Darren, thank you for your willingness to share your knowledge and expertise in such a comprehensive and coherent fashion. It is quite refreshing to view such quality content on a platform that is inundated with lackluster performers. As a photojournalist in El Mirage, Arizona, I started my journey to learn videography back in May of this year to add more functionality to my work. Having tutorials like yours to learn from has made that process less painful. I look forward to your next video.
Hi Thomas. Thank you for your kind words and glad you are enjoying the channel. I work hard to make sure content is strong. Might be another week for a new episode - we have so much work on at the moment - just had a huge influx of work. Will endeavour to make sure not too long t wait. Next few episodes are planned and hope you enjoy. All the best, darren.
Many other people tried to explain this but non of them wasn't good like you, even they don't know how to explain it, That's mean beside you are good artist you know how to teach. Thank you again for sharing
watching four of your videos gave me more than a half year of what I got from a payed course. I want to support you! sorry for my bad english. I am from Germany
Thank you Darren for such tutorial. I am just beginning Davinci, after many year using premiere Pro. I follow you in every tutorial, and you are the best. Thanks.
Jambo Darren! Cannot thank you enough for sharing this useful information. Dealing with HDR footage at he moment and your channel came highly recommended. Only half way through this video and I've already learnt so much. Shukran.
You've got a great way of going in depth where a bunch of other folks on TH-cam skate over the important (but sometimes buried) bits. Thanks for being conscientious about show us how these things really work in terms of the philosophy of the approach to use, and also the hands on. Bravo!
Thank you Meeno. Appreciated. Yes, I work hard in making sure the episode explains clearly what I want to get across. Thank you for acknowledging as is it takes at least 1 day to make, usually more as I'm a perfectionist by nature of my job as a colourist!
Thanks Darren, this is a beautifully clear explanation of the HDR tool - really helpful. I have been experimenting with it and I have found the Saturation adjustment to be much more natural looking than the equivalent Primary Saturation tool.
Would kill for video(s) from you about HDR grading, delivering SDR and HDR of the same project, as well as Color spaces, and how to set up the program perfectly. Best training I've seen yet. Keep it up. :) And thank you.
Another great one - Now I just want to use the HDR tools for everything :) Once again, I must say that Resolve's color tools is just better than what I am used to from Lightroom being mainly a photographer. Resolve's controls just make so much sense and work so smoothly.
I have been a Resolve user in the past but have been abandoning it since a long time, because the pain of going from PP to Resolve for grading (I saw you did a tutorial about it). We always had issues when mixiing sources, fps and adding effects and Transform. Since that time Resolve has evolved a lot and now I strongly consider making it my only post production software, even if Speech-to-text Subtitles, Free Graphics, Dynamic Link and After Effect will certainly be missed. Thank you very much for your great tutorials which allow me to keep track of the new tools available today !
You wont regret it. Plenty of resources and motion templates that work great in Resolve. you wont miss dynamic link! Speech to text is the big one - hoping it comes soon. The editor is amazing....no brainer! Good luck!
@@DarrenMostyn I am mostly afraid of situations where big clients have already their templates for titles that you have to use in AE... But I suppose that I will just have to rent AE for a month in those occasions. The only thing is that I will still have to pay for Lightroom as I didn't see any convincing alternative. Thank you for your work.
Hi Darren, thanks for this excellent video series. It is such a relief to finally watch explanations and tutorials from someone who really knows what they are doing, and your knowledge and lack of BS sets your videos apart from the hyped-up amateurs on here. I have set notifications to on! THANK YOU!!
Really great Darren. When BMD released 17 my immediate reaction was that there were lots of bells and whistles that people will jump on, but the HDR tool to me seemed like the one that Colorists would really appreciate. Although there are a few others as well. Can't tell you how many times I have grabbed luma keys on specific nodes and through many other controls got to the same point as using this tool. Even in skin tones, I have found that having that control on the roll off of specular highlights and highlights has already improved my workflow. Will be quite exciting as they work out all the bugs to use in full production. Anyway, really happy you released this one, there are a few things that I learned that here, that I didn't get from playing around with it. And that my friend is well worth the time it take watching your tutorials. Soon to be 10k subs - really happy for you. Wish I could click the "Like" more than once.
Appreciated Jim. Just replied to your post on FB. I take time to prep these episodes to give best value to the best of my knowledge. Any little tip I find through exploring I always pass on! All the best, Darren.
Wow this is an awesome video, really helped me understand how to use these tools, and I am super excited to use them after seeing their potential, especially since I can use it on SDR footage as well! Thanks so much!
Hey thank you Darren for such a clear and thorough explanation. Never too late to teach an old dog new tricks. ha... colorist for over forty years here...
