I have watched around 20 plus hours of colourist videos this has been the best at least for understanding why we need to do this and it actually means thank you
Thanks man. What I loved about this video is that you got straight to the point without dilly dallying around on other things and you also explained things really well and in a simple way. Also like your visuals and audio quality and the way you speak. Very easy to watch and follow what you're saying. No drama and no fuss.
This is a nice, simplified explanation that people can build from. I’ll share this method with my students, then advance from that. But I’ll keep it simple, early with them.
Yeah, great explanation of color space transformations that are absolutely necessary depending on what kind of footage you have. I really like the node based explanation first that can then be replaced by a global color management setting in project preferences. Kudos dude.
I watched the tutorials on the Black Magic website and while they are great, your tutorial explains perfectly what you need to do before starting in Davinci Resolve. I added a subscription because the tutorial is perfect. Thanks.
I use pipeline with as many groups as I have different cameras. But the last way with the custom option and specifying the input color space for each clip is from far the best way to manage the CST. Thanks a lot 🙏
you cleared most of my doubt , this was so useful thanks ! , after all this i realised : if i'm not wrong ,as GoPro already shoots in rec 709 even in flat mode That makes it less flexible to achieve a DSLR lvl color grade . all we can do some tiny adjustment to enhance it and make it abit better .
Yes that's right. If you already have a Rec709 image coming out of the GoPro there isn't much need to colour manage it if that is all you are working with, however if you are working with a range of other footage it is nice to pull it all into DavinciWG to grade.
Excellent! Struggling with so many color spaces, gamuts, etc. Confusing to me. Your video has laid a good foundation for me to learn DR and use it with pride later, hopefully! Ha.
I'm trying to wrap my head around this workflow for a while, and what doesn't line up is the notion that when you grade between 2 CST nodes one of which converts into DWG and another from DGW, it becomes your working color space. Especially when you hear that Timeline color space is the Working color space. My brain explodes when I see that when you work this way within nodes and change your Timeline color space in the settings or on the nodes within that space that you thought was designated solely as a working color space - the image changes!! And I don't understand why, given that you were told only about two things - input color space and output color space. It seems there are more variables in this equation that affect the actual result which no-one talks about. Generally speaking it sounds simple and right, but when you try to change things here and there, you see that the general logic doesn't line up anymore showing that it's more complicated than it's taought...Do you know what happens within each node and why they have their own settings for Gamma and Color space, and why even CST node changes its behaviour being affected by those settings and Timeline color space DVR settings?
I prefer using CST nodes over global colour management, becauase I still run into the odd issue with graphics and titles with a global colour management workflow.
Dear Joshua, I have two questions for you: 1. my reference monitor is calibrated AdobeRGB. Which setting should I use to work on the timeline? Rec.709? Davinci does not have AdobeRGB setting but only sRGB... 2. if in my pipeline I set rec.709 as output but my work is intended for cinema, is it sufficient to change from rec.709 to DCI-P3 at the time of delivery, or does it create problems? Thanks for any response and compliments for your masterclasses. Giorgio.
Thanks again for this clear explanation! at time 6:31 of your video, you right click on some of the clips to "manually" use "input color space" 🤔 so you do this, because they are not RAW footage so Resolve algorithm can't recognize them...? and they have to be "converted" manually...? (according to camera brand...) Thanks!
Yes that is right. If the footage is RAW then that 'input colour space' option won't be there. For all other footage you can manually change the input colour space.
Hello. I got a lot of help from your video. I have a question. If you specify the timeline color space as described in the video and work with , why is the graph stuck in rec.709 in CIE chromaticity?
Its arrived! After so long, finnally found what I once remember. When multiple color shades/tones are revealed on a females face (due to makeup) then you have color discernment. My 4k monitor is so stuck on sRGB that I made a combo: Apple RGB in color management, and added Adobe1998 to my LG driver folder in "drivers", then opened each file. Waalah, beauttiful! This is cowboy color isnt it Joshua?
Thanks for the video. So I was thinking I was following you until the very end, but I didn't really catch how once you have the global settings set, how you can easily change between camera clips coming in that have different input color spaces. Maybe I need to watch it a few more times.
Great video. The only difference in my workflow on Resolve 18, is that within Project Settings, Color Management tab, I separate the Color Space and Gamma selections just so I’m explicit in the values for both. My only other change is that I shoot on RED, so my input color space/gamma are different. It’s great to validate that I have been on the right track!
Hello Joshua, thank you soo much for creating and sharing this knowledge! 🌻Quick question: Most of my videos I shoot on an iPhone 13, as that's the camera I can afford atm. Can I still set the Color management as explained? Hope to read your reply, thank you!!
Hey Lia, Yes you can, but if your videos are already in a rec709 colour space (ie they look good and have contrast and saturation) then the 'input' colour space is rec709.
Great tutorial! Is it possible to setup so DaVinci always opens with three three node setup? And does the node color management setup override the system color management setup?
Ok , that makes it clear. I am just playing around learning something new to see what i can do with davinci resolve 18 studio. Not a pro videographer but enjoy the creative and learning side. Typically I have mostly DJI gear and a Nikon Z50 which don't seem well represented in the various gamuts and gamma lists. Can you suggest a solution . I believe the Z50 is sRGB,AdobeRGB and RAW. There is no colour space or gamma spec mentioned by the manufacturer for DJI gear. (8 bit colour and 10 bit D-Cinelike) Thanks for your straight forward explanation in this video.
