Turn your Apple monitor into a color accurate display in DaVinci Resolve
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- เผยแพร่เมื่อ 10 ก.ย. 2024
- Here's a simple workflow and a new tool to use your Apple display as a trustworthy reference monitor.
Grab the macOS Viewing Transform from the video to unlock your Apple display:
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*IMPORTANT NOTE*: This video will NOT provide a fix for the "gamma shift" problem of images looking different after export than they did while grading. This is a separate issue from getting an accurate image during the grading process, and one we'll cover in more detail soon!
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as I see in a comments, we definitely need more information about gamma shift issue and 709-A tag. thank you, Cullen.
and apple studio displays, there's almost nothing
So I have a M2 MacBook Pro and for some reason I always thought the colors drift way too much after exporting in Davinci. I thought it needed calibration, but this video has one-handedly solved 95% of my issues. Cullen, I can not thank you enough for this video.
You got it!
You've upgraded my grading so much with your careful explanations. If there is one thing I could hope for, it's a deep dive on Davinci export settings!
Thank you!!!
Mate. I've been tearing my hair out trying to solve that gamma shift on export on my Mac. This fixed it, well explained. Legend
This right here saved me HOURS of frustrating work trying to just get the right baseline from which to start grading!!! THANK YOU SO MUCH!!!!
Can't tell you how much this helps!. Been researching this for a week now and so glad I caught this on your channel.
Just so people know the LG display used by Apple is very good, but the white point is at a weird spot and the entire colour gamut is shifted away from P3 standard toward the green end I believe. The display has ~95% DCI P3 coverage (When Apple say P3, they mean to their own P3 standard). It's a great screen, but the C3 and newer LG panels are more accurate and also a lot brighter (you can get them up to ~850 nits) so you could feasibly do the low-end of hdr grading on those. BUT in all of these cases, please create a colour profile for your monitor using a sensor, also you will want to redo this at least once every two months at least in the beginning to see if there is any shift.
It’s kind of miracle for me. I’ve been working on one project for two weeks and carefully following your tutorials. Finally I did achieve the results that I wanted. But yesterday I found new issue. After exporting my project I found it darker which I didn’t like it ( I’m never had this problem before on my iMac)
I’ve spent the whole day yesterday till late night trying to find out how to solve this problem. I did lost my sleep over night, because this Saturday is the deadline for the project.
To my surprise, when I opened TH-cam this morning to continue searching for the videos on how to resolve this issue, your video was first one on my homepage page in recommendations.
I’m hoping it will help me to finish my project on time. 😊
Until this video, I used to set my timeline to Rec.709 (scene) and my output to Rec.709-A, when using my Macbook Pro screen for grading Rec.709 footage.
But Cullen is using Rec.709 2.2 for output, and feeding his custom LUT with a Rec.709 2.2 input (using the second CST node before the custom LUT).
So, given that I follow the exact steps shown in the video, should I stop using Rec.709-A altogether?
Cullen this by far the best video I’ve watched, regarding this topic. As per usual, well explained and easy to understand. Thanks a ton 🙏🏼
So glad to hear it, thanks!
lol suggestion for next video: how to calibrate a monitor and create a 3d lut with DisplayCal.
This could be very useful for many starting out and wanting to get serius about grading :)
I feel like a video like this for the new QD-OLED monitors would be amazingly helpful since they're going to be insanely color accurate looking at the specs, but the same issues you're solving here is needed
This video (and the free LUT) really saved my butt. Thank you!!!
Is it safe to infer then that I need to calibrate my iMac display *not* as 2.4 but rather *2.2* for a truly realized image-- even if output in DaVinch is gamma 2.4?
What’s a budget friendly reference monitor you can recommend? Sorry if you’ve covered this already!
Any Asus ProArt that goes beyond 500nits (for HDR), would be a good choice. To my knowledge, they all supports 3D LUT box build in, so that you don't have to rely on ICC color profiles.
You're a mind reader! I was looking into this very question 24 hours ago! Thank you so very much
Same as me 😊I’m even contacted Davinci Resolve support. Waiting for a reply from them.
i tried it, and it works :D.. i usually use rec709-A as my output instead of gamma 2.4.. but now i can confidently use gamma 2.4 as my output.
but in this he talks about putting gamma 2.2. Have u tried it?
in mac settings on macbook pro there is only colour profile which I have set to colour lcd, should we change this to display p3 or image p3 or ?
use the default one. Then you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That way you get a consistent result across both DVR and quicktime.