This video is wonderfully detailed and rewards those of us who watch it multiple times. Lots of new detail for me. FWIW, I use the keyboard arrow keys to go back a few seconds and repeat a new bit if it is not understood. Great work, Darren! Thanks.
Thank you for the kind words. Really means a lot to me when people take the time to say something kind - I work hard on these episodes. Just so you know I am live on 30th December at 7pm GMT - a one off. Be great to see you there
I mean... man... you're just giving us gold ! Thank you so much for your explanations ! And thanks for your exactitude with the technical terms !!! :))
your videos are amazing. i'm going through them all now while I sit in weeks of lockdown. great use of my time, thanks so much, really like your explanations, speed and way you communicate the points
Hi Darren, I’m hugely grateful to you for this. I’ve started working with some HDR footage and really puzzled about the whole business of colour spaces and the HDR wheels, and this was fantastic. It was so clear - and you put in some fantastic other usability hints along the way. I cannot thank you enough!
Thank you for this demonstration. You really show clearly how powerful the HDR wheels are in v17. I can't wait until the stable version of 17 is released. I really want to use it in my upcoming projects.
Thanks, Darren! Exactly what I wanted when googling "davinci resolve 17 hdr". Well thought out and delivered. Your video should be made a standard accompaniment to Resolve 17's New Features Guide manual. Can't wait to learn more from your channel!
These new HDR tools are wonderful. You can quickly get a feel for who knows their stuff (ie Mr Mostyn) and who are bullshitting around not knowing what they are doing.
Huge thanks i didn't knew that we can isolate the dark and highlights area with a kind of histogramme, now the HDR mode is more clear for me rotating the color knob was not usefull without that. It works a bit like regular raw processing for still picture.
Great video! I have a question about Dolby Vision. How do I get dolby vision metadata (L1) into the file? I have the Studio version of DaVinci Resolve 18 and have run the DV analysis on the color side. I would then like to have the L1 metadata inserted into the file. Actually, I should be able to select a Dolby Vision profile in the export settings. However, in my case it only says: "Tonemapping". Why does the function in the export settings not exist in my DaVinci Resolve?
Is it better to use the default color management and then use a CST? That way you can make primary adjustments before the transform (thats the order of operations right?) and also take advantage of the saturation clipping and luminance mapping within the CST?
Hi Jamie. Good to see you here - Ive seen some of your channel - good stuff! Using CST allows you to choose where in the node tree the transform happens so a little more control on that side, however colour managed workflow uses saturation and tome mapping too - you need to go to the custom setting and they are under DRT.
Thank you Darren, you really bring a new level to youtube concerning resolve tutorials. Would love to see a pro course from you with more in depth explanations. And I would most definitely pay for that. Is there any disadvantage to using davinci wide gamut for sdr delivery? Seems like it could be "the new standard" for basically everything excluding aces workflows.
@Darren Mostyn Your channel is a hidden gem! I'll spread the word for all people I know that use DS for editing! Also I'll checkout your videos. Warm regards.🙏
Yes on mini. Not micro. I have a tutorial on the mini panel shows you how Is the MINI Panel for DaVinci Resolve worth it? Pro Colorist Test th-cam.com/video/rWXVdsT9_VU/w-d-xo.html
Thanks Darren for the explanation 👍 Davinci resolve will more powerfull if support editing photo RAW. I had convert RAW to DNG to edit in Davinci 😁 Davinci Resolve support editing Photo
amazing videos man ,,, very informative .. there's lot to learn here.. thanks :) i am a cinematographer and very new to the color grading ..would you please make more videos like setting up a project and also how to grade 8 bit log footages for sony mirrorless cameras..thanks again
Hi Darren - Great tutorial! Could you elaborate on how to use the Kodak/Fuji film look LUTs in this managed/wide gamut workflow. We definitely would need a CST node to go to Cinelog and then apply the LUT - but my question is whether another CST node is needed after the LUT? My guess is output of the LUT is Rec709 and the managed flow does a implicit conversion at the end. Thanks
Do you offer a color grading master class or another form of training. Will you provide some type of color grading training in the future because you are a good teacher?
Hi. I currently offer 1-1 zoom/skype training on an hourly basis which has been really popular since my channel got a bit bigger. I am being asked by a lot of subscribers now about training courses - I'm looking into it ... It is a huge investment in time to make, and I run a busy broadcast post facility so we will see. I would love to do a pro course for you if enough people shout. Watch this space! In the meanwhile If you want 1-1 then get in touch via my facebook.com/killertipsdavinciresolve site or instagram @onlinecreativepost . Thank you.