@@JoshuaKirkNZ I have since learned that Nikon RAW is not a log format nor is the DJI D-Cinelike a true log format. Applying DJI D-log to D-Cinelike is too harsh as is N-Log for Nikon RAW. Gamma overcooked. D-Gamut with rec 709 gamma does produce a good starting point for DJI. footnote of interest Go Pro natural with arri3 is not too bad , gamma 2.4. Thanks for reply.
Thank you for the nice video. I ve watched maybe 10 Videos, but many show different results. I feel the same Colormanaged equals the dual colortansform nodes. How ever I see many in their videos combining it anyways. So i wont do that twice anymore thanks to you :) My issue is the CIE Chromaticity. It always shows Rec709 and the colors in that small 3D Cube. Only if I set output color space to DWG than it shows the color space there as well. I am just saying. I never see any difference. So basically the scops dont show what I should see. With the node structure the CIE Should change from before and after that workspace. Do you get my point? Would highly appreciate to understand this better. I pretty well know the differences. Also my color management works pretty well (unless als imported pngs etc are interpreted as slog as well. But I like it. I just never fell a difference beetween the colorspaces.
Very good explanation!! So what exactly is the input to working important? I see professionals not using it so I’m wondering what it helps with when grading. I guess my question is what is Davinci wide gamut?
great... finaly it's clear to me 😃. Just one question, when shot in Sony bt2020 HLG, is it nescesary to change the timeline in that same colorspace or still using Davincy WG as working colorspace?
The timeline colourspace setting is the 'working colour space' and it doesn't matter what the original source footage is, Davinci Wide Gamut is a great working colour space to grade in.
Thanks for this video! What I don't understand is the colour shift upon export, when I change my output gamma to Rec 709-A, I get no colour shift, I get the same Image as what I was viewing while grading. When I choose Rec 709 Gamma 2.4 I get a massive change
Hey, this is a really common problem and it has to do with how different programs read and interpret the original video. For example you will notice your videos look different between apple quicktime and VLC player, and it will also look slightly different on youtube / online. Rec709-A is the best Output Colour Space Tag to use to help display the video correctly with Apple Quicktime Player. This video might help a little with this: th-cam.com/video/RJTO56capLU/w-d-xo.html
I’m a bit confused, do you in fact just need to skip the first bit and just change the settings in davinci? Also, if you film using a monitor, do you infact need to put the monitors colour space in or still the cameras? I’m using the atomos ninja V which I believe is Rec 709?
Very nice videos. And I general if I use this kodak or Fuji luts and I want to use additional lut(from outside DV) should I put it after or before the Kodak LUT? :)
The Kodak Lut will only work if they are designed for the working colour space you have selected. In this case Davinci Wide Gamut is the working colour space.
I do pretty much the same workflow - but not sure how in your explanation that before when you had a couple of nodes before the CST that you claim you are then working under and in Arri Log C when it inherits the colorspace set in your project manager which later when you switched to it? - it was rec709(scene) and you had the Timeline checked to use the same colorspace. Resolve nodes before the CST has no indication of the color space and they don't read it backwards on the pipeline. The next step that you did to put it into DWG made perfect sense. But to me if you had set up the ARRi log C in the project manager then it makes more sense. This I think is where all the confusion comes in as to wrapping your head around color management. Also up until recently the default from Resolve in non color management was not Rec709(scene) - If I don't change it, the display changes - even though I am using a Ultrastudio 3g to feed my display. I find that a little strange as well. If my display is calibrated for Rec709 2.4 then why would I feed rec709(scene)?
Hey Jim, thanks for the clarification and correction! Always appreciate it. Yes, you are so right - I should have noted the timeline setting in project manager is essential to change if you were to actually work in ‘Log C’. I brushed over it to get to the DWG CST which is where I would normally work. Appreciate the note 👍
Great explanation sir! Do you have a follow up video that explains how to work with the clips from different cameras, in order to obtain a similar look? For example, I record myself playing from different angles with different cameras (two iPhones from different eras and a Sony). Which is the proper way to make the clips look as homogenous as possible? I don't need to be perfect. Just enough similar to not disturb the viewer.
I have just discovered you, having swapped from FCPX to Davinci Resolve Studio, and great clear Videos. For this one, I have one question. I understand the Node tree order and what you are doing, but if I was to add a Node for Exposure, another for WB, another for Creative etc etc, do I put those behind the Working Space node you have in the middle ie: Between the Working space Node and the final CST to convert everything back to REC709, or do I put them before? I am assuming they go between the middle Node you have, and the last Node? If you could confirm, I would appreciate it, as I don't want to start implementing this incorrectly across my Projects. Great Video and thanks !
Hi Paul, yes that’s correct you would place your corrections after the transform to Davinci Wide Gamut so your adjustments sit ‘inside’ the working colour space. If you place them before that CST you are then applying your adjustments to your RAW footage which changes from camera to camera. Hope that helps.