@@Rogeras32 yes, that is what I did earlier
One question, wouldn't it be better to insert this LUT in the project settings as a PREVIEW LUT, which will only influence the visualization but will not be applied in the export, instead of going back to all the clips and deactivating the LUT?
I would love to see you do a video talking more about options for monitors and reference displays whether it be Ezios, LGC3 or Sony BVMs. A "guest engineer" to talk with you would be awesome.
Cullen, it looks like this is one of your most viewed videos, yet I feel like this video left many of us hanging for a follow-up video. Any plans to release more info in an attempt to solve this issue?
This is what I've needed FOREVER since getting a studio display, thank you! You're really almost the only one I can find on this.
I literally asked you for this in a comment on your last video! You're so awesome. Thank you so much Cullen!!!! 😭😭
Thanks for this Cullen - My M1 MBP gives me Apple XDR Display (P3-1600 nits) Apple Display (P3-500 nits) options - which one would work better ? And should Automatically adjust brightness be switched on or off?
So awesome! Thank you very much Cullen, this workflow is pretty straightforward, the explanation quite clear, and I’m sure this will be much appreciated by the amateur color community.
Thank you so much! I've been wanting to find a solution for this for a long time! Your video was very helpful :D
Literally one of the best and most useful videos ever thank you so much
Glad it was helpful!
That's very helpful, I always end up when grading on my Macbook on the go, darkening the image cos off using the display incorrectly, but after this you just save me too much of rendering and testing out lol.
And ofcurse for my professional grading I always go with a trusty reference monitor in the grading room.
What if you select rec 709A as the output color space under color management instead of rec 709 gamma 2.4 Do you get a more accurate representation on a Mac? Do you use it in tangent with your gamma 2.2 method
It does seem like there should have been a big disclaimer on this video that states, “don’t bother doing any of this until the gamma shift solution is provided”
Without the gamma shift solution as an integral part of the strategies in this video, it becomes even more convoluted and confusing when you see a misaligned export.
Key information needed here is what tagging option we use for exports. I’m happy to sit and experiment for several hours to find the answer, but are all viewers eager to do the same?
I see your point, but as I mentioned in the video, we actually need to start with an accurate reproduction of the image, then worry about maintaining that accuracy following export. Otherwise we're just struggling to ensure consistently incorrect reproduction, which is much harder, and not terribly useful. That said, the gamma shift issue is of course vitally important! More content to come on this topic.
@@CullenKellyany update to the second series? I had assumed another video was soon to follow?
It would really be important to know what settings we should set while exporting the actual output files. Project settings? (2.2)? Rec709a when exporting a h264? I can not get an accurate reproduction of what I see in Resolve in a final QT file with this workflow. I DO get an accurate reproduction when I don't do any of this, don't use the lut but just grade regularly and when outputting convert to rec709a via a CST AND a Gamma Tag when I want to export an h264. When I export ProRes Rec709 I just ignore all of this and export without any 709a tagging etc.
should we set the output CST to 2.4 when we render a Prores? Or do we leave everything as is and export a prores with 2.2 gamma? This video is incomplete without those informations..
Yeah I'd really like a better dive into what the export settings need to be.
Bro thuis is Why you are the man!. Just followed all the steps om My iPad Air m1 . I just recently switched from My Windows machine and got so frustrated. But now my results are stunning my exports look identical just wanten to gave you a big thank you!!
So happy to hear that!
For PC I did this before for my mini home suite By bypassing Windows OS color management for my Eizo monitor and color mange it with rec709 ICC profile by targeting my Eizo monitor to rec709 2.4 and it works perfectly and it match my studio reference monitor with I/O box
Woah. What perfect timing.
Hey Cullen. In a DWG colour managed project, are we able to use this LUT at the timeline level on the colour page, that way not having to turn it off on each individual clip and just once in a single node? Thanks so much for the info and look forward to the Gamma shift issue video.
Great question! Yes you can!
This comment should really be higher...I was just trying to figure out if there's a way to not have to go through manually and disable every single node.
great video, many thanks! but why don't you just use that .lut as "video monitor lookup table" in the project settings? that way you don't have to manually adjust anything and just work and grade as you like, it would affect only the timeline viewer without affecting the exported video
Interesting. Just a thought could you not add the LUT to the Project settings /Colour Management/Video Monitor LUT then not have to worry about switching it off?
