I feel like you’re the first person to actually show the difference. But why do it at the node level instead of the color management project settings?
Dude, you are just a god!! I have been learning a lot with you… Your guides are insanely complete but straight at the same time. You rock so hard!! When I raise my incoming editing career, definitely gonna buy your course!!
u dont know how much desperations i experienced, as a beginner in da vinci resolve world! all before i found ur channel man! thanks soooo much! u are the best guru for me so far! cheers from Bali!
Is there a difference in grading capability and color bottlenecking when doing “Davinci Color Managed->HDR Danvici Wide Gamut Intermediate -> Rec.709 Gamma 2.4” VS. doing it at the node level by adding a Color Space Transform Node? I know you used to show the first method, but I’ve noticed you switched now to CST. Thank you for the clarification and the help! 👍🏽
With CST you have the control and choice as to where to place nodes in relation to the transform node. e.g. you can place Noise Reduction before the first CST node and you could add grain after the second CST node. With Davinci color managed you get no say in that.
@@JJ_Khailha that’s cool that you can do that , but the final product, is it any different? With davinci color managment if you do for example NR of the first node and on the last node you add the grain ?
It's clear that you need to get the point across, but you shouldn't apply the same curve adjustment made in DWG to the REC 709 node. obviously that it wont work. because of mapping issues. you can get the same result with rec709 color space buy making a custom curve adjustment. That example is a bit tricky in my opinion. but, the color management info in this video is good stuff.
Hey Qazi ! Great video as always, it helped me achieve a better look in my recent project. Just a simple remark, your autofocus seems to struggle on your face shot and it can be distracting with time
Great video Qasi! Help me make the connection between this video and your previous video on export settings for mac, where you talk about using rec709-A. Should that go on my output CST node or apply that setting the to project color management? Also, are you advising to use the method of CST nodes over global project color management settings? Many Thanks
That was brilliant the way you explain why to used the CST in that way. Ive seen videos of this method but they never say why. Thanks so much and you are great teacher🙏🏽
Great video. But what if I'm working with Blackmagic Raw? Normally, for my basic color grading, I go to the Color tab, choose Camera Raw, select Use Project Settings, and apply the LUT. After that, I usually proceed with the more elaborate grading. Or is there a better workflow for Blackmagic RAW?
I love your videos, Very helpful! I am wondering if you can make a video or maybe even direct me to another video on how to export HDR footage from Davinci Resolve with either Dolby vision or HDR10+ that is supported for youtube. Personally I am grading on the newest Macbook pro.
Here is my understanding, You ideally want the FINAL CST to be at the end of the global (timeline level) or local (clip level) node tree. At the clip level, you can do INTERMEDIATE or FINAL CSTs on individual and or small groups of clips. You can grade LOG, REC709, ProRes, Canon, RED… all together on the same timeline because you can apply a clip-specific CST and locally shot match each category of clips until they all share the same global look. The clip level is where you will want to work surgically on INITIAL and INTERMEDIATE grades while the timeline level is ideally where you will want to polish your look by making your FINAL/FINISHING grade.
I am working with footage shot years ago on tape (Camera: Sharp Viewcam Hi8) and I have no idea as to the best process of colour management, other than to hit the 'auto' button. Suggestions please.
@4:47 these settings don't mean anything? Im not sure if this still applies in DV 18.6. I've followed your settings but changing the timeline color space and output color space affect the output a lot. im trying to setup a correct workflow for Panasonic Vlog-l to rec2020 2084 for HDR on LGC2 --using studio and the decklink mini 4k.
Qazi, why don't you talk about the tone mapping on the CST nodes? I've always understood to not use tone mapping on the first CST node, nor have any of the boxes checked, especially not white point. The CST node that moves out of the DWG should use the DaVinci tone mapping. I've never fully understood why but that is how this node structure was originally demonstrated to me. Perhaps you can go more in detail on tone mapping and what each of those settings in the CST actually do to the image?
Shouldn't the Color Space settings auto apply them without the need for nodes? I only shoot in Dlog-M. So annoying having to apply the same grade to everything manually
Levels are a “bit” high yes… I’ve found with sounds that are random and out of nowhere should have some eq on them or just find a lower level that works… I’m watching it on my surround sound now, and it’s not so bad, just a little bit loud… on my phone and tablet just certain sfx were too loud…. They must be new sfx? I like them… If you watch others who use sfx they almost make the sound fx subconscious and barely noticed but I like them a bit louder than most people for my own… it’s just preference too, I would keep it for this video and switch up how you do it in the future. Love the video tho qaz! Keep ‘em comin! @@theqazman
Yeah the music and sfx were a bit loud in this one. Resolve 18.6 actually added an audio normalization setting in the Deliver tab. Check the box, select UA-cam, profit.