Can i ask the output what if its for a DCI export for festival screenings, or just general viewing but not online what output would i use as REC709 if its not for online viewing and a feature film being screened at a festival or just screening else where what output setting would i use? I've always seen people that do youtube tutorials automatically go to REC709 but ive always wondered what about none online output settings? For example at the moment i am using for a huge short film shot on the Mini Ursa 12K i'm using DaVinci YRGB Colour Managed in the colour science with SDR P3 D60 Cinema as my colour processing mode and P3 D65 (scene) as my output colour space as i know this is going to festivals and cinema screen's. I have checked on my commercial TV Sony Bravia 55inch in relation to my grading reference monitor to make of not sure and it all comes out perfectly so i'm wondering why these are not explored in tutorials and why i see so many tutorials that have the auto go to REC709. As much ads i am questioning it this is great video. Many Thanks
if your timeline is set to Rec709 in the master settings would the CST LogC to DWG cause the controls you are working with to apply Rec709 corrections to DWG footage giving you incorrect controls?
I have to ask. Since ari log is a representation of the entire visible spectrum captured by a sensor, then when it (or anything else) is displayed on a computer monitor, It's rec 709 automatically. Not calibrated correctly but still rec709 ? As that's all the monitor can display.
Question if certain cameras don’t appear in your input colour space where online do you download them from? I can’t seem to find anyone about this. On my Davinci studio I’m missing certain arri cameras and others I shot on but don’t know where to download and install that specific colour management profile.
Hi Joshua, thanks for the video. I have a doubt. Can you make a video to explain what is tone mapping and gamut mapping and is it important to understand those? Thanks!
Joshua, thanks for an easy, straight-to-the-point explanation of color spaces in Resolve. One question: how does all this change (if it does) if "color science" in project settings in changed to "DaVinci YRGB Color Managed"?
The colour science in project settings is a global setting for how Davinci is going to use colour management. The 'YRGB color managed' changes the way you manage colour throughout your project - instead of using CSTs on your nodes. That setting essentially gives Resolve the reigns to manage the colour transforms for your footage itself and then when you colour grade you are colour grading inside the timeline colour space your set.
if you using nodes for noise reduction or effects such as halation, which should happen before the CST (please correct me if I am wrong) How can you do that, when you are working in the DV color managed science? Or do you get the same results with these effects after the CST working in DWG/intermidiate?
I'm not sure if noise reduction and halation need to be added before CST? I haven't had any issues inside a colour managed workflow. Some plugins aren't designed for a DWG working colour space so that is something to watch out for.
What are your thoughts on using output color space as Rec 709 and then output gamma as Rec. 709-A instead of just Gamma 2.4 for those working on Macbook Pros? I find that this output gamma is the only one that matches my timeline after export. When I use regular Gamma 2.4 everything gets washed out, which makes all of my coloring almost pointless.
6:20 did you mean clips from multiple cameras ? Everything super clear on this video , just wasn’t sure what you meant here. Thanks for this tut - another easy-to-watch video.
if you working on a mac ive seen some set the output to rec709 type a whats the difference with 2.4 as i noticed you are also editing on apple eco system
Great video. I did some tests in "DaVInci YRGB" non color managed project settings and was wondering if it is important to change the "Timeline Color Space". It is set automatically to "rec709 (scene). But when I work with Arri Footage, I set it to LogC. if I work in DWG (CST Sandwich) I set it also to DWG. But I noticed that it doesn't really matter if I set my "timeline color space" to Rec709 scene, LogC or DWG. When I use CST (No matter if LogC or DWG) the grading tools inside DaVinci always feel the same. And most important: The footage also looks the same. No matter what I select in "timeline color space". I read the manual, but I am still confused about the "timeline color space" settings and if it has any effect at all when using CST sandwich.
Don't know why Resolve defaults to rec709( scene) I can't imagine any time where anyone would want rec709(scene) or what would be a reason to choose it. The timeline color space in the project settings are just setting a default - anytime you place a CST it overrides the choice in the project settings.
Thanks Jim, that has been my experience. Why do you think that (scene) is Davinci's default? Seems like they would have a reason, or at least understand most users don't want it 99% of the time.
@@JoshuaKirkNZ I still don't know why - I have discussed this with Daria Fissoun and she talked to the engineers. Even though she told me - it didn't make sense. My only guess would be that they think if it is not color managed through Resolve, or ACEs, etc. then they think that you want to grade display referred. Which would include adding your own gamma curves to taste. And to actually pull that off you would want the camera colorspace and gamma to start ( i.e. Rec709( scene)). But I think making it the default when you switch from color managed to non color managed in project settings, might be confusing to new users who don't understand what rec709( scene ) is and think that is the place to start. Resolve does things like that without explanation - sometimes, like when using stabilization, the first choice on the dropdown menu is the not the default best option, or a fast, better, best choice - it's simply alphabetical.
In either of the two working modes, both in the project settings and using the cst nodes at the input and output, how should I apply the luts that need a Cineon input? Thank you for your videos!!
You can use a CST (Color Space Transform) before the Cineon Lut to convert whatever colour space is before into Cineon. For example if you are inside a DWG working colour space - the CST would convert from that into Cineon. It sounds like that Lut will probably give you a Rec-709 output so youll need to convert it back to DWG with another CST. Best practice would be to start using Luts designed for a DWG to DWG workflow - It will make life much easier.
I want to use a node CST structure from camera to DWG and back to 709 at the end. When I add a serial node between the CST nodes my view changes to the node I'm working on. I can get it to look good but it excludes the CST node back to 709. Is this a setting I have wrong? Hopefully that makes sense. Basically the only way it works is if I grade in my final CST node.
Hi, thanks for sharing the knowledge. I have one question... If I use colour management WITHOUT NODES (the second way) and I want to use a LUT made for 709. Does it work properly? I mean, in the timeline, I am working in davinci intermediate, and the LUT is for 709. Thanks.