There’s just one way to find out I guess!
@@Visethelegendbump, in case the answer comes😉
@@sonidojamonSign me up for this info!
I wish this worked, but unfortunately it adds its own complications....happy to discuss further in Grade School!
Hey, could you also make a video about how to grade for cinema?
Do it in a projection room
Excellent work, Cullen!
Tried your workflow with the Lut placed on timeline (But in Rec709 2.4 to match with my OLED) and it seems to be slightly more accurate than using the Rec709-A tag as output colorspace. Good work! Output also looks identical in every color-managed player such as Quicktime, Optimus, Chrome etc.
You don't have to use Rec709-a as an output tag, to achieve 1-1-1 gamma tag you should put rec709 / rec709 , that way you don't need to worry about quicktime messing up your work with gamma shift. everything is far less complicated. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That's it.
@@Rogeras32 Do you use the built in HDTV BT709 display profile?
@@mattstahley6340 No, I always use the default Mac Display profile that comes straight out of the box. You don't have to squeeze your display output capabilities to get a decent picture with no gamma shift, you still won't get a properly calibrated gamma 2.4 if you change your display profile to whatever. So why bother :)
Do you mean at "Timeline level" (not Clip)?
Thanks Cullen. Any calibration tips/LUTs for colourist using Resolve on iPad Pro please? It’s hard to tell what P3 color space it’s defaulted to.
I would love to know this
Me too🥺
Hi Cullen. I've used this lut on a few projects. When exported, videos look great on apple products but show wayy too much saturation on products other than apple's. So I had revert back turning the mac display color option off and the old rec709, gamma 2.4 transforms and timelines. Am I doing anything wrong?
Rather than placing the LUT on a node, you can apply it to the color viewer in Resolve color settings. It only affects the color viewer, not the export or anything else.
There's a good reason I don't suggest doing it this way! Happy to discuss further in Grade School
@@CullenKelly I’d be curious to know
@@CullenKellyi want to know aswell
Newbie comments maybe, but doesn’t using the four nodes slow down the machine compared to making changes in project settings?
thank you so much for this valuable information! please turn on the “super thanks” so we can donate for these incredible tips. 👍
EDIT: TRIED THE FOLLOWING EXPORT SETTINGS (just saw them somewhere else) and it looks like they did the trick for me:
Color Space tag: P3-DCI (EDIT 2: Actually, P3-D65 is better, P3-DCI has greener white point intended for cinema projectors color compensation)
Gamma tag: sRGB!
Let me know if it works for you as well!
ORIGINAL POST: Guys, I would also like to know how to tag the output en export, but this video is focused on better / more accurate color display on Apple displays. We might need to look elsewhere for ideal export settings. It's a shame he didn't include this info here, as it would have been the definitive Davinci+Apple Displays guide. Nevertheless, this is the best video I have found on Apple display monitor calibration inside Resolve!
To achieve a proper macos color workflow, you shouldn't use anything aside from the default display color profile. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That way you get a consistent result across both DVR and quicktime. Because your main goal is to match DVRs output with your display settings and deliver it AS IS with the correct gamma tag.
@@Rogeras32no one wants to work in rec709a color space....which is why he is doing this. He's staying in davinci wide gamut and solving the discrepancy with his utility and node tree.
Using the sRGB output is working because NCLC tags has provision for sRGB and it applies gamma 2.2. All you are doing is changing the standard to 2.2 - which i have been campaigning for to whomever will listen. The problem is as everything was changing to Internet and different device mediums - the industry developed processes where they expect rec79 gamma 2.4 and during their acquisition of your footage they change the gamma to 2.2. There are even TVs that will change incoming 2.4 from broadcast and show 2.2. The whole industry needs to change and that's where all the difficulty is.
@@JimRobinson-colors Thanks for this info! It won't work for HDR content, right? What do you recommend then?
@@nicholasbrecken7357 you don't work in that color space, you just output it to not get gamma shift. you still have 1-1-1 tags in delivery and get no gamma shift across all media. Simple as that. You still work in whatever color space you want lol
I tried this doing everything as Cullen said but I tagged the file export in the delivery tab as REC 709-A. By doing that the QT reproduction was more accurate compared to what I saw inside Resolve. On top of that TAG (1-1-1) from 709-A is the standard profile that production companies have been using to send to me their films to be color graded at least in my regular advertising pipeline (ONLINE MEDIA - NOT TV). I tested on an iMac 27 5K using the display color profile: Display P3. This setup worked well trough Resolve "Remote Monitoring".