Thank you for your tutorials. It is so appreciated! If I want to apply a LUT. Where should I position it? After the last CST? Before the last CST? Do I need to change the CST settings? THANKS
i'm shooting in slog2 and following the CST instructions in this video (such a good explanation btw), but the output video seems to be a little bit flatter/desaturated than what i am seeing in resolve, going crazy trying to figure out why. not sure if it's something to do w/ my display (macbook pro 14) or some setting i have wrong in resolve.
I'm really confused as when I started watching your videos you used Cineon Film Log film emulation, now the CST is nothing like to what I learned in the past... Can you please explain why is the CST changing?
so doing the two colour pace transforms at the start of the node tree and one at the end, all the primaries, grain and all that good stuff in the middle right?
I have a problem / potential bug with the highlighting tool (shift + h) in the color tab. Almost every time I use for lets say qualifiers or checking how an effect (sharpening or denoising) affects my image my entire preview of my node tree is off. It only previews the changes up to that node and not the entire node tree. If you have a lut or cst in your last nodes it becomes very frustrating because they aren’t display in the previous nodes.
Can the same thing be done using the custom settings under color management or are nodes the only way? Thanks for your hard work. Your videos have made a huge difference to my work!
This doesn't work on me. I followed every step exactly the same, my image and scopes stay UNCHANGED. They are exactly the same. Slog3- Scine3. My footage is from A7S3. I guess it just doesn't for me.
Hi Quasi, I have learned so much from your videos. Anyway, I don't understand why you keep sticking with the old-fashioned clip-/node-based color management with CSTs. What speak against, asking DR to translate into DWG or anything else to work in, and specify the deliver format at projects setting levels? Or did I just overlook something?
I recently got the dji pocket 3. the 708 lut for dlog m give me bad skin tone. I wonder if you can have a video on how to color grade dlog M. lot of pocket 3 user out there, so it should be a popular videos :)
Hi guys! I have just started creating my video content. I screen recorded my PS5 gameplay in 3840 x 2160 (24 fps) and made a music video clip for UA-cam to test how it will look. H.265 and H.264 export from DaVinci Resolve Studio with 80000 kb/s bit rate did not work for me; my video lost a lot of quality after uploading on UA-cam. I tried different options to keep quality of the video as close to the original as possible, so I finally used QuickTime DNxHR HQX 12-bit which was optimal between quality and the file size. But what I cannot understand is why my video, once uploaded on UA-cam, looks quite alright at 2160p and really awful at 1080p on my Laptop (on my iPhone 14 Pro Max both look good). I thought, maybe it is typical for 4k videos to look bad at 1080p because of compression, but when I had a look at other channels, I could see that it is not completely true. Could you please explain or give me some tips on how to choose the best raw video resolution and exporting options in my case?
@theqazman My video looks great but if I look at the clips section (underneath main display) my blacks are crushed and way to much contrast. Also have the same result after export. PLEASE HELP
Hi, I follow many of your videos and I wanted to ask you some questions: shouldn't a colorist have a kind of node structure that is more or less almost always the same? Because it seems to me that your approaches in every video you make are always different. I understand that it always depends on what needs to be done, that's obvious, but I also believe that a structure, a working method, should still have a certain consistency for a good 80% of the time in every work approach. I'm asking to better understand, not to be argumentative.
I have been creating content for over 5 years. As a pro colorist I constantly improve and my approach changes with it. Professionally, I use the same node tree on most of my jobs but on UA-cam I am always showing different ways to grade. Different people relate with different approaches.
Early bird! Thanks for the info Qazi! Constantly upping up the game! My mission is to build a solid portfolio in the next year, so killer hoping to be able to work for you as assistant!