It won't work directly in the timeline. What you can do to get around it in some use cases is sandwich it between 2x CSTs (colour Space Transform nodes) that take DWG to REC709 then use your LUT, then another CST from Rec709 back to DWG.
Very nice. Excellent. Actually, best I’ve seen o/o/all the colorists on YT. BTW, I noticed in another video of yours that you use Film Convert. Question: Since FC is non-DWG, do you use FC post CST DWG>Rec709 node?Do you apply when the pipeline has narrowed back to Rec709 space? Thanks!
Yeah good question. I only really use film convert for the grain and it seems to operate fine inside DWG. Film Convert relies mostly on camera packs to convert camera original into rec-709 with the film stock emulation, so the workflow is quite different. But, yes you could add it post a DWG>709 CST as the final stage. It wouldn't work if you are colour managing at a timeline / global level.
@@JoshuaKirkNZ Thanks. Yeah, I’d let Nitrate fall by the wayside since adopting DWG and had been using essentially only tools under the DR hood. However, after I queried my idea, I tried/saw that it worked but that was at the clip level. I’m glad you mentioned that it wouldn’t at the global/TL level because I do recall piping it in globally to no avail when I was first becoming familiar w/DWG. Thanks so much!
Thank you for your video! Im wondering how you would set up the color transform for a footage fillmed with an iPhone 14 pro, which screen has a DCI-P3 color space?
And I have a monitor with sRGB, Rec709 and DCI-P3 color profiles. Could you please tell me which of these profiles and when it should be used? Thank you.
Can you do one video about explaining about how to deliver for cinema, for p3 , and how to convert your rec 709 to HDR if you want that option for delivery.
One odd question, when a new node was created underneath the OG node remained "01" while the node now in front of it is "02"...but when I create that second node it automatically makes it "01" and the OG becomes "02"...why is that happening, and does it really matter? Thanks!
Amazing video ! I just have 2 questions. 1) if you want to put some noise reduction, it should be before or after the LOGDWG ? 2) if we want to add an final LUT, it should before or after the DWG709 ?
If you are using the CSTs there isn't a right or wrong way to apply the luts. What you'll discover is some luts are designed to be given Rec709 and others are designed for Davinci WG. If you put a DWG Lut after the DWG709 it won't do a lot and like wise your rec709 luts won't act properly in the DWG working colour space. I use some luts from Cullen Kelly that work lovely inside a DWG working colour space. In terms of Noise reduction you can add this inside the DWG working space no problem (that is essentially what you are doing anyway if you are using the Global colour management) Let me know if you have any other Q's
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That's actually explained better than in the videos from the Blackmagic / Da Vinci Resolve guys themselves. Congrats and thanks a lot for this! 🙂
Thanks a lot!
I have watched around 20 plus hours of colourist videos this has been the best at least for understanding why we need to do this and it actually means thank you
Thanks man. What I loved about this video is that you got straight to the point without dilly dallying around on other things and you also explained things really well and in a simple way. Also like your visuals and audio quality and the way you speak. Very easy to watch and follow what you're saying. No drama and no fuss.
Cheers for that! Appreciate it.
I've seen so many videos and read a lot of posts about color management, and this one is very simple but helped tremendously, thank you.
Thanks!
Davinci should be paying you. This should be the first thread one reads when tackling Color Management. Great job explaining the myriad of choices.
This is a nice, simplified explanation that people can build from. I’ll share this method with my students, then advance from that. But I’ll keep it simple, early with them.
Thanks Brian!
Im the newbie, the best and easiest I have seen about Color Management in Davinci ! God bless You
Great, stoked it helped!
You have made rather confusing concept really easy to digest. Thank you so much. Really love your content.
Happy to help! Thanks for watching.
Incredibly clear and concise. Thank you
Thanks a lot for this!
Yeah, great explanation of color space transformations that are absolutely necessary depending on what kind of footage you have. I really like the node based explanation first that can then be replaced by a global color management setting in project preferences. Kudos dude.
This is the video I have been searching for months! Thank you!
THANK YOU SO MUCH FOR THIS EXPLANATION!! Best and most clear explanation ive come across! Thank you!!
Glad it helped. Cheers for the watch!
Best video I've seen explaining this. Instant subscribe and this is the first video I've seen of this channel.
I watched the tutorials on the Black Magic website and while they are great, your tutorial explains perfectly what you need to do before starting in Davinci Resolve. I added a subscription because the tutorial is perfect. Thanks.
That's a fantastic and simple to understand, explanation! I learned more from this than the many videos I've watched. Thank you!
Hey thanks for watching - Glad it helped!
Finally a quick, clear and concise explanation !
Thanks!
Well explained. I watched numerous videos to comprehend CSM and CST but I always felt confused. Thank you for your time and effort.
You really know how to explain things in a very calm slow pleasing way especially for us newbs thank u
Thanks for this, glad it is helping!
True hero! Looked for a video like this for quiet some time
🙌
Outstanding explanation. Best I've come across yet, thank you Joshua
Best explanation of this in existence. Thanks!
Thanks!
Thanks for the quick and clear explanation!
I use pipeline with as many groups as I have different cameras.
But the last way with the custom option and specifying the input color space for each clip is from far the best way to manage the CST.
Thanks a lot 🙏
You're welcome!
This guy makes some under rated videos. Y’all should subscribe
Ha thanks Samuel!