This is very valuable info! How about Chrome and other players? Is it consistent?
You could also use rec709 - rec709 output tag to get the 1-1-1, just put rec709-a in your timeline color space output settings, that way you get the correct gamma tag and no gamma shifts across all media. And the macos displays option should be on, yes.
I didn’t do it because I tried to follow Cullen’s plan as much as possible and putting that 709-A in the output color space tab inside project settings would change our monitoring during the grading.
@@adrianoclinquart he's right! He could place clip's/timeline's last node adjustment on the monitor sí
@@adrianoclinquart this is a proven method of grading on macs with Mac monitors and color sync to get consistent results across all media as well as inside DVR. of course with rec709-a tag you get a different gamma in your viewer, but at least you won't have gamma shift if you export with the correct gamma tag and you deliver exactly what you see, but good luck fiddling with additional cst nodes and so on.
Have you tried an sRGB workflow? I set my MacBook Pro XDR display to the sRGB reference preset and output color space/gamma in Resolve to sRGB and it is by far the most consistent presentation across my MacBook Pro, iPhone and Windows Desktop. No gamma shifts across any of the devices. Input color space is CDNG (de-bayered into BMD Gen 4), working color space is DWG, output color space SRGB.
Interesting!
Hi Cullen; would it work for us to add the viewing lut on the timeline node since as i understand that comes after the clip nodes? Just eyeballing it it seems to give the same results but much easier to disable in the end!
Great question! That's correct, it should work on the timeline level when doing node based color management!
So good bro, thank you.
I've been looking for this video since 2019
Hi Cullen
we need the rec 709A debate solved and put to an end. Nobody can agree on anything lol. Help us sir
Can you still make use of the waveform even though that last node is shifting the blacks / contrast?
Would you then tag your export as Rec709 gamma 2.2 as well?
That's also my question exactly!
no, because it won't carry over when uploaded to any video platform
Tag it 709-A
Cullen did say that the output tag should be Rec709 gamma 2.2 and of course, this will not solve the gamma shift issue which he also mentioned. Seems like there's more work to do to get the image out when dealing with the fact that many players assume a 1:1:1 color space / gamma.
Amazing workflow. Thank you for the tips!
This deserves a BIG THANK YOU!!
Is the MacOs viewing transform for macbook pro displays or for external displays? I mean can I use it for my 15 inch MacBook display? I dont get it. Please help!
Cullen, thanks for all the videos you put out. I reference your material often. And as a result I feel my grading has massively improved. I'm not a colorist by trade, but rather wear many hats.
However, I have a question. This video specifically focuses on Apple displays.
I use an ASUS ProArt and have been searching everywhere to figure out the best option to solve shifting. I have an UltraStudio 3G set up. Monitor is set to 709/2.4. I know recently you've been suggesting 2.2 for web. But I'm currently working on a short film that will live beyond web or Vimeo. However as I export for reviews I'm still experiencing massive shift in black levels between DR and what I see in QT exports. (I've done all the DR settings like 10 bit, Mac colors, 709a)
I've been setting my Mac system settings to 709/2.4 for viewing. In this scenario, given my Mac Studio and Asus Monitor, would using the default Display P3 in my OS system settings for viewing after export be the best scenario for accuracy? When I remove the Ultrastudio and view the export on the same monitor with the same settings I get completely different results when it comes to contrast/black levels.
I've air dropped to my iPad Pro and at full brightness is matches what I'm seeing in DR pretty well. Looks horrible in reference mode.
I'm just feeling really lost on how to create a solid level of consistency when viewing across different monitors after export.
Should I calibrate my monitor or just choose a preset color profile? I ask because when I choose anything related to P3, I get a VERY cool image and is NOTHING like the calibrated display.
I have an Apple Mac pro and a random plug and play 24" monitor with DVI input. What should I do?
Hi, first of thanks so much for the video - so helpful!
I know you've said in other comments that you were planning on making videos about how to solve mac gamma shift on export, are you still thinking of doing these?
You're very welcome! And yep, this is still something I'm working on...there are lots of different causes for this, so it takes time to put together a comprehensive set of solutions!
@@CullenKelly Cool, looking forward to it!