Hi. Did your ColorGrading Masterclass and watch your videos regularly, great! I can recommend it to everyone :) I have a question: If I follow this pattern, I have heavy bandings (lights in the background, spotlights at a party, for example) no matter what tone mapping settings I make (Clip, Simple, Luminance Mapping etc.). I assume he can't handle the large color display in the DWG to Rec709 area and it causes banding, clipping... For example in your video, look at the lower area of the tree (blue shadow) this breaks drastically for me. Maybe you have some help with that. (work in Panasonic V-LOG)
So what is the best setup? I feel this video is similar to the lessons in your masterclass that I purchased, a lot of talk but not directly to the point.
I just don't understand the final part of the flow, which is rendering and then displaying on mac, windows, and Android devices. What good is my fancy pro grade if the user device ruins it? I'm not making films, I'm making social content.
I usually work in ACEScct. Would you reccomend setting your gamut input and output in the color management tab or going manually into your nodes and doing your grading via a similar method to this one?
The big thing with using the timeline color settings is that your tools all work in that color space by default (color space aware). If you leave the project/timeline at Davinci YRGB and then use CSTs/ACES Transforms, you'll need to right click on every node in the middle and set it manually to ACES color space and gamma, otherwise they'll assume it's your timeline color space, so if that's Rec709 or DWG that will be wrong. So i really prefer using the timeline color settings for ACES stuff, and I usually do full color managed workflow, with IDTs per clip. But if you want to do the full manual node based approach and use ACES, you can still use DYRGB (non-color managed) and then set the timeline color/gamma to your ACES specs. The only difference is that you have to manually set up an input transform and output transform using nodes--with color managed, you right click the Clip on the color page and select your Input Transform (IDT), all your nodes are in ACES, and you don't need an output transform node bc Davinci handles it for you.
I haber one question, time ago I saw a video that a guy put timeline 10bits for color grading stuff but the camera récord in 8bits... there is something I miss or that guy is wrong?
Hi, thanks for this video! One question: Why do you convert into DWG before you make any changes instead of just leaving the video in original color space and do all your changes before converting to the display referred color space?
I have question about monitor for grading.Few years ago you have spoken that your monitor for grading was lg ul650 for years.Now I see that ProArt monitor became popular, it has certification that say "This thing is for proffessionals", but i looked tech specs and i don`t see any difference between ProArt and my lg(ProArt has lg matrix and costs more ).What do you think about this ?
dont know why but just curious, that when i joined the Webinar ( 2 in thurdays 12/1) that i can not cmt any thing in Q&A section, i remember that you said that i can got the resouces and material in the webinar but i did not see anything.
I applied this colour management workflow to my last project, and it got me much closer to the cinematic look I'm chasing.
BTW you became my DVR go-to guru. I realised you can't listen to too many ppl when it comes to colour grading. And you're definitely an extremely reliable source of colour magic wisdom
My man. Happy to help.
Same. If i have to know anything about Davinci color, just type it in the search bar and at the end Waqas Qazi and problem solved! :D
I'm confused, at 4.51min you set Timeline Color Space : Rec.2020 and Output Color Space BlackMagic Design 4.6k Video Gen 3. // Is that what we need to do or did you just make that up? Cause you say "you can chose anything" How do we set it up then?
Because here the point is the DaVinci YRGG. If you set that Color Science, you can choose any timeline color or output space, does not matter. Because, you will colorgrade in a NODE level! So. If you want to colorgrade like after 4:51. With nodes, you choose DaVinci YRGB.
So in this video he is teaching us to colorgrade on a node level. Since this video i understand a lot, and colorgrade with nodes only. H.265 10 bit, (Rec 2100)
@@hypelightsband
You should absolutely be listening to as many different professional colorists as you can
This could not be explained in a better form... Just Perfect!... Thank you so much!
Appreciate, the love.
i don't think this video is theoretically accurate. davinci works in 32-bit floating precision no matter what color space you are working in. you don't gain dynamic range by adding a color space transform node. color space transforms are injective functions, which means they are invertible. this means no information is "lost" regardless of what transform you add. it will change the amount you have to touch each wheel to make a certain difference, and which wheels you have to touch. but no matter what color space transforms you add, it is always possible to achieve the exact same look, but the path there and the nodes to use are just different.
when you copy paste the S-curve from the beginner node to the pro node, you cannot expect the results to be the same. the S-curve would have to be drawn differently since you have applied different transforms. you cannot say that "detail is protected" in the pro version, it's simply because the S-curve shape is not correct and equivalent in the beginner version.
while the workflow you present here may make the grading processes easier, or closer to what something you are used to, it does not theoretically make sense.
anyway thanks for great videos. i have learned so much from you
I've heard of people saying work in the bigger color spaces, but no one showed concrete examples of why. W Qazi 👑
Let's go! 🔥
Bro, we are lucky to have you. Really glad I found this channel.
hi qazi, very good video, thank you for the precious tricks. My question is this: would have been the same if i changed my timeline color space in DWG instead of using 2 CST in the pipeline?