Very helpful, first time I understood this in a bit more detail, thanks!
Thanks so much!
Information that I was looking for .... simple and clear ! 👋
Glad it was helpful!
Great explanation! This makes more sense when trying to figure out color space.
Thanks Josh. First time I've come across your stuff. Really helpful!
Cheers, thanks Ivan!
you cleared most of my doubt , this was so useful thanks ! , after all this i realised : if i'm not wrong ,as GoPro already shoots in rec 709 even in flat mode That makes it less flexible to achieve a DSLR lvl color grade . all we can do some tiny adjustment to enhance it and make it abit better .
Yes that's right. If you already have a Rec709 image coming out of the GoPro there isn't much need to colour manage it if that is all you are working with, however if you are working with a range of other footage it is nice to pull it all into DavinciWG to grade.
Incredibly clear , thanks
You are welcome.
Now I understand. Now I know what to do. Thanks!
Excellent! Struggling with so many color spaces, gamuts, etc. Confusing to me. Your video has laid a good foundation for me to learn DR and use it with pride later, hopefully! Ha.
Glad it helped!
I'm trying to wrap my head around this workflow for a while, and what doesn't line up is the notion that when you grade between 2 CST nodes one of which converts into DWG and another from DGW, it becomes your working color space. Especially when you hear that Timeline color space is the Working color space. My brain explodes when I see that when you work this way within nodes and change your Timeline color space in the settings or on the nodes within that space that you thought was designated solely as a working color space - the image changes!! And I don't understand why, given that you were told only about two things - input color space and output color space. It seems there are more variables in this equation that affect the actual result which no-one talks about. Generally speaking it sounds simple and right, but when you try to change things here and there, you see that the general logic doesn't line up anymore showing that it's more complicated than it's taought...Do you know what happens within each node and why they have their own settings for Gamma and Color space, and why even CST node changes its behaviour being affected by those settings and Timeline color space DVR settings?
Dude!! Thanks for this! Answered so many questions and you did it so concise and easy to understand! Thanks
🙌 Glad it helped!
Thanks -- you just saved the day again.
Nice explanation...Can u tell me what's the method u prefer mostly- CST nodes/ global color managed method & why?
I prefer using CST nodes over global colour management, becauase I still run into the odd issue with graphics and titles with a global colour management workflow.
You just earned yourself a new subscriber
Appreciate it!
Finally, I got this. Thanks a lot.
Great post! so either approach is exactly the same? thanks!
Yes in theory. It's just a workflow difference.
Very good explanation especially with the custom settings
Thank you Wayne!
Thank you for your work Joshua
Thanks for watching!
Dear Joshua,
I have two questions for you:
1. my reference monitor is calibrated AdobeRGB. Which setting should I use to work on the timeline? Rec.709? Davinci does not have AdobeRGB setting but only sRGB...
2. if in my pipeline I set rec.709 as output but my work is intended for cinema, is it sufficient to change from rec.709 to DCI-P3 at the time of delivery, or does it create problems?
Thanks for any response and compliments for your masterclasses.
Giorgio.
Thanks again for this clear explanation! at time 6:31 of your video, you right click on some of the clips to "manually" use "input color space" 🤔 so you do this, because they are not RAW footage so Resolve algorithm can't recognize them...? and they have to be "converted" manually...? (according to camera brand...) Thanks!
Yes that is right. If the footage is RAW then that 'input colour space' option won't be there. For all other footage you can manually change the input colour space.
Oh, thank you for this video. The best explanation!
Thanks for the watch!
Hi, loved the video! Could you tell me if there's a way to know your clips' input color space? I don't know what profile I used to film my clips:/
There isn't an easy way to find this without asking the camera op.
Hello. I got a lot of help from your video. I have a question. If you specify the timeline color space as described in the video and work with , why is the graph stuck in rec.709 in CIE chromaticity?
Its arrived! After so long, finnally found what I once remember. When multiple color shades/tones are revealed on a females face (due to makeup) then you have color discernment. My 4k monitor is so stuck on sRGB that I made a combo: Apple RGB in color management, and added Adobe1998 to my LG driver folder in "drivers", then opened each file. Waalah, beauttiful!
This is cowboy color isnt it Joshua?
👏
Such a good explanation - all this vocabulary sounds so foreign but this video really helped!
It feels like a different language when you get started. All the big words sound complicated but ultimately simple processes.
Thanks for the video. So I was thinking I was following you until the very end, but I didn't really catch how once you have the global settings set, how you can easily change between camera clips coming in that have different input color spaces. Maybe I need to watch it a few more times.
Great video. The only difference in my workflow on Resolve 18, is that within Project Settings, Color Management tab, I separate the Color Space and Gamma selections just so I’m explicit in the values for both. My only other change is that I shoot on RED, so my input color space/gamma are different. It’s great to validate that I have been on the right track!
Awesome. Great thoughts!
This is great! Thank you! What about DJI D-cinelike footage? It is Rec 709. What should I use for export settings?
Hello Joshua, thank you soo much for creating and sharing this knowledge! 🌻Quick question: Most of my videos I shoot on an iPhone 13, as that's the camera I can afford atm. Can I still set the Color management as explained? Hope to read your reply, thank you!!
Hey Lia, Yes you can, but if your videos are already in a rec709 colour space (ie they look good and have contrast and saturation) then the 'input' colour space is rec709.