Me too🥺🥺🥺🥺🥺
🙏
Thank you!!!!!
I have been so frustrated with grading in resolve after always knowing what I’m getting on Final Cut. The only thing that made my export as close to what I saw on my GUI was to have a CST from 709 2.4 to 709a . Made it look too contrasty but on export it looked like what I saw. SO FRUSTRATING. Hopefully this new setup will work. Thanks!
So could I use that Mac viewer on the viewer lut option? So it's always on the viewer but doesn't affect the grade? Just so I don't forget it from time to time. Also, once I export to clients what should the output be? Im afraid that if I send a 2.2 to my client they could see it brighter than the still's I've been showing.
Is this about the grade itself or the exports? I work with your usual workflow but use Rec.709-A both in the color management and export settings (I use sRGB when using ACES). Exports look exactly the same on all my Apple devices and different PCs. I don't have gamma shift (used to when working on Rec.709 2.4) but I might have a slight tint shift depending on the monitor.
I use a similar workflow with the Bt.1886 reference mode enabled on my Apple display and to eye it’s a perfect match to a calibrated LG OLED, and by tagging Rec709-A I’ve also gotten consistent reproduction across apps/devices.
Curious about Cullen’s thoughts on using the reference profiles that Apple is shipping with their more recent devices (including iPad Pro now)
What about setting Rec.709-A as the Output color space under Project Settings?
This video has lota of valuable info, but has raised LOTS of questions as well! Leave this here in case someone answers 😉
Correct. You do that, then you deliver with rec709 / rec709 gamma tag. And have use mac display option on. And that's it. No luts needed, consistent result across dvr and quicktime.
This is a common practice designed to solve a different issue than what we're talking about in this video. Goal of this one is to ensure accurate reproduction of the image while grading, while the goal of using 709-A tags is to try and get a matching reproduction following export. More to come on the latter soon (there's a better solution than using 709-A tags).
@@CullenKelly Thanks Cullen. Looking forward to it.
Thanks for this great tip!
Interesting...have you had a chance to measure any of the other ColorSync presets available for the Apple displays. For instance, there is a "HDTV Video (BT.709-BT.1886)" one. I wonder how accurate that one is and if it could be used to grade for Rec.709 Gamma 2.4. Does it make any sense to use any of the other presets besides the "native" one for the display?
Wondering about that, too :)
also curious about this one...wouldn't we want to target P3-DCI or I also have the option for P3-D65...
That's what I wonder too. Currently, I grade under HDTV Video display preset. The only thing I do, before I render, is put a CST on the last node, switch from gamma 2.4 to gamma 2.2, and tag the video gamma rec709-A on the delivery page. I can't remember the source right now. Although I think it works, I am never sure if this is the most efficient and right way because I don't have different devices around me.
+1 I had mine set to that, and it seems that what I see on DR compared to rendered piece seen in VCL, phone and other places is more accurate with this setting.
To achieve a proper macos color workflow, you shouldn't use anything aside from the default color profile. First - you put your output color space to rec709-a in the timeline settings, second - you turn on the macos display option, then you just tag the delivery with rec709 / rec709. That way you get a consistent result across both DVR and quicktime. Because your main goal is to match DVRs output with your display settings and deliver it AS IS with the correct gamma tag.
Awesome information !!! Please drop some affiliate links to entry level calibration tools and reference monitors.
Thank you Cullen, I have few questions, What is the brightness level of the mac Display I have to setup at the start, As I know Rec709 is a 100 nit, so shall I pick my light meter and majr a 100 nit before starting, Second many Mac Display support HDR, is it possible to explain how to make it possible to grade HDR1000 or DolbyVision on a Mac Display.
I have these same questions. What would the XDR display workflow be?
@@BestPlayedLoudLtd Find an app that can calculate nits through the camera. Find the proper brightness setting. Leave it on forever.
you are my lifesavor thank you
Surprised I haven't heard or seen anyone talking about this as a solution for the apple gamma shift issue with QuickTime, maybe because it costs money. But something that appears to have worked really well for my workflow is just spending the money to get Screen by video village, the same company who makes Film Box for Resolve. I set it to my default video player and it's like Quicktime but better. Compliments the MacOS UI well, free of clutter (unlike VLC) and you can change the settings to default to different colorspaces. I tweaked the settings to be 2.4 and now when I render out of Premiere or After Effects, my videos look exactly the same. Plus, in Screen there's a built in menu for previewing luts. Honestly worth the money imo and I don't think about the frustrating Quicktime color shift problems any more.
