This video should be recommended for all new colorists and even not so new ones, given how many times I hear absurd statements about incorrect color management or even the dreadful "I don't need Color management, I prefer to do it manually" x) Awesome video, as always !
I am consistently blown away by the quality of your instruction and the energy and expertise you bring to every one of these videos. Thanks again, Cullen.
This video is a lifesaver! I've been dabbling with color grading and even incorrectly using the automatic Davinci Color Management feature. Colors never looked right on my monitor. I would have to remote monitor onto an old iPhone to see proper 1000 nits HLG. I'm only half way through this video, and it's already corrected so many misunderstandings that I had. Thank you for this!
Correction at 48:19 - The ACES 1.x DRT when set to "sRGB" does not use a "2.2 Gamma" display encoding, it uses the piecewise sRGB OETF. This is why the blacks look super crushed in the resulting image on screen. This is a common source of consternation so I thought I would point it out here in case anyone wonders about that.
That's correct - it was closer to 2.2 than BT709 broadcast - so a lot of people just kind of round it off since the CRT was being grandfathered out. Not too many left.
Thank you thank you thank you for going through this again. I’m beginner-intermediate and I think I’ll be at that level for awhile just trying to keep up. A full overview periodically is necessary and I’m pleased that you’re not selling this class coz it easily could be a pay class.
Sadly I was not able to watch the Live Stream, however I am ploughing my way through this almost two hour behemoth of a tutorial. I am very sure that this will become a go-to staple of Colour Management. To help this become a really good reference source of material, is there any way in the future for you to create chapters as you progress through the discussion? That way people can dip in and out, over the years learning or refreshing their memories of specific parts of the colour management process rather than having to sit through or try and scrub through the episode in the hope that they stumble on what they need. Dipping in and out of bite sized chunks will keep this episode relevant and hopefully the first point of contact as a source of reference over the coming years.
@@CullenKelly This episode will help me to follow your 18% gray episode because I now understand what and how the pre/clip/post/timeline parts are in the pipeline. Now if I'd just stuck with Windows Vista Movie Maker then I would never have fallen down the Resolve Colour Correction/Grading rabbit hole. I blame you, Alex, Casey and Darren for wasting years of my life when I could have been doing something productive like playing Candy Crush.🤣😂 Cheer
I've tried to set all the same way with gamma 2.2, but the output is much brighter than what resolve shows. If I want to publish the videos on youtube is the best way to setup the outer color space to rec709-a or someone found something better?
Once again, it was a great tutorial, and I am thankful for spreading knowledge. At 40:25, Cullen drops the Grayscale Ramp Powergrade in a Timeline node. I noticed in his Waveform Scope he has the Curve as well. I have downloaded the DCTL and followed the instructions in the zip file, but I cannot get the Curve in the Waveform Scope at the time. I know I am missing something. Could someone point me to where I can find help utilizing the tool? Thank you
hi mate! just subbed! i have a question regarding my dji pocket 3 dlog -m footages. ive understsood that it is not log and it is actually rec709. what would be the best in- cst and out-cst .... ive played around using these setttings for in-CST rec709 and rec 709 as input color space and gamma and dwg and di for output then for out-CST dwg and di for input color space and gamma and then rec709 and rec709-a for output. im playing around using the option 'use timeline' as input as well. im struggle to know which setting is the best to use ?. thank you!
Thank you @Cullen Kelly for sharing your knowledge! I'm working in DaVinci WG Timeline colorspace like you describe in the first part of the video. What do I do with imported graphics to make them look correct? They're psd (I presume they're sRGB) and I can figure I need to apply a CST, but where and what are the parameters?
For imported graphics or any Rec709/sRGB source, I'd create a dedicated group and do a Group Pre-Clip CST with your Input Color Space set to Rec709 and Input Gamma set to Gamma 2.4 or Gamma 2.2. Hope this helps!
I have a question about Timestamp 26:42 "Use custom max output = 100 nits" My domestic consumer display has a gamma of 2.2 and a max brightness of 400 nits. If I follow the advice at Timestamp 26:42, I get a terrible waveform that does not play nicely. However if I change the input CST and output CST to have a max output Nits equal my display monitor of 400 nits then the waveform plays nicely and I have a more pleasing image. Am I doing something wrong by inputting the value of "100 nits" as your tutorial or should I actually look up the max brightness of my display monitor and use that figure of "400 nits"? EDIT Do I put these figures into both CST's or just the CST that goes from a DWG into Rec 709?
This is not accurate. SDR displays are relative, which means that 100 nits doesn't really mean 100 nits but maximum capacity of that device (100 is the standard, but this varies depending on the monitor, yours might be 400 for example) unlike in HDR where you actually target a specific nit value. If you see your waveform not reaching maximum capacity when transforming to REC709 I'd check the settings in both the input color space transform and the out CST, probably you're setting something that is not quite right in the luminance mapping settings!
I see that you are using group pre-clip for the input transform and timeline for the output transform instead of group post-clip. Any reason to that practice? thanks
Great video!. I'm curious , when you set Out DRT to Luminance Mapping, why is that? Because it has a hue shift compare to Davinci (the default option) So I wonder why that decision. Mainly because is very clear that shift and you make that decision. Thanks
Color space and gamma depend on the source camera. Do you know what camera the footage came from? Any particular reason you're outputting to HDR? Properly monitoring HDR content is quite a headache without the right equipment.
Wow! More color management again eh, there’s a lot to go through but is it not something that people understand? Kinda thought it was easy?… but in this video I still learned some things, it’s great. Thanks cullen
I wonder where to put the LUT (2383) when working node color managed? After the ->DWG node in the group pre-clip tab, first in the clip, in the post-clip or before the ->709 node in timeline? First I did option one in the group pre-clip tab and then I tried the other options. Ended up with different results every time.
This video should be recommended for all new colorists and even not so new ones, given how many times I hear absurd statements about incorrect color management or even the dreadful "I don't need Color management, I prefer to do it manually" x) Awesome video, as always !
I am consistently blown away by the quality of your instruction and the energy and expertise you bring to every one of these videos. Thanks again, Cullen.
I am 17 minutes in and have learned so much.
This video is a lifesaver! I've been dabbling with color grading and even incorrectly using the automatic Davinci Color Management feature. Colors never looked right on my monitor. I would have to remote monitor onto an old iPhone to see proper 1000 nits HLG. I'm only half way through this video, and it's already corrected so many misunderstandings that I had. Thank you for this!
Correction at 48:19 - The ACES 1.x DRT when set to "sRGB" does not use a "2.2 Gamma" display encoding, it uses the piecewise sRGB OETF. This is why the blacks look super crushed in the resulting image on screen. This is a common source of consternation so I thought I would point it out here in case anyone wonders about that.
That's correct - it was closer to 2.2 than BT709 broadcast - so a lot of people just kind of round it off since the CRT was being grandfathered out. Not too many left.
Thank you thank you thank you for going through this again. I’m beginner-intermediate and I think I’ll be at that level for awhile just trying to keep up. A full overview periodically is necessary and I’m pleased that you’re not selling this class coz it easily could be a pay class.
How is this teaching/knowledge free??? Thank you Cullen Kelly for teaching those of us who also like to “geek out” on color grading.
Almost 2 hours??? Never been more excited
Always a pleasure. Thank you guys for these lives
added to watch again and again and again
This is solid gold. Thank you!
Awesome, thanks!
Sadly I was not able to watch the Live Stream, however I am ploughing my way through this almost two hour behemoth of a tutorial.
I am very sure that this will become a go-to staple of Colour Management. To help this become a really good reference source of material, is there any way in the future for you to create chapters as you progress through the discussion?
That way people can dip in and out, over the years learning or refreshing their memories of specific parts of the colour management process rather than having to sit through or try and scrub through the episode in the hope that they stumble on what they need.
Dipping in and out of bite sized chunks will keep this episode relevant and hopefully the first point of contact as a source of reference over the coming years.
Yep - we'll have timestamps up soon! You can expect them after every livestream.
@@CullenKelly This episode will help me to follow your 18% gray episode because I now understand what and how the pre/clip/post/timeline parts are in the pipeline.