Is it ok to use groups ( pre and post grpoups to collect shots into one group which then applies the space conversion nodes ( pre and post )?
Great tutorial! Is it possible to setup so DaVinci always opens with three three node setup?
And does the node color management setup override the system color management setup?
Ok , that makes it clear.
I am just playing around learning something new to see what i can do with davinci resolve 18 studio. Not a pro videographer but enjoy the creative and learning side.
Typically I have mostly DJI gear and a Nikon Z50 which don't seem well represented in the various gamuts and gamma lists.
Can you suggest a solution . I believe the Z50 is sRGB,AdobeRGB and RAW.
There is no colour space or gamma spec mentioned by the manufacturer for DJI gear. (8 bit colour and 10 bit D-Cinelike)
Thanks for your straight forward explanation in this video.
I don't know the Z50 vut DJI gear could shoot in D-Log and then in Davinci Resolve colour management settings you could select DGamut / D-Log.
@@JoshuaKirkNZ I have since learned that Nikon RAW is not a log format nor is the DJI D-Cinelike a true log format. Applying DJI D-log to D-Cinelike is too harsh as is N-Log for Nikon RAW. Gamma overcooked. D-Gamut with rec 709 gamma does produce a good starting point for DJI. footnote of interest Go Pro natural with arri3 is not too bad , gamma 2.4. Thanks for reply.
Thank you for the nice video. I ve watched maybe 10 Videos, but many show different results. I feel the same Colormanaged equals the dual colortansform nodes. How ever I see many in their videos combining it anyways. So i wont do that twice anymore thanks to you :) My issue is the CIE Chromaticity. It always shows Rec709 and the colors in that small 3D Cube. Only if I set output color space to DWG than it shows the color space there as well. I am just saying. I never see any difference. So basically the scops dont show what I should see. With the node structure the CIE Should change from before and after that workspace. Do you get my point? Would highly appreciate to understand this better. I pretty well know the differences. Also my color management works pretty well (unless als imported pngs etc are interpreted as slog as well. But I like it. I just never fell a difference beetween the colorspaces.
Very good explanation!!
So what exactly is the input to working important? I see professionals not using it so I’m wondering what it helps with when grading. I guess my question is what is Davinci wide gamut?
very great teacher. Thanks from tahiti - Joshua.
Appreciate it!
Very helpful. Thanks.
Cheers
great... finaly it's clear to me 😃. Just one question, when shot in Sony bt2020 HLG, is it nescesary to change the timeline in that same colorspace or still using Davincy WG as working colorspace?
The timeline colourspace setting is the 'working colour space' and it doesn't matter what the original source footage is, Davinci Wide Gamut is a great working colour space to grade in.
Thanks for this video! What I don't understand is the colour shift upon export, when I change my output gamma to Rec 709-A, I get no colour shift, I get the same Image as what I was viewing while grading. When I choose Rec 709 Gamma 2.4 I get a massive change
Hey, this is a really common problem and it has to do with how different programs read and interpret the original video. For example you will notice your videos look different between apple quicktime and VLC player, and it will also look slightly different on youtube / online. Rec709-A is the best Output Colour Space Tag to use to help display the video correctly with Apple Quicktime Player. This video might help a little with this: th-cam.com/video/RJTO56capLU/w-d-xo.html
Very nicely explained ❤
Thanks a lot 😊
you explained well Thanks! great video
I’m a bit confused, do you in fact just need to skip the first bit and just change the settings in davinci?
Also, if you film using a monitor, do you infact need to put the monitors colour space in or still the cameras? I’m using the atomos ninja V which I believe is Rec 709?
Very nice videos. And I general if I use this kodak or Fuji luts and I want to use additional lut(from outside DV) should I put it after or before the Kodak LUT? :)
The Kodak Lut will only work if they are designed for the working colour space you have selected. In this case Davinci Wide Gamut is the working colour space.
I do pretty much the same workflow - but not sure how in your explanation that before when you had a couple of nodes before the CST that you claim you are then working under and in Arri Log C when it inherits the colorspace set in your project manager which later when you switched to it? - it was rec709(scene) and you had the Timeline checked to use the same colorspace. Resolve nodes before the CST has no indication of the color space and they don't read it backwards on the pipeline.
The next step that you did to put it into DWG made perfect sense. But to me if you had set up the ARRi log C in the project manager then it makes more sense. This I think is where all the confusion comes in as to wrapping your head around color management.
Also up until recently the default from Resolve in non color management was not Rec709(scene) - If I don't change it, the display changes - even though I am using a Ultrastudio 3g to feed my display. I find that a little strange as well. If my display is calibrated for Rec709 2.4 then why would I feed rec709(scene)?
Hey Jim, thanks for the clarification and correction! Always appreciate it. Yes, you are so right - I should have noted the timeline setting in project manager is essential to change if you were to actually work in ‘Log C’. I brushed over it to get to the DWG CST which is where I would normally work. Appreciate the note 👍
Great explanation sir! Do you have a follow up video that explains how to work with the clips from different cameras, in order to obtain a similar look? For example, I record myself playing from different angles with different cameras (two iPhones from different eras and a Sony). Which is the proper way to make the clips look as homogenous as possible? I don't need to be perfect. Just enough similar to not disturb the viewer.