Hope that's helpful to others. If someone knows a reason why this is somehow not a true solution feel free to chime in, but by all appearances on my end the images match, so I'm happy
Great insight, Austin! I will second that Screen is a great tool for Mac users!
because we aren't worried about how videos look on our screens? We are worried about the gamma shift for the audience. Unless you plan on buying every single viewer on your content Screen then I dont understand how this helps?
So helpful, thanks Cullen! When adding film look related nodes, they should now be placed in between CST OUT & macOS node?
I'd suggest putting any and all look nodes before your output CST!
Cullen says to target P3-D65 but then ignores Apple's 'Digital Cinema (P3-D65)' Preset in the display settings, instead he uses the 'Apple Display (P3-600 nit)' option. Apple's Pro Studio Displays do not allow for any basic calibration under the 'Apple Display (P3-600 nit)' option (only super high-end calibration options with that). Using Apple's 'Digital Cinema P3-D65' option allows for basic custom calibrations but locks out any brightness adjustment. Would anyone recommend using the actual 'Digital Cinema P3-D65' option under a simple user calibration or stick with the out of the box studio display ICC?
First thing that came to my mind was to simply put Rec.709-A in the CST output node. Correct me if I tell bs, but isn‘t that the same or very very close to Gamma 2.2? I always thought Rec.709-A was especially designed for Apple displays to tackle the gamma shift of the output😅
This is a common solution to the "gamma shift" issue, but that's not an issue we're focused on solving in this video. In this one we're asking: “Am I getting an accurate rendering of my image while grading?” as opposed to "Do my exports match what I saw when grading?”. Hope that makes sense?
@@CullenKelly how do we then combine the 2 to solve both problems?
My StudioDispaly doesn't have the recommended color profile. The default says StudioDisplay, not Apple Display (P3-600nits) as show in the video. Is this the same?
YES! I was waiting for a video by you on this specific topic, owning two Pro Display XDRs.. there is so much nonsensical information out there on this topic.. Thx Cullen, you're the man! Any advice on a calibration solution for the pro Display XDR? Is there any way to do this with lesser devices than the 15.000 $ ones that apple suggests?
And the second question- I guess you output with Gamma 2.4, right? The Lut inverse-compensates while viewing for the 1-1-1 file tagging that lifts the image when viewed in the browser, right?
A huge thanks dear Cullen. Thoses precious advices on the DCI P3, the gamma 2.2, your macDisplay's LUT downloaded have solved my washed's flavors aspects when broadcasted onto plateforms, such as Vimeo or Ytube. As same as often I've read in the comments, I was questioning and dealing about this issue, then you've dedicated one tutorial in september onto this unsolved problem... Are you directly connected with us ? You've saved my day, thanks dear maestro. 🥰
This doesn't actually fix it. You just don't see it but others with displays that use gamma 1.96, 2.2 2.4 or even 2.6 will definetly notice.
You need to entirely bypass apple color sync by using a blackmagic video card. That way resolve takes control of the HDMI output signal of the video card and directly exports the clean feed without mac os interfering in the middle.
@@shueibdahir if you did this, what settings would you then have to sidle or enable in order for the clean feed to display as accurately as possible on a Mac studio display?
Cullen i have a question, i understand that most web content is rec 709 but i found when i send a client a rec 709 video and they view it on their phone they always have issues. My question is, cant i just export in D65 P3 Gamma 2.2 and use what information you just shared to target that color space instead of rec 709 ?
I have a MPB 16" and I found that if I (in System Preferences) set up a custom Display Preset, set it to Rec.709, D65, BT.1886, and then crucially UNTICK "Apply System Gamma Boost", and then grade into Rec.709 Gamma 2.4 in Resolve, then it translates perfectly between a TH-cam/Vimeo upload and Resolve.
I wish we could move beyond this though and live life with a bit more colour. Most people not on PC or Android can reproduce P3 these days.
this should be the correct workflow, right? Choosing reference mode Rec.709, D65, BT.1886 to be sure that your work is not affected by colorsync etc.
Thanks Cullen, is the default P3 setting on the Apple Studio monitor gamma 2.2 or 2.4? I would like to start exporting in rec 709 2.2 because it is mostly for the web but if I have the setting of "use apple display monitor", then do I need a separate "viewing lut" than the one you made?
