this has gotta be one of the most accurate source of information for color matching and color correcting a log footage. surprised this doesn't get the views. i've watched a lot of tutorials and unfortunately the more popular ones are also misinformed. only gripe i have for this video is that i would use the eyedropper for white balance instead of manually doing it to take out guess work. also, i think doing white balance after exposure is better since doing exposure can make some colors stand out more. thanks for great information!
I know im asking randomly but does someone know a tool to log back into an Instagram account..? I stupidly forgot my password. I would love any tips you can offer me.
@Cairo Gibson I really appreciate your reply. I got to the site thru google and I'm trying it out atm. Takes quite some time so I will reply here later when my account password hopefully is recovered.
I know this is an old video but I was under the impression that the default vectorscope targets in Resolve indicate 75% saturation for Rec.709 (instead of 50% as stated in the video). If you go into the scope options you'll see that you can also turn on the 100% saturation targets, which are further out. So when you turn on the 2x option those targets should indicate 37.5%. Am I thinking about this wrong?
This was very helpful, thank you. I do have a question though about how to use the color charts for color grading an HDR color managed flow. I've used the color chart in Resolve with the color checker passport video, but I'm getting results that don't seem right at all, even though the waveforms show that RGB values are balanced on the nose. I'm just wondering if I need to grade manually using the HDR color wheels while keeping an eye on the waveform and the vectorscope, instead of using the color chart tool. Please let me know.
You didn't select white balance under the configuration. Whys that? What if your video wasn't shot at 6500k? And also, does it matter if the white balance is done after you match with the chart? Is there a specific order of operations for all these steps? This video wasn't very clear about any of that.
This is a bit confusing if you're used to working with still images in a raw workflow because in that case the white balance is a second step after applying a camera profile. In this case we are achieving neutral by using these tools in the video workflow. Keep in mind that we are getting our video clips, perhaps from multiple cameras and/or locations to a standard from which you can THEN add your color grading to achieve a particular style for your overall film.
Well done. I endorse color match just as much as doing it by scopes. Color matching between devices/ cameras is best done by color match, then final color grades tweaked with scopes if needed for efficiency.
@@Calibrite Another tip: when on the grey/white balance large single swatch on the chart, setting WB rather than using Temperature and Tint, just pick up the eyedropper and set the WB directly on the target, takes out guess work.
A couple of questions / observations. In your manual adjustment process, is adjusting lift and gamma really a good way to correct for an slog2 input? Won't curves give a better tonality transition on skin tones for example? After the vector scope adjustment, wouldn't it be a good idea to check that skin tones are also sitting on the correct vector?
Another question is concerning the color temperature value in the color chart matching tool. I noticed that you left it at the default of 6500 kelvin. Does that need to be changed? And how should one set that value if the white balance Target was used on the color checker passport video to adjust the white balance in the camera during capture?
thanks you very much. I have Already bought X-Rite color checker card .but i don't know how to do it.that's why , I have been looking for such a clear technic for two years.
It's a brilliant product for sure! One thing is driving me crazy. I have 4 clips I shot with the same set up. On the first clip at the beginning I start with the Color Checker Video. In post I open Resolve 18 and after color management I use the Color Checker Video and it looks great. But now I have the other clips to deal with and none of them have the Color Checker Video recorded on them. Am I supposed to record the Color Checker Video on every clip? There must be a way to copy the grade caused by Color Checker Video to the other clips. I can't imagine if someone has a couple of dozen clips having to record the Color Checker Video at the beginning of every one of them. I must be missing something. Please let me know how to make this work. Thank you!!
After creating a power window, the only thing being effected is the power window. It doesn't matter that I get the colors to align with the vectorscope, because the only part of the image that is aligned with the vectorscope is within the power window. What am I doing wrong?
Why can't the Photo Passport 2 be used in place of this video version? What's so special about the Checker Video that the Passport 2 can't do for video as well?
Great question! The CCPP2 and CCPPV are totally different targets with different colors and different layouts. The ColorChecker Video and ColorChecker Passport Video targets are used within the different video editing software applications, which have developed their own calibration routines that include video of the ColorChecker Video or ColorChecker Passport Video targets. The ColorChecker Camera Calibration software is only for still photography and is designed to work with Calibrite CC Photo targets. CC Video targets are not supported in the CCCC software. Typically, video targets can only be used for video and photo targets can only be used for still photography unless a video software developer has a routine for using the 24-patch ColorChecker that is in the CC Passport Photo 2.