Now if I'd just stuck with Windows Vista Movie Maker then I would never have fallen down the Resolve Colour Correction/Grading rabbit hole. I blame you, Alex, Casey and Darren for wasting years of my life when I could have been doing something productive like playing Candy Crush.🤣😂
Cheer
I've tried to set all the same way with gamma 2.2, but the output is much brighter than what resolve shows. If I want to publish the videos on youtube is the best way to setup the outer color space to rec709-a or someone found something better?
Awesome stuff as always!
Once again, it was a great tutorial, and I am thankful for spreading knowledge.
At 40:25, Cullen drops the Grayscale Ramp Powergrade in a Timeline node. I noticed in his Waveform Scope he has the Curve as well. I have downloaded the DCTL and followed the instructions in the zip file, but I cannot get the Curve in the Waveform Scope at the time.
I know I am missing something. Could someone point me to where I can find help utilizing the tool?
Thank you
hi mate! just subbed! i have a question regarding my dji pocket 3 dlog -m footages. ive understsood that it is not log and it is actually rec709. what would be the best in- cst and out-cst .... ive played around using these setttings for in-CST rec709 and rec 709 as input color space and gamma and dwg and di for output then for out-CST dwg and di for input color space and gamma and then rec709 and rec709-a for output. im playing around using the option 'use timeline' as input as well. im struggle to know which setting is the best to use ?. thank you!
Thank you @Cullen Kelly for sharing your knowledge! I'm working in DaVinci WG Timeline colorspace like you describe in the first part of the video. What do I do with imported graphics to make them look correct? They're psd (I presume they're sRGB) and I can figure I need to apply a CST, but where and what are the parameters?
For imported graphics or any Rec709/sRGB source, I'd create a dedicated group and do a Group Pre-Clip CST with your Input Color Space set to Rec709 and Input Gamma set to Gamma 2.4 or Gamma 2.2. Hope this helps!
I have a question about Timestamp 26:42 "Use custom max output = 100 nits"
My domestic consumer display has a gamma of 2.2 and a max brightness of 400 nits. If I follow the advice at Timestamp 26:42, I get a terrible waveform that does not play nicely. However if I change the input CST and output CST to have a max output Nits equal my display monitor of 400 nits then the waveform plays nicely and I have a more pleasing image.
Am I doing something wrong by inputting the value of "100 nits" as your tutorial or should I actually look up the max brightness of my display monitor and use that figure of "400 nits"?
EDIT
Do I put these figures into both CST's or just the CST that goes from a DWG into Rec 709?
This is not accurate. SDR displays are relative, which means that 100 nits doesn't really mean 100 nits but maximum capacity of that device (100 is the standard, but this varies depending on the monitor, yours might be 400 for example) unlike in HDR where you actually target a specific nit value.
If you see your waveform not reaching maximum capacity when transforming to REC709 I'd check the settings in both the input color space transform and the out CST, probably you're setting something that is not quite right in the luminance mapping settings!
I see that you are using group pre-clip for the input transform and timeline for the output transform instead of group post-clip. Any reason to that practice? thanks
Great video!. I'm curious , when you set Out DRT to Luminance Mapping, why is that? Because it has a hue shift compare to Davinci (the default option) So I wonder why that decision. Mainly because is very clear that shift and you make that decision. Thanks
Where would we find the cheat sheet you mentioned?
❓ What should be input color space and gamma settings for cinema dngs? And how to output them into HDR video? If anyone can help.
Tried input Blackmagic design and gamma Linear whereas output was set to Rec2020 gamma Arri hlg but getting color artifacts in hot areas.
Color space and gamma depend on the source camera. Do you know what camera the footage came from?
Any particular reason you're outputting to HDR? Properly monitoring HDR content is quite a headache without the right equipment.
Wow! More color management again eh, there’s a lot to go through but is it not something that people understand? Kinda thought it was easy?… but in this video I still learned some things, it’s great. Thanks cullen
I wonder where to put the LUT (2383) when working node color managed? After the ->DWG node in the group pre-clip tab, first in the clip, in the post-clip or before the ->709 node in timeline?
First I did option one in the group pre-clip tab and then I tried the other options. Ended up with different results every time.