Thank you and I feel like you’re the first person to actually show the difference. But why do it at the node level instead of the color management project settings?
You're welcome. More granular control.
What about you copy the changes node before the color transformation in the beginner version?
i also thinking the same.. the result must be different..
Insanely valuable information in an easy-to-understand format. As a beginner, I thank you a thousand times 😇
Dude, you are just a god!! I have been learning a lot with you… Your guides are insanely complete but straight at the same time. You rock so hard!! When I raise my incoming editing career, definitely gonna buy your course!!
Let's go, brother! Appreciate the love and looking forward to seeing you in FCM.
u dont know how much desperations i experienced, as a beginner in da vinci resolve world!
all before i found ur channel man!
thanks soooo much!
u are the best guru for me so far!
cheers from Bali!
Thanks!
Thank you so much bro!!!! Appreciate you. ♥️✊🏽
I like your new do. It looks color managed. Jokes aside, I appreciate your instruction! Thanks for sharing your experience.
Is there a difference in grading capability and color bottlenecking when doing “Davinci Color Managed->HDR Danvici Wide Gamut Intermediate -> Rec.709 Gamma 2.4” VS. doing it at the node level by adding a Color Space Transform Node?
I know you used to show the first method, but I’ve noticed you switched now to CST.
Thank you for the clarification and the help! 👍🏽
I have the same question 🙋♂️
With CST you have the control and choice as to where to place nodes in relation to the transform node. e.g. you can place Noise Reduction before the first CST node and you could add grain after the second CST node. With Davinci color managed you get no say in that.
Same question, please help @theqazman
@@JJ_Khailha that’s cool that you can do that , but the final product, is it any different? With davinci color managment if you do for example NR of the first node and on the last node you add the grain ?
@@ts76751 Yes, it will be different. Noise Reduction and Grain work differently in different "color spaces".
This is everything I needed to know right now. Thanks
Finally good mic set up! Thanks
It's clear that you need to get the point across, but you shouldn't apply the same curve adjustment made in DWG to the REC 709 node. obviously that it wont work. because of mapping issues. you can get the same result with rec709 color space buy making a custom curve adjustment.
That example is a bit tricky in my opinion.
but, the color management info in this video is good stuff.
Hey Qazi ! Great video as always, it helped me achieve a better look in my recent project.
Just a simple remark, your autofocus seems to struggle on your face shot and it can be distracting with time
Will you ever make a Tutorial on grading from a Phantom LUT?
My question as well!
I finally understand the cst stuff now! Great vid man
Happy to help, brother.
Really enjoying your videos, thanks Qazi !!
Watched your video and I already love the way you break things down. I signed up for your masterclass and can't wait to learn from you. Thanks!!
Let's go!!! Welcome to FCM, brother. Happy to have you.
Excellent explanation! BRAVO!! Tou are the one!!!
Thank you.
best explanation so far.. thank you!
It would he good to know your export settings. Gamma 2.4 never seems to work for me without gamma shift. Always has to be rec 709 A
Thank you
Great video Qasi! Help me make the connection between this video and your previous video on export settings for mac, where you talk about using rec709-A. Should that go on my output CST node or apply that setting the to project color management?
Also, are you advising to use the method of CST nodes over global project color management settings?
Many Thanks
The god of colorgrading
That was brilliant the way you explain why to used the CST in that way. Ive seen videos of this method but they never say why. Thanks so much and you are great teacher🙏🏽
Appreciate the love.
I would really try to sign up for the course but even this video was super hard to understand.
Great video. But what if I'm working with Blackmagic Raw? Normally, for my basic color grading, I go to the Color tab, choose Camera Raw, select Use Project Settings, and apply the LUT. After that, I usually proceed with the more elaborate grading. Or is there a better workflow for Blackmagic RAW?
Good question!!
I love your videos, Very helpful!