@@Calibrite Thanks again. I simply can't afford to have two versions of the ColorChecker--one for video and another for photography. I think the best way around this for me would be to use my Photo 2 for my videos and use a screencap of it to build a LUT using a combination of Photoshop and 3D LUT Creator. It probably wouldn't be as perfectly accurate as if I went through the full process with the ColorChecker Video, but it would be close enough for me. Or, you know, you could dig one out of the corner of your warehouse over there and send me one for being an X-Rite fanboy (I have one of your monitor calibrators too). :)
How to setup this color checker in ACES color space and BRAW footage shoot with a Bmpcc 4K camera , i put the gamma on linear and the input source also on linear with aces as output, is it correct im a bit confuse i begin with davinci wide gamut and it won't work, i realy need to stay in ACES 2065 because all of my VFX and 3D where made with aces CG for the texture and compositing and ACES 2065 for the import of the video footage inside blender with open EXR file.
My video uses 5200 K lights only. Should I set Color Match temperature (in Configuration of xrite) to 5,200k since I'm posting to TH-cam? Why is 6200K used? (for pro video monitors only?).
thanks for this video! I'm thinking to buy some kind of color checker but my camera doesn't shoot in Log, do you think it will be still useful with a standard color profile? Will it work with a standard color profile? Thanks again for your video!
At 2:40 he mentions choosing the "source gamma." Resolve has Rec 709 as an option there, so if you're shooting Rec 709 (which I would consider a "standard color profile"), this workflow will be compatible for you.
Just bought the Video XL and i noticed it doesnt have the white balance on the back like the normal sized one. What do i use on the XL if i want to white balance since there is no back option?
Need your help. Want to buy a BenQ SW SW240 monitor . Can it be calibrated with any x-rite calibration device with its native application or only with the palatte master elements that comes with the milonitor as a bundle. I already have a colormunky display and it's driver application. Please help.
We always recommend using a manufacturer's software when available because using that workflow will give you the largest gamut for your monitor profile. The ColorMunki Display device does not work with Palette Master. You would need an i1Display Pro to utilize that software. But you CAN download the latest version of i1Studio software and use our software with your ColorMunki Display. Download from xritephoto.com/geti1studio Download the software at the bottom of the page, UPDATE the software, restart your computer and plug in your ColorMunki Display. Your ColorMunki now becomes a black i1Studio and works exactly the same as the i1Display Studio device. Same goes for ColorMunki Photo as well!
Hey XRite Team, i have a color checker passport photo and a while ago i tried to use it for my video workflow, but inside of davinci resolve i couldn't make it happen. Is there a way to use the color chart of the passport photo for videoworkflow?
In the first panel you'll find color match, then you choose your target CC type. This will create a correction for the chart/camera/lighting. Then grey balance, and check your scopes for IRE and the other details shown in this video. Matching the chart is easy and automated.
@@NeilSnapePhotography Wow, great to know that it actually works now. I tried this a year ago or something like that and the "color checker classic" totally gave terrible results like way to reddish skin. So if you are reading this and had this problem too - it is actually fixed now.
Thanks Neil for taking care of PhoThor. So happy this is clean and working well. We have been told to click only once for this correction for best results.
Every TH-camr is doing it with the "Match"-Tool. Is there any way to do it manualy? Cause its just not that simple :\. The forums are full of issues. Same for me: When I click match, I get horrible results. So thats not as magicaly like all TH-camrs are providing this color checking tool. And I absolutly tried everything to solve this. Do you have any idea?
DaVinci Resolve DOES have a one click option for the 24 patch ColorChecker Classic that is contained in the Passport Photo but the colors that you need for working with RGB parade, Vector Scopes, and Zebras are not available on that product.
@@Calibrite I bought the passport photo 2 a few days ago, but I wanted to use it for video as well. In which way is it limited? I thought having grayscale and rgb/cmy primaries as well as a "full" macbeth colorchecker it would have been the right choice for me, but now I start having doubts...