Hey Darren! Your videos are the coolest. Question: With the more granular nature/control of the HDR tools in Resolve, why would we continue using the primary color wheels? I've learned boat loads about color as of late thanks to you and Cullen. And now after seeing the ability to adjust and add zones, adjust their falloff, etc I'm wondering why not grade with HDR only? With the normal primary wheels I'm seeing that I can get most of the way on my grading with only adjusting gain, lift, constrast, pivot and saturation. So maybe that's the point - Use primary to get most of the way, and then jump to HDR if needed for other stuff. I saw you do that with a beach scene in another video. Anyway, thanks for any thoughts whenever you have time!
Dammit I just love your channel! Blackmagic should pay you for these videoes. I been working with colorgrading for 12 years and I'm still learning so much from you. I would love if you would do an in depth tutorial on Davinci color managed workflow. Specifically on grading in P3 for cinema and then colormanaging for Rec709 for TV.
Hi great video again! I have some questions though... I shoot on a sony a6400 8 bit footage in HLG2. I used to shoot in rec709 in the picture profile but people on TH-cam recommend to shoot in rec2020. So I want to give that a try. But if I use the colortransform effect on my node in the color tab, should I choose rec.2020 for color input, and rec.2100HLG for input Gamma? And if I use the timeline color space of rec709. gamma 2.4 will the colors I see on my laptop screen be the same as the colors I see when rendering the video? I hope you have some answers for me if you have the time. Thanks in advance!
Hi Darren, great stuff, may I ask 3 questions! 1) In the latest version of Resolve the wide gamut setting in project settings color management is called 'HDR DaVinci Wide Gamut Intermediate' - should I stick with that in general for best quality in SDR and HDR ? Not clear on why there's a need to use anything else ? 2) For project settings/output color space when working in HDR, there are endless confusing combinations. I thought Rec2100 ST2084 was the TV standard - but I only see you using Rec2020 ST2084 / P3D65ST2084 what is the difference between these and when should I use each one? What are the standards to best stick too (a video on this would be amazing!) 3) I'm transcoding RAW files from SonyA7SIII for use in resolve. Do you have any advice for what input colour space I should use in conjunction with Question 2. For example leave as Slog3/S-Gamut3 or set to Rec2020PQ . Or does it not really matter.
Thank you for this fantastic explanation! Is there any chance you could make a video about the proper workflow for exporting videos graded using Wide Gamut for TH-cam and Vimeo? I specifically mean preventing the dreaded gamma shift. I realize that it might be a bit of a basic topic and that you have plenty of ideas for more advanced and interesting videos, but I think that an expert’s overview of the proper grading workflow for web would be priceless.
Hey Darren, I own a Panasonic G9 and was wondering if you can show how to color grade HLG footage in Davinci Resolve. I see many people are using a Leeming lut but im pretty sure there are other options. How do I set up Davinci for to grade HLG and can you use the same timeline with other color profiles. Thank you greetings from Norway
Thanks for another really well done video. I love the new Managed Color/Wide Gamut combination, particularly for the way that the Sony Slog3/SGamut3.Cine input transform works on footage from the Sony A7s III (immediately great color and contrast). But all is not perfect: unfortunately the Input transforms for Canon EOS R5 (CAnon Cinema Gamut/Canon Log) don't seem to be working nearly as well, and I am getting colors that look oversaturated and slightly wrong. And sadly Blackmagic have not yet produced other input transforms that I would really like to see, such as DJI Cinelike-D, DJI D-LogM; Sony Cine 2, etc. One interesting one is how to handle the iPhone 12 Pro Max. Currently Resolve automatically sets the Input to Rec.2100 HLG, but the image appears very wrong on screen, with all the image up too high in the histogram. You can fix that, but it takes a fair amount of work. I wonder if Dolby Vision means a new Input space, or whether Rec.2100 HLG is correct, and they are simply doing a bad job of the transform. Or possibly I am doing something wrong?
Thanks for the explanation! However, I’ve been using the custom YRGB curve to tackle this kind of things that require more precision. What’s the difference and pros/cons between using the HDR wheels and using the custom YRGB curve?
Hello, I love your videos and I am learning a lot from your content, I have a question, the Wide Gamut color space is only for RAW videos or does it apply to videos from a Sony S3?
Loved this one. After seeing your videos I finally got comfortable saying bye to Premiere Pro for my video editing and coloring work, and it's been great. And this video is just gold. That part of the color page was like a mystery that I now understand just a little. One question, and it's probably because Blackmagic have changed their menus. Both in the last Resolve v17 build that I was using and in the 18b build, there is no Da Vinci Wide Gamut. What I see is "HDR DaVinci Wide Gamut Intermediate". Are those the same thing?
Hello Darren and thanks for all the knowledge! Hope you see this question - how come do the primaries wheels act differently after applying DWG in color management? ie. the offset wheel is not linear anymore as opposed to working in non color managed space thank you
The HDR tools are colour space aware and so behave differently in and out of colour managed environments. