Thank you for watching my tutorial! If you found it helpful, please give it a thumbs up and subscribe for more content like this. Have any questions or topics you want me to cover in future videos? Leave a comment below, and I'll be sure to address them. Let's create something amazing together!
That was brilliant, you are the man. I’m new to colour grading but I managed to keep pace with what you showed. I’ve just subscribed and hit the light button and if you ever get time, it would be interesting to have a cheat sheet of your no tree and why and what each is used for with a screenshot example. I know that’s cheeky, but that really was one of the best video I’ve seen on how to create a film look and as I use Dehanca, I was also impressed And learned something new about you having separate different notes for different areas of the answer rather than trying to do it all in one. Is there a reason for that?
@@Coatsey007 Thank you so much for your kind words and for subscribing! I’m thrilled to hear that you found the video helpful and that you learned something new-especially when it comes to using separate nodes for different aspects of the grade. There’s definitely a reason for that approach. By separating the grade into different nodes, it allows for more control and flexibility, especially when it comes to making adjustments later on. Each node can be dedicated to a specific task (like exposure, color balance, or applying a specific look), which makes it easier to fine-tune without affecting other parts of the grade.
Got a question Ilker, what are the sequence settings when working with BRAW material?, I'm just starting with Davinci and I've filmed with the BMPCC 6K G2, film 5 generation in 6K but I'm failing right at the beginning with the color settings. Any advice?
Hi! Since you're working with BRAW, consider using Blackmagic Design's own color science. Go to ‘Color Management’ in the project settings and under 'Color Science', select 'DaVinci YRGB Color Managed.' Then you can unselect 'automatic color management.' For the color processing mode, go for custom, and for input color space you can select 'Blackmagic Design Film Gen 5' and for timeline color space I would choose 'Rec 709 Gamma 2.4' I hope this helps and gives you some good results
@@o0OmrmusicO0o hi thanks, I am planning to focus on different features of Davinci Resolve exclusively in the coming weeks, and film look designer is one of them.
@@o0OmrmusicO0o In the meantime, I recommend you checking my latest tutorial. I show how to add Kodak 2383 film look, halation and bloom without using Dehancer Pro. th-cam.com/video/Y102S_MuGL4/w-d-xo.htmlsi=Q8Rpq6hmvg4k9gib
@@guylain.caudron I only use LUTs that I know do not ruin the mid-grey, and Cullen Kelly’s LUTs is one of them. And they go well with my workflow. I use separate nodes for halation/bloom so I can toggle off and on to check how they affect the image separately
I’m planning to compile some practice footage (all non-copyrighted) and will share it with you in the coming weeks so you can follow along with the tutorial. Stay tuned for more! 🎬✨
Nice pace of video. What were your project settings for color management since you’re doing CSTs? I know you’re working with R3D files but I’m curious to the CM settings
Great question. Here is my project settings: Color Science: Davinci YRGB Use separate color space and gamma (unchecked) Timeline color space: Davinci WG/Intermediate Output Color Space: Rec. 709 Gamma 2.4 Hope this helps!
@@aerowsbhx Thank you for your question! You’re correct that Rec 709 is a standard for SDR (Standard Dynamic Range) content and typically adheres to a 100 IRE limit for brightness levels, which corresponds to around 100 nits. However, setting a max value of 10,000 nits in DaVinci Resolve can still be useful for a few reasons. Firstly, it helps future-proof my work. By setting the max nits higher, I ensure that my project is ready for potential repurposing or regrading for HDR (High Dynamic Range) in the future, making the transition smoother. Secondly, using a higher max nits value provides more precision when working with highlights and fine details in the grading process, allowing for greater flexibility and control over the image, even if the final output is limited to Rec 709 standards. Additionally, maintaining consistency across different displays, some of which might be HDR capable, can be achieved with higher nits settings. This also helps manage and control certain highlights that might exceed the typical 100 nits within SDR, such as reflections or bright light sources, without clipping. Overall, having a higher nits ceiling allows me to better manage and prevent clipping in the highlights, ensuring a more natural and visually appealing result. I hope this clarifies why I choose to use a higher nits value, even within the Rec 709 color space. It’s all about flexibility, precision, and future-proofing the work. Thank you for your interest and for watching the tutorial!
@@Rob_eight10media Thank you for your question! I primarily use my own custom powergrades, so I haven’t had the chance to personally test CinePrint35 powergrades. Because of this, I don’t think it would be fair for me to make any specific comments on them. However, I’ve heard some good things about them in the community. If you decide to try them out, I’d love to hear your thoughts! Feel free to share your experience. Happy grading!
![Watch these 25 mins to FULLY Understand Color Management [Beginners Guide]](/img/n.gif)
Thank you for watching my tutorial! If you found it helpful, please give it a thumbs up and subscribe for more content like this. Have any questions or topics you want me to cover in future videos? Leave a comment below, and I'll be sure to address them. Let's create something amazing together!
Thank you for your work!
@@HalloFilmz 🙏
Dude learned so much in these 8 Minutes, Thanks!
Glad to hear that 👍
@@Jona 🙏❤️
That was brilliant, you are the man. I’m new to colour grading but I managed to keep pace with what you showed. I’ve just subscribed and hit the light button and if you ever get time, it would be interesting to have a cheat sheet of your no tree and why and what each is used for with a screenshot example. I know that’s cheeky, but that really was one of the best video I’ve seen on how to create a film look and as I use Dehanca, I was also impressed And learned something new about you having separate different notes for different areas of the answer rather than trying to do it all in one. Is there a reason for that?
@@Coatsey007 Thank you so much for your kind words and for subscribing! I’m thrilled to hear that you found the video helpful and that you learned something new-especially when it comes to using separate nodes for different aspects of the grade. There’s definitely a reason for that approach. By separating the grade into different nodes, it allows for more control and flexibility, especially when it comes to making adjustments later on. Each node can be dedicated to a specific task (like exposure, color balance, or applying a specific look), which makes it easier to fine-tune without affecting other parts of the grade.
Man, this is amazing. So glad I stumbled on your channel. You have a new sub. Thanks for sharing!
@@Tiggy137 thank you very much for the comment. Welcome! 😊
Love these and so easy to follow along ! Thank you 😊
@@neilfullframe 😊🙏❤️
Got a question Ilker, what are the sequence settings when working with BRAW material?, I'm just starting with Davinci and I've filmed with the BMPCC 6K G2, film 5 generation in 6K but I'm failing right at the beginning with the color settings. Any advice?
Hi! Since you're working with BRAW, consider using Blackmagic Design's own color science. Go to ‘Color Management’ in the project settings and under 'Color Science', select 'DaVinci YRGB Color Managed.'
Then you can unselect 'automatic color management.' For the color processing mode, go for custom, and for input color space you can select 'Blackmagic Design Film Gen 5' and for timeline color space I would choose 'Rec 709 Gamma 2.4'
I hope this helps and gives you some good results
Interesting video thanks for your work
Thank you, I am glad you enjoyed it
Thanks very much!
Inspiring work mate! New sub
Thank you so much for the support! I'm glad you enjoyed the work, and welcome to the community! 🎥✨
hi, could u create it with filmlook designer?
Thanks for your comment. I will try to focus on different tools in Davinci Resolve in the coming weeks.
@@o0OmrmusicO0o hi thanks, I am planning to focus on different features of Davinci Resolve exclusively in the coming weeks, and film look designer is one of them.
@@MediabeeProductions thx :-) looking forward for it! the dehancer plugin is very expensive
@@o0OmrmusicO0o In the meantime, I recommend you checking my latest tutorial. I show how to add Kodak 2383 film look, halation and bloom without using Dehancer Pro.
th-cam.com/video/Y102S_MuGL4/w-d-xo.htmlsi=Q8Rpq6hmvg4k9gib
Hi, great video. Can I ask why you used an external LUT instead of the built-in film prints in Dehancer? And why did you double the Dehancer nodes?
@@guylain.caudron I only use LUTs that I know do not ruin the mid-grey, and Cullen Kelly’s LUTs is one of them. And they go well with my workflow.
I use separate nodes for halation/bloom so I can toggle off and on to check how they affect the image separately
Where do I find Cullen Kelly’s luts?
@@PeacefulMoments1844 procolor.ist/voyager-lut-pack/
Where to get this footage for practice?
@@breveganlyfe you can download it from artgrid.io
İt is by Stockbusters as far as I remember.
It's better if you give footage so we can practice along with tutorial
I’m planning to compile some practice footage (all non-copyrighted) and will share it with you in the coming weeks so you can follow along with the tutorial. Stay tuned for more! 🎬✨
@@MediabeeProductions thank you! You heard
Great tutorial! thank you, can you please share links to the luts and dctls? many thanks
@@HysteriaProds hi, thanks. Here are the links:
procolor.ist/voyager-lut-pack/
mononodes.com/dctls/
Nice pace of video. What were your project settings for color management since you’re doing CSTs? I know you’re working with R3D files but I’m curious to the CM settings
Great question. Here is my project settings:
Color Science: Davinci YRGB
Use separate color space and gamma (unchecked)
Timeline color space: Davinci WG/Intermediate
Output Color Space: Rec. 709 Gamma 2.4
Hope this helps!
@@MediabeeProductions yes it did thanks!
@@Yvesphotoandfilm you are welcome!
Сам себя не похвалишь - никто не похвалит...
how to get dehancer pro 7.2.0
@@Viewfinder_photography www.dehancer.com
1:32 May I ask why you set 10,000 nits on REC709? Since this is SDR it is not HDR so there is nothing beyond 100 IRE. Thank you.
@@aerowsbhx Thank you for your question! You’re correct that Rec 709 is a standard for SDR (Standard Dynamic Range) content and typically adheres to a 100 IRE limit for brightness levels, which corresponds to around 100 nits. However, setting a max value of 10,000 nits in DaVinci Resolve can still be useful for a few reasons. Firstly, it helps future-proof my work. By setting the max nits higher, I ensure that my project is ready for potential repurposing or regrading for HDR (High Dynamic Range) in the future, making the transition smoother. Secondly, using a higher max nits value provides more precision when working with highlights and fine details in the grading process, allowing for greater flexibility and control over the image, even if the final output is limited to Rec 709 standards. Additionally, maintaining consistency across different displays, some of which might be HDR capable, can be achieved with higher nits settings. This also helps manage and control certain highlights that might exceed the typical 100 nits within SDR, such as reflections or bright light sources, without clipping. Overall, having a higher nits ceiling allows me to better manage and prevent clipping in the highlights, ensuring a more natural and visually appealing result. I hope this clarifies why I choose to use a higher nits value, even within the Rec 709 color space. It’s all about flexibility, precision, and future-proofing the work. Thank you for your interest and for watching the tutorial!
@@MediabeeProductions Then I'm looking forward to seeing your A Step-by-Step HDR Color grading 🙏😁
@@aerowsbhx ☺️🙏
make more videos like this
@@cineaman9904 🙏
Great tute!.. I would love to know your thoughts on the CinePrint35 Powergrades.. thanks 🙂
@@Rob_eight10media Thank you for your question! I primarily use my own custom powergrades, so I haven’t had the chance to personally test CinePrint35 powergrades. Because of this, I don’t think it would be fair for me to make any specific comments on them. However, I’ve heard some good things about them in the community. If you decide to try them out, I’d love to hear your thoughts! Feel free to share your experience. Happy grading!
@@MediabeeProductions ok.. yes I understand ..cheers thanks
@@Rob_eight10media you are welcome
Pleas send me this lut
@@h_elghaouti here you can find it: procolor.ist/voyager-lut-pack/