It is very difficult to see what you're talking about. The reason is partly because of DaVinci's wretched LOW CONTRAST colors, but also partly because you did not bother to zoom in for a close-up on what we should be looking at. Many times during the video, you started doing something but it took several seconds to find where on the screen you were working, and by the time I found that area, you were done talking about it and on to something else. The small size and low contrast also made it hard to see even when we could find it. For example, when you were explaining about the 6 colors on the vectorscope, it was virtually impossible to see the "arms" of the spider blob as you adjusted the saturation. And that is on a 27" monitor. Additionally, many things you explained went by so quickly, it was confusing and overwhelming. Thank goodness for spacebar pause. It would be very helpful if you could REMAKE this video - which I THINK could be very helpful - except explain things more thoroughly, including narrating each click and mouse selection, AND zooming in on the area of the screen where we need to be looking. Thanks, I did get some good things from this video, but it could have been oh, so much more useful and helpful.
I found the video extremely clear and helpful. Steven dives right in, without wasting our time as so many other TH-camrs do. DaVinci colors are not wretched low contrast: those are the colors of log footage before grading! I was able to see everything clearly on my 16" MacBook no problem and was able to follow along with Steven's very clear and concise explanations. At no time was I overwhelmed or confused and there is absolutely no need to remake anything. Thank you Steven!
Thanks! I'm trying this with Resolve 17 and the video passport. White balance works, color chart works but when I'm setting exposure and pressing the wand the waveform disappears? It is just a straight white line at 512. Am I missing something?
this has gotta be one of the most accurate source of information for color matching and color correcting a log footage. surprised this doesn't get the views. i've watched a lot of tutorials and unfortunately the more popular ones are also misinformed. only gripe i have for this video is that i would use the eyedropper for white balance instead of manually doing it to take out guess work. also, i think doing white balance after exposure is better since doing exposure can make some colors stand out more. thanks for great information!
"show 2 times zoom" In the Vctorscope is such a huge Tipp nobody else show this in their tutorials! Thank you
For anyone trying to get the power window to actually mask off the rest of the shot, the default key command is Shift+H for the Highlight command.
I know im asking randomly but does someone know a tool to log back into an Instagram account..?
I stupidly forgot my password. I would love any tips you can offer me.
@Cairo Gibson I really appreciate your reply. I got to the site thru google and I'm trying it out atm.
Takes quite some time so I will reply here later when my account password hopefully is recovered.
@Cairo Gibson It did the trick and I finally got access to my account again. I am so happy:D
Thank you so much, you saved my ass :D
@Kai Simon You are welcome =)
Thank you!!
Are you supposed to have the "apply lut" box checked or unchecked in the Camera Raw settings? Either way I get terrible results
I know this is an old video but I was under the impression that the default vectorscope targets in Resolve indicate 75% saturation for Rec.709 (instead of 50% as stated in the video). If you go into the scope options you'll see that you can also turn on the 100% saturation targets, which are further out. So when you turn on the 2x option those targets should indicate 37.5%. Am I thinking about this wrong?
Excellent explanation, thanks, Steven.
This was very helpful, thank you. I do have a question though about how to use the color charts for color grading an HDR color managed flow. I've used the color chart in Resolve with the color checker passport video, but I'm getting results that don't seem right at all, even though the waveforms show that RGB values are balanced on the nose. I'm just wondering if I need to grade manually using the HDR color wheels while keeping an eye on the waveform and the vectorscope, instead of using the color chart tool. Please let me know.
This is amazing! I wish there was something like this for FCP
You didn't select white balance under the configuration. Whys that? What if your video wasn't shot at 6500k? And also, does it matter if the white balance is done after you match with the chart? Is there a specific order of operations for all these steps? This video wasn't very clear about any of that.
I think the 6500K value is for the screen, not the lighting/camera white balance. Most display panels are 6500K.
@@alexv4907 Thanks for the clarification.
This is a bit confusing if you're used to working with still images in a raw workflow because in that case the white balance is a second step after applying a camera profile. In this case we are achieving neutral by using these tools in the video workflow. Keep in mind that we are getting our video clips, perhaps from multiple cameras and/or locations to a standard from which you can THEN add your color grading to achieve a particular style for your overall film.
Well done. I endorse color match just as much as doing it by scopes. Color matching between devices/ cameras is best done by color match, then final color grades tweaked with scopes if needed for efficiency.
Excellent point. Thanks for the comment. We appreciate it.
@@Calibrite Another tip: when on the grey/white balance large single swatch on the chart, setting WB rather than using Temperature and Tint, just pick up the eyedropper and set the WB directly on the target, takes out guess work.
A couple of questions / observations. In your manual adjustment process, is adjusting lift and gamma really a good way to correct for an slog2 input? Won't curves give a better tonality transition on skin tones for example? After the vector scope adjustment, wouldn't it be a good idea to check that skin tones are also sitting on the correct vector?