I have just discovered you, having swapped from FCPX to Davinci Resolve Studio, and great clear Videos. For this one, I have one question. I understand the Node tree order and what you are doing, but if I was to add a Node for Exposure, another for WB, another for Creative etc etc, do I put those behind the Working Space node you have in the middle ie: Between the Working space Node and the final CST to convert everything back to REC709, or do I put them before? I am assuming they go between the middle Node you have, and the last Node? If you could confirm, I would appreciate it, as I don't want to start implementing this incorrectly across my Projects. Great Video and thanks !
Hi Paul, yes that’s correct you would place your corrections after the transform to Davinci Wide Gamut so your adjustments sit ‘inside’ the working colour space. If you place them before that CST you are then applying your adjustments to your RAW footage which changes from camera to camera. Hope that helps.
@@JoshuaKirkNZ perfect thanks !! I’ll follow this from now on and thanks again for the prompt response !!
Can i ask the output what if its for a DCI export for festival screenings, or just general viewing but not online what output would i use as REC709 if its not for online viewing and a feature film being screened at a festival or just screening else where what output setting would i use? I've always seen people that do youtube tutorials automatically go to REC709 but ive always wondered what about none online output settings? For example at the moment i am using for a huge short film shot on the Mini Ursa 12K i'm using
DaVinci YRGB Colour Managed in the colour science with
SDR P3 D60 Cinema as my colour processing mode and
P3 D65 (scene) as my output colour space as i know this is going to festivals and cinema screen's.
I have checked on my commercial TV Sony Bravia 55inch in relation to my grading reference monitor to make of not sure and it all comes out perfectly so i'm wondering why these are not explored in tutorials and why i see so many tutorials that have the auto go to REC709. As much ads i am questioning it this is great video. Many Thanks
great explanation, thanks for making and sharing
Super well explained!
Thanks!
if your timeline is set to Rec709 in the master settings would the CST LogC to DWG cause the controls you are working with to apply Rec709 corrections to DWG footage giving you incorrect controls?
I have to ask. Since ari log is a representation of the entire visible spectrum captured by a sensor, then when it (or anything else) is displayed on a computer monitor, It's rec 709 automatically. Not calibrated correctly but still rec709 ? As that's all the monitor can display.
Question if certain cameras don’t appear in your input colour space where online do you download them from? I can’t seem to find anyone about this.
On my Davinci studio I’m missing certain arri cameras and others I shot on but don’t know where to download and install that specific colour management profile.
Hi Joshua, thanks for the video. I have a doubt. Can you make a video to explain what is tone mapping and gamut mapping and is it important to understand those? Thanks!
Joshua, thanks for an easy, straight-to-the-point explanation of color spaces in Resolve. One question: how does all this change (if it does) if "color science" in project settings in changed to "DaVinci YRGB Color Managed"?
The colour science in project settings is a global setting for how Davinci is going to use colour management. The 'YRGB color managed' changes the way you manage colour throughout your project - instead of using CSTs on your nodes. That setting essentially gives Resolve the reigns to manage the colour transforms for your footage itself and then when you colour grade you are colour grading inside the timeline colour space your set.
Hello, what Color space transform you use for gopro footage?
Great explanations!. Many Thanks!
How do you select the output gamma? 2.2 , 2.4 or 2.6? What does this depend on?
if you using nodes for noise reduction or effects such as halation, which should happen before the CST (please correct me if I am wrong)
How can you do that, when you are working in the DV color managed science?
Or do you get the same results with these effects after the CST working in DWG/intermidiate?
I'm not sure if noise reduction and halation need to be added before CST? I haven't had any issues inside a colour managed workflow. Some plugins aren't designed for a DWG working colour space so that is something to watch out for.
What are your thoughts on using output color space as Rec 709 and then output gamma as Rec. 709-A instead of just Gamma 2.4 for those working on Macbook Pros? I find that this output gamma is the only one that matches my timeline after export. When I use regular Gamma 2.4 everything gets washed out, which makes all of my coloring almost pointless.
Yeah definitely. I would change the output to 709-A on export but keep grading in a Gamma 2.4 environment.
Yes same here!
6:20 did you mean clips from multiple cameras ? Everything super clear on this video , just wasn’t sure what you meant here. Thanks for this tut - another easy-to-watch video.
Yeah that's right - multiple clips from multiple cameras.
wow brilliant
Cheers!
You are a good guy! Didn made this difficult😂
if you working on a mac ive seen some set the output to rec709 type a whats the difference with 2.4 as i noticed you are also editing on apple eco system
Rec709-A is a tag that helps colour accuracy when viewing your videos on Quicktime.
@@JoshuaKirkNZ would suggest delivering final deliverables in gamma 2.4 or 709-a?
@@blueprintstech5638 Yes I used Rec-709-A for my final deliverables on Frame.io or for the client to download.
Great video. I did some tests in "DaVInci YRGB" non color managed project settings and was wondering if it is important to change the "Timeline Color Space". It is set automatically to "rec709 (scene). But when I work with Arri Footage, I set it to LogC. if I work in DWG (CST Sandwich) I set it also to DWG. But I noticed that it doesn't really matter if I set my "timeline color space" to Rec709 scene, LogC or DWG. When I use CST (No matter if LogC or DWG) the grading tools inside DaVinci always feel the same. And most important: The footage also looks the same. No matter what I select in "timeline color space". I read the manual, but I am still confused about the "timeline color space" settings and if it has any effect at all when using CST sandwich.
Don't know why Resolve defaults to rec709( scene) I can't imagine any time where anyone would want rec709(scene) or what would be a reason to choose it. The timeline color space in the project settings are just setting a default - anytime you place a CST it overrides the choice in the project settings.