I am wondering if you can make a video or maybe even direct me to another video on how to export HDR footage from Davinci Resolve with either Dolby vision or HDR10+ that is supported for youtube. Personally I am grading on the newest Macbook pro.
I have a full free workshop on that. Dm me on IG.
Hey, so if I had a color checker where in the chain would I put that?! Right before or after the 709 CST?
This connected so many dots for me... Awesome.
Your explanations are always so clear. Bravo. Question: Can we use CST at the timeline level or should we always do CST on each clip?
Here is my understanding,
You ideally want the FINAL CST to be at the end of the global (timeline level) or local (clip level) node tree.
At the clip level, you can do INTERMEDIATE or FINAL CSTs on individual and or small groups of clips. You can grade LOG, REC709, ProRes, Canon, RED… all together on the same timeline because you can apply a clip-specific CST and locally shot match each category of clips until they all share the same global look.
The clip level is where you will want to work surgically on INITIAL and INTERMEDIATE grades while the timeline level is ideally where you will want to polish your look by making your FINAL/FINISHING grade.
Bro this is amazing!!! Would love to see you grade some car footage 🤩 I will send you some Fuji Log footage if you want to play with it haha 😂 🙏🙏🙏
I am working with footage shot years ago on tape (Camera: Sharp Viewcam Hi8) and I have no idea as to the best process of colour management, other than to hit the 'auto' button. Suggestions please.
Great video, now i understand the difference!
What will be my Resolve project setting parameters if I go with the Pro's approach??
You’re an absolute genius bro. ❤️
Means a lot coming from you, brother. Thank you.
@4:47 these settings don't mean anything? Im not sure if this still applies in DV 18.6. I've followed your settings but changing the timeline color space and output color space affect the output a lot. im trying to setup a correct workflow for Panasonic Vlog-l to rec2020 2084 for HDR on LGC2 --using studio and the decklink mini 4k.
True master at work! Amazing!👏👏
😀🙏🏽
Another great vid as always!
Qazi, why don't you talk about the tone mapping on the CST nodes?
I've always understood to not use tone mapping on the first CST node, nor have any of the boxes checked, especially not white point. The CST node that moves out of the DWG should use the DaVinci tone mapping.
I've never fully understood why but that is how this node structure was originally demonstrated to me.
Perhaps you can go more in detail on tone mapping and what each of those settings in the CST actually do to the image?
If you shoot on H264 or H265 in Sony the color information and all the metadata will appear in the Sony Catalyst Browser! Thanks for this video.
This helped maaaaassively thank you so much
Shouldn't the Color Space settings auto apply them without the need for nodes? I only shoot in Dlog-M. So annoying having to apply the same grade to everything manually
Hey! Why choose P3-D65 when changing color grade to HDR instead of rec.2020?
Interesting new edit, but the sounds are a bit to erupt n loud…. FYI…. Everything else is good pure gold jerry
Sfx are too loud?
The voice sounds too processed, like the effect you get from using noise removal tool @@theqazman
Levels are a “bit” high yes… I’ve found with sounds that are random and out of nowhere should have some eq on them or just find a lower level that works… I’m watching it on my surround sound now, and it’s not so bad, just a little bit loud… on my phone and tablet just certain sfx were too loud….
They must be new sfx? I like them…
If you watch others who use sfx they almost make the sound fx subconscious and barely noticed but I like them a bit louder than most people for my own… it’s just preference too, I would keep it for this video and switch up how you do it in the future. Love the video tho qaz! Keep ‘em comin! @@theqazman
@@theqazmanyep, too loud for me too
Yeah the music and sfx were a bit loud in this one. Resolve 18.6 actually added an audio normalization setting in the Deliver tab. Check the box, select UA-cam, profit.
Amazing video! Does this process change at all depending on the Codec of the footage or no?
Ty bro. Not really.
@@theqazman Fire thx! Would you have changed any Davinci settings / this process had you shot non-RAW or still nah?
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Join before the offer ends. I will see you in the course. 😀
Amazingly explained! Thanks a lot
You're welcome.
Can you also do it without any log?
For video using red and canon What do u recommend to calibrate for apple studio 5k monitor and newer MacBook Pro :datacolor or calibrite?
The autofocus is tripping out, why not use manual focus when you're sitting in a fixed position?
Ik it's fixed for future vids.
@@theqazman thank you :) great video though! Love your work
Can you make a video on HDR workflow in Davinci?