Andrew you are right
Always happy to hear other ways to do things. Thanks so much for the post and sharing your experience!
Any way to support the SG color checkers?
Another question is concerning the color temperature value in the color chart matching tool. I noticed that you left it at the default of 6500 kelvin. Does that need to be changed? And how should one set that value if the white balance Target was used on the color checker passport video to adjust the white balance in the camera during capture?
Also would like to know this.
thanks you very much. I have Already bought X-Rite color checker card .but i don't know how to do it.that's why , I have been looking for such a clear technic for two years.
X-rite why did you guys delete this same video but for the adobe premiere version?! I was using that video as a reference. Such an inconvenience!
It's a brilliant product for sure! One thing is driving me crazy. I have 4 clips I shot with the same set up. On the first clip at the beginning I start with the Color Checker Video. In post I open Resolve 18 and after color management I use the Color Checker Video and it looks great. But now I have the other clips to deal with and none of them have the Color Checker Video recorded on them. Am I supposed to record the Color Checker Video on every clip? There must be a way to copy the grade caused by Color Checker Video to the other clips. I can't imagine if someone has a couple of dozen clips having to record the Color Checker Video at the beginning of every one of them. I must be missing something. Please let me know how to make this work. Thank you!!
After creating a power window, the only thing being effected is the power window. It doesn't matter that I get the colors to align with the vectorscope, because the only part of the image that is aligned with the vectorscope is within the power window. What am I doing wrong?
Could you please do a tutorial on how to use your card with Vegas Pro as well?
do I need to shot in a specific balance the checker?
Why can't the Photo Passport 2 be used in place of this video version? What's so special about the Checker Video that the Passport 2 can't do for video as well?
Great question! The CCPP2 and CCPPV are totally different targets with different colors and different layouts. The ColorChecker Video and ColorChecker Passport Video targets are used within the different video editing software applications, which have developed their own calibration routines that include video of the ColorChecker Video or ColorChecker Passport Video targets. The ColorChecker Camera Calibration software is only for still photography and is designed to work with Calibrite CC Photo targets. CC Video targets are not supported in the CCCC software. Typically, video targets can only be used for video and photo targets can only be used for still photography unless a video software developer has a routine for using the 24-patch ColorChecker that is in the CC Passport Photo 2.
@@Calibrite
Thanks again. I simply can't afford to have two versions of the ColorChecker--one for video and another for photography. I think the best way around this for me would be to use my Photo 2 for my videos and use a screencap of it to build a LUT using a combination of Photoshop and 3D LUT Creator. It probably wouldn't be as perfectly accurate as if I went through the full process with the ColorChecker Video, but it would be close enough for me.
Or, you know, you could dig one out of the corner of your warehouse over there and send me one for being an X-Rite fanboy (I have one of your monitor calibrators too). :)
what is a volt
Can I replace my color checker passport with this or are they about the same when it comes to color calibration
I will look into it. Thanks
How to setup this color checker in ACES color space and BRAW footage shoot with a Bmpcc 4K camera , i put the gamma on linear and the input source also on linear with aces as output, is it correct im a bit confuse i begin with davinci wide gamut and it won't work, i realy need to stay in ACES 2065 because all of my VFX and 3D where made with aces CG for the texture and compositing and ACES 2065 for the import of the video footage inside blender with open EXR file.
input would be whatever BRAW likes, if it's not linear.
Wasn't there a Premiere Pro video like this? Where did that video go?
Hi Mitch, is this the video you're looking for? th-cam.com/video/eVcTsW1NXgA/w-d-xo.html
My video uses 5200 K lights only. Should I set Color Match temperature (in Configuration of xrite) to 5,200k since I'm posting to TH-cam? Why is 6200K used? (for pro video monitors only?).
thanks for this video! I'm thinking to buy some kind of color checker but my camera doesn't shoot in Log, do you think it will be still useful with a standard color profile? Will it work with a standard color profile? Thanks again for your video!
At 2:40 he mentions choosing the "source gamma." Resolve has Rec 709 as an option there, so if you're shooting Rec 709 (which I would consider a "standard color profile"), this workflow will be compatible for you.
Just bought the Video XL and i noticed it doesnt have the white balance on the back like the normal sized one. What do i use on the XL if i want to white balance since there is no back option?