Is this video only aimed towards workflows using an Apple dedicated Display (Studio or XDR Display)? Or do they also work with workflows like using just your Macbook Pro/iPad? Furthermore, I feel like there should be better disclaimers regarding this viewing transform LUT in terms of what gamma it uses (I believe 2.2?). I grade using my macbook pro as the main monitor and sometimes the GUI monitor, outputting to a BenQ monitor via Ultrastudio that's been calibrated. I mainly work using Rec.709 Gamma 2.4, so should I still be taking into account what this video is saying or is it just irrelevant for my case?
This workflow would be best suited for a MacBook, MacBook Pro, Studio Display etc. The iPad or iPad Pro would not fall into this category. This workflow should only be used if and when you might be using your Mac display as a reference monitor -- not with a dedicated reference display.
And yes, gamma 2.2!
Bro question: how can I use cineon film looks when I have resolve color management on ?
can you adjust your imac altogether? I'm getting footage back from a colorist on my film who is using rec 709 and imacs are P3. Is there a plugin or download of some sort that i can go into settings, displays, color profile, and change it straight to rec 709?
So im on a much older system, for now, but my Apple display is a T1 and it only has one Apple profile which is "Apple RGB". Is that the best option since its a native apple lut or should I pick one of the other actual P3 LUTS such as "P3 D65 Gamma 2.4", or "Display p3" etc? My second question is about the calibration process you mention at the end. Would I then scrap this method, and just calibrate my monitor using that calibrated lut, or calibrate it and continue with this method using the calibrated LUT then as my system base. Thanks!
You are a savior. :)
I have question as a beginner..! So when provided lut is enabled, treat mac display as full sized reference monitor without referring to scopes data right?
My asus laptop is factory calibrated to the pantone palette. Any ideas what to do for that?
I also use a pixio px247 which when adjusted seems to reproduce pretty accurate colors I believe in srgb. Is there something I need to do after the rec709 2.2 output transform for this?
I know non of my stuff is pro, and I don’t use it professionally. It would be nice to improve my creations, though.
it is awesome
Hi Cullen, I appreciate Your videos a lot, but why not to use just sRGB output in project settings? It results the same...
Still bit lost... What would my export settings look like? Am I exporting to Rec 709/gamma 2.2?
@CullenKelly what purpose do the reference mode serve in the studio display? Can you not use those as “reference transforms” instead of adding a LUT?
forgive the confusion. so when we are exporting are we leaving the colour viewing setting on rec 709 2.2 even though the space of the delivery ie, tv, standard monitors etc is rec 709 2.4 ? or do we need to check that it is exporting for rec 709 2.4 ? so im using a colour managed workflow in davinci, with the Mac display option in resolve enabled. colour profile for monitor in settings set as P3, so the footage is auto adjusted for accurate rec 709. but when I use my MacBook Air M1 display I should be setting rec 709 2.2 gamma as the viewing space but it will be exporting for 2.4 standard. any help is welcome. thanks for the great video. and free viewing LUT.
the CKC file isn't working when dropping it in my LUT folder, any one have issues?
Thanks
Does it work the same with the video clean feed ?
What would be the settings to benefit of the entire ColorSync profil of the Apple Display (Gamut P3D65 & Gamma 2.2 with 300 nits) ?
Why not put the lut in Project Setting ➧ Color Management ➧ LUT ➧ Color Viewer LUT, instead ?
This is super helpful😊
Hey great video, just one question. At 3:15, when selecting a display preset (P3-600nits) you left the "Automatically adjust brightness" option checked. Doesn't that create problems when editing? If yes what would be the "optimum" setting for brightness? (coming from a photo editing world where everything gets edited at 80nits I found this kind of weird).
Thanks for the video. What calibration device would you recommend for my Apple Studio Display? I've heard too many conflicting reports! Cheers.
I want to know as well. I currently have a $300ish LG monitor with a Datacolor SpyderX Pro calibrator. I'm guessing that's not good enough. Saving up for an Apple Studio Display. Reference monitors are waaaaay out of my budget.
If my apple display is calibrated, do I need to produce my own unique viewing LUT to add after the ODT? Or am I good to roll with the one that is linked in the download?
If I'm grading for projection (film festivals specically), do I switch my output to gamma 2.4?
Great Thank you Bro!