Thank you for your tutorials. It is so appreciated! If I want to apply a LUT. Where should I position it? After the last CST? Before the last CST? Do I need to change the CST settings? THANKS
i'm shooting in slog2 and following the CST instructions in this video (such a good explanation btw), but the output video seems to be a little bit flatter/desaturated than what i am seeing in resolve, going crazy trying to figure out why. not sure if it's something to do w/ my display (macbook pro 14) or some setting i have wrong in resolve.
Did you find the answer? I'm experiencing the same issue
yeah i did i followed these instructions, using a mac: ua-cam.com/video/f9a_jRWN7XU/v-deo.html&pp=gAQBiAQB@@arjenpoort
after watching 263 tutorials i think i got it! 😅
BUT do you then make your grading inbetween those 2 cst nodes?? always?
I'm really confused as when I started watching your videos you used Cineon Film Log film emulation, now the CST is nothing like to what I learned in the past... Can you please explain why is the CST changing?
so doing the two colour pace transforms at the start of the node tree and one at the end, all the primaries, grain and all that good stuff in the middle right?
Did you ever figure out your answer?!
Thanks Qazman! ❤
Can you make tutorial color grading for dji pocket 3? Thanks
Great as always! Thank you!
You're welcome
Qaz man! Are u gonna do colorgrade tutorial for the new avatar last airbender. Dark scenes? ! Much love😊
I have a problem / potential bug with the highlighting tool (shift + h) in the color tab. Almost every time I use for lets say qualifiers or checking how an effect (sharpening or denoising) affects my image my entire preview of my node tree is off. It only previews the changes up to that node and not the entire node tree. If you have a lut or cst in your last nodes it becomes very frustrating because they aren’t display in the previous nodes.
Can the same thing be done using the custom settings under color management or are nodes the only way? Thanks for your hard work. Your videos have made a huge difference to my work!
So the last node goes at the end/ after creating a Look ? or does it go towards the end ?
Love you from DR CONGO 🇨🇩
This doesn't work on me. I followed every step exactly the same, my image and scopes stay UNCHANGED. They are exactly the same. Slog3- Scine3. My footage is from A7S3. I guess it just doesn't for me.
Can you talk about ACES workflow? And is it different from dwg/davinci intermediate workflow?
Hi Quasi, I have learned so much from your videos. Anyway, I don't understand why you keep sticking with the old-fashioned clip-/node-based color management with CSTs.
What speak against, asking DR to translate into DWG or anything else to work in, and specify the deliver format at projects setting levels?
Or did I just overlook something?
I'll do another video on that.
u r always awesome...Thanks for the footage♥
I recently got the dji pocket 3. the 708 lut for dlog m give me bad skin tone. I wonder if you can have a video on how to color grade dlog M. lot of pocket 3 user out there, so it should be a popular videos :)
I got exactly the opposite results. I have no glue what's going wrong
please what would my input color space and input gama be if i was using a blackmagic 4k or ursa 4.6k?????
thank you ! I guess I'm gonna be doing it this way :)
😀
I have a doubt. If I using the screen of my macbook, in the pro cst, the output is rec 709, but the output gamma should be rec 709-A?
Great Video. So the same should be done for each clip? Or it is possible to apply last color transformation node for all clips?
but how can i do that with just conversion luts? please qazi help me
WOW!!! It's amazing... Can i use this method on my ZV-E10 while I'm shooting in HLG3?
can anyone explain to me how he switches between two different grades when comparing the beginner and pro versions 8:11
Is FCM suitable for Chinese students or is there a Chinese version available
Hi guys!
I have just started creating my video content. I screen recorded my PS5 gameplay in 3840 x 2160 (24 fps) and made a music video clip for UA-cam to test how it will look.
H.265 and H.264 export from DaVinci Resolve Studio with 80000 kb/s bit rate did not work for me; my video lost a lot of quality after uploading on UA-cam.
I tried different options to keep quality of the video as close to the original as possible, so I finally used QuickTime DNxHR HQX 12-bit which was optimal between quality and the file size.
But what I cannot understand is why my video, once uploaded on UA-cam, looks quite alright at 2160p and really awful at 1080p on my Laptop (on my iPhone 14 Pro Max both look good).
I thought, maybe it is typical for 4k videos to look bad at 1080p because of compression, but when I had a look at other channels, I could see that it is not completely true.