You would use the main white chip as it is also spectrally neutral
Need your help. Want to buy a BenQ SW SW240 monitor . Can it be calibrated with any x-rite calibration device with its native application or only with the palatte master elements that comes with the milonitor as a bundle. I already have a colormunky display and it's driver application. Please help.
We always recommend using a manufacturer's software when available because using that workflow will give you the largest gamut for your monitor profile. The ColorMunki Display device does not work with Palette Master. You would need an i1Display Pro to utilize that software. But you CAN download the latest version of i1Studio software and use our software with your ColorMunki Display. Download from xritephoto.com/geti1studio
Download the software at the bottom of the page, UPDATE the software, restart your computer and plug in your ColorMunki Display. Your ColorMunki now becomes a black i1Studio and works exactly the same as the i1Display Studio device. Same goes for ColorMunki Photo as well!
You ought to update a guide with BRAW footage, it comes out totally wrong.
Is it possible to use this method in ACES color science?
Apologies but I'm not familiar with ACES but we will investigate for sure. Thanks for the question.
Hey XRite Team, i have a color checker passport photo and a while ago i tried to use it for my video workflow, but inside of davinci resolve i couldn't make it happen. Is there a way to use the color chart of the passport photo for videoworkflow?
In the first panel you'll find color match, then you choose your target CC type. This will create a correction for the chart/camera/lighting. Then grey balance, and check your scopes for IRE and the other details shown in this video. Matching the chart is easy and automated.
@@NeilSnapePhotography Wow, great to know that it actually works now. I tried this a year ago or something like that and the "color checker classic" totally gave terrible results like way to reddish skin. So if you are reading this and had this problem too - it is actually fixed now.
@@Night1989 - so did the video above - take a good look at the skin on the final result.
Thanks Neil for taking care of PhoThor. So happy this is clean and working well. We have been told to click only once for this correction for best results.
Every TH-camr is doing it with the "Match"-Tool. Is there any way to do it manualy? Cause its just not that simple :\. The forums are full of issues. Same for me: When I click match, I get horrible results. So thats not as magicaly like all TH-camrs are providing this color checking tool. And I absolutly tried everything to solve this. Do you have any idea?
Starting @3:02 he goes through the steps for doing it manually. ;)
migh thav eto do with your color management workflow
i have the passport for photos. can i use this same workflow as well?
DaVinci Resolve DOES have a one click option for the 24 patch ColorChecker Classic that is contained in the Passport Photo but the colors that you need for working with RGB parade, Vector Scopes, and Zebras are not available on that product.
@@Calibrite I bought the passport photo 2 a few days ago, but I wanted to use it for video as well. In which way is it limited? I thought having grayscale and rgb/cmy primaries as well as a "full" macbeth colorchecker it would have been the right choice for me, but now I start having doubts...
It is very difficult to see what you're talking about. The reason is partly because of DaVinci's wretched LOW CONTRAST colors, but also partly because you did not bother to zoom in for a close-up on what we should be looking at. Many times during the video, you started doing something but it took several seconds to find where on the screen you were working, and by the time I found that area, you were done talking about it and on to something else. The small size and low contrast also made it hard to see even when we could find it.
For example, when you were explaining about the 6 colors on the vectorscope, it was virtually impossible to see the "arms" of the spider blob as you adjusted the saturation. And that is on a 27" monitor.
Additionally, many things you explained went by so quickly, it was confusing and overwhelming. Thank goodness for spacebar pause.
It would be very helpful if you could REMAKE this video - which I THINK could be very helpful - except explain things more thoroughly, including narrating each click and mouse selection, AND zooming in on the area of the screen where we need to be looking.
Thanks, I did get some good things from this video, but it could have been oh, so much more useful and helpful.
I found the video extremely clear and helpful. Steven dives right in, without wasting our time as so many other TH-camrs do. DaVinci colors are not wretched low contrast: those are the colors of log footage before grading! I was able to see everything clearly on my 16" MacBook no problem and was able to follow along with Steven's very clear and concise explanations. At no time was I overwhelmed or confused and there is absolutely no need to remake anything. Thank you Steven!
$200 dollar????? Are you joking?????
Great colours, bad audio!
result does not look good
brilliant.
Thanks! I'm trying this with Resolve 17 and the video passport. White balance works, color chart works but when I'm setting exposure and pressing the wand the waveform disappears? It is just a straight white line at 512. Am I missing something?
Hi Andreas, our support team would like to help with this. Please visit our website to open a support ticket: bit.ly/3iQfR40