Thanks Jim, that has been my experience. Why do you think that (scene) is Davinci's default? Seems like they would have a reason, or at least understand most users don't want it 99% of the time.
@@JoshuaKirkNZ I still don't know why - I have discussed this with Daria Fissoun and she talked to the engineers. Even though she told me - it didn't make sense. My only guess would be that they think if it is not color managed through Resolve, or ACEs, etc. then they think that you want to grade display referred. Which would include adding your own gamma curves to taste.
And to actually pull that off you would want the camera colorspace and gamma to start ( i.e. Rec709( scene)). But I think making it the default when you switch from color managed to non color managed in project settings, might be confusing to new users who don't understand what rec709( scene ) is and think that is the place to start.
Resolve does things like that without explanation - sometimes, like when using stabilization, the first choice on the dropdown menu is the not the default best option, or a fast, better, best choice - it's simply alphabetical.
Tools like the HDR Palette and the Color Warper are going to default to that Timeline Color Space!
Thank you so much. Great tutorial.
everything was on spot thanks a milion !
In either of the two working modes, both in the project settings and using the cst nodes at the input and output, how should I apply the luts that need a Cineon input?
Thank you for your videos!!
You can use a CST (Color Space Transform) before the Cineon Lut to convert whatever colour space is before into Cineon. For example if you are inside a DWG working colour space - the CST would convert from that into Cineon. It sounds like that Lut will probably give you a Rec-709 output so youll need to convert it back to DWG with another CST. Best practice would be to start using Luts designed for a DWG to DWG workflow - It will make life much easier.
I want to use a node CST structure from camera to DWG and back to 709 at the end. When I add a serial node between the CST nodes my view changes to the node I'm working on. I can get it to look good but it excludes the CST node back to 709. Is this a setting I have wrong? Hopefully that makes sense. Basically the only way it works is if I grade in my final CST node.
Clearly explained! Thanks, Joshua. What's the difference using rec709 vs rec709-a as OCS?
Thanks for watching! Rec709-A is designed primarily to be a tag that Apple Quicktime interprets correctly.
How do i know what my footage is shot with, i use a Gopro with Flat profile and Wide Gammut colorspace with Gopro Labs.
Hi, thanks for sharing the knowledge. I have one question... If I use colour management WITHOUT NODES (the second way) and I want to use a LUT made for 709. Does it work properly? I mean, in the timeline, I am working in davinci intermediate, and the LUT is for 709. Thanks.
It won't work directly in the timeline. What you can do to get around it in some use cases is sandwich it between 2x CSTs (colour Space Transform nodes) that take DWG to REC709 then use your LUT, then another CST from Rec709 back to DWG.
@Joshua Kirk yeah, It is the solution I found after some trials. Thanks.
Very nice. Excellent. Actually, best I’ve seen o/o/all the colorists on YT. BTW, I noticed in another video of yours that you use Film Convert. Question: Since FC is non-DWG, do you use FC post CST DWG>Rec709 node?Do you apply when the pipeline has narrowed back to Rec709 space? Thanks!
Yeah good question. I only really use film convert for the grain and it seems to operate fine inside DWG. Film Convert relies mostly on camera packs to convert camera original into rec-709 with the film stock emulation, so the workflow is quite different. But, yes you could add it post a DWG>709 CST as the final stage. It wouldn't work if you are colour managing at a timeline / global level.
@@JoshuaKirkNZ Thanks. Yeah, I’d let Nitrate fall by the wayside since adopting DWG and had been using essentially only tools under the DR hood. However, after I queried my idea, I tried/saw that it worked but that was at the clip level. I’m glad you mentioned that it wouldn’t at the global/TL level because I do recall piping it in globally to no avail when I was first becoming familiar w/DWG. Thanks so much!
this is what i need ,
Great!
Thank you for your video! Im wondering how you would set up the color transform for a footage fillmed with an iPhone 14 pro, which screen has a DCI-P3 color space?
On your colour space transform select Rec.2020 as the inout color space, and Rec 2100 HLG as the inout Gamma.
🙏@@JoshuaKirkNZ
And I have a monitor with sRGB, Rec709 and DCI-P3 color profiles. Could you please tell me which of these profiles and when it should be used? Thank you.
Can you do one video about explaining about how to deliver for cinema, for p3 , and how to convert your rec 709 to HDR if you want that option for delivery.
best one so far!!
Cheers!
One odd question, when a new node was created underneath the OG node remained "01" while the node now in front of it is "02"...but when I create that second node it automatically makes it "01" and the OG becomes "02"...why is that happening, and does it really matter? Thanks!
Amazing video ! I just have 2 questions. 1) if you want to put some noise reduction, it should be before or after the LOGDWG ? 2) if we want to add an final LUT, it should before or after the DWG709 ?
If you are using the CSTs there isn't a right or wrong way to apply the luts. What you'll discover is some luts are designed to be given Rec709 and others are designed for Davinci WG. If you put a DWG Lut after the DWG709 it won't do a lot and like wise your rec709 luts won't act properly in the DWG working colour space. I use some luts from Cullen Kelly that work lovely inside a DWG working colour space. In terms of Noise reduction you can add this inside the DWG working space no problem (that is essentially what you are doing anyway if you are using the Global colour management) Let me know if you have any other Q's
@@JoshuaKirkNZ thanks for your answer !