Could you please explain or give me some tips on how to choose the best raw video resolution and exporting options in my case?
what would be the difference if we just put final CST at the end and do grading on "RAW" footage ?
I wish this video had been included in the course. It would have been helpful for those who purchased the course.
Thank you
FCM Fam. ✊🏽 Well here it is. We can't keep all the good stuff from the rest. 🤣🤫
@theqazman My video looks great but if I look at the clips section (underneath main display) my blacks are crushed and way to much contrast. Also have the same result after export. PLEASE HELP
@@seasideshutterworx sounds like a full/legal problem. Were you able to fix it?
holy what a difference for my HLG footage
Hi, I follow many of your videos and I wanted to ask you some questions: shouldn't a colorist have a kind of node structure that is more or less almost always the same? Because it seems to me that your approaches in every video you make are always different. I understand that it always depends on what needs to be done, that's obvious, but I also believe that a structure, a working method, should still have a certain consistency for a good 80% of the time in every work approach. I'm asking to better understand, not to be argumentative.
I have been creating content for over 5 years. As a pro colorist I constantly improve and my approach changes with it.
Professionally, I use the same node tree on most of my jobs but on UA-cam I am always showing different ways to grade.
Different people relate with different approaches.
@@theqazman Could you make a video with your structure and explain to us why you have structured it this way, etc.?
Been trying to figure out how to make the false color look right when in a color managed workflow.
Early bird! Thanks for the info Qazi! Constantly upping up the game! My mission is to build a solid portfolio in the next year, so killer hoping to be able to work for you as assistant!
My man. Keep at it. 💪🏽
Gold info
This explains why my early grades felt so choked!
Hi. Did your ColorGrading Masterclass and watch your videos regularly, great! I can recommend it to everyone :)
I have a question:
If I follow this pattern, I have heavy bandings (lights in the background, spotlights at a party, for example) no matter what tone mapping settings I make (Clip, Simple, Luminance Mapping etc.). I assume he can't handle the large color display in the DWG to Rec709 area and it causes banding, clipping... For example in your video, look at the lower area of the tree (blue shadow) this breaks drastically for me. Maybe you have some help with that.
(work in Panasonic V-LOG)
So what is the best setup? I feel this video is similar to the lessons in your masterclass that I purchased, a lot of talk but not directly to the point.
I just don't understand the final part of the flow, which is rendering and then displaying on mac, windows, and Android devices. What good is my fancy pro grade if the user device ruins it? I'm not making films, I'm making social content.
I usually work in ACEScct. Would you reccomend setting your gamut input and output in the color management tab or going manually into your nodes and doing your grading via a similar method to this one?
The big thing with using the timeline color settings is that your tools all work in that color space by default (color space aware). If you leave the project/timeline at Davinci YRGB and then use CSTs/ACES Transforms, you'll need to right click on every node in the middle and set it manually to ACES color space and gamma, otherwise they'll assume it's your timeline color space, so if that's Rec709 or DWG that will be wrong. So i really prefer using the timeline color settings for ACES stuff, and I usually do full color managed workflow, with IDTs per clip. But if you want to do the full manual node based approach and use ACES, you can still use DYRGB (non-color managed) and then set the timeline color/gamma to your ACES specs. The only difference is that you have to manually set up an input transform and output transform using nodes--with color managed, you right click the Clip on the color page and select your Input Transform (IDT), all your nodes are in ACES, and you don't need an output transform node bc Davinci handles it for you.
Great explanation. Not all super heroes wear capes, indeed. 👊🏼
I haber one question, time ago I saw a video that a guy put timeline 10bits for color grading stuff but the camera récord in 8bits... there is something I miss or that guy is wrong?
Hi, thanks for this video! One question: Why do you convert into DWG before you make any changes instead of just leaving the video in original color space and do all your changes before converting to the display referred color space?
I have question about monitor for grading.Few years ago you have spoken that your monitor for grading was lg ul650 for years.Now I see that ProArt monitor became popular, it has certification that say "This thing is for proffessionals", but i looked tech specs and i don`t see any difference between ProArt and my lg(ProArt has lg matrix and costs more ).What do you think about this ?
dont know why but just curious, that when i joined the Webinar ( 2 in thurdays 12/1) that i can not cmt any thing in Q&A section, i remember that you said that i can got the resouces and material in the webinar but i did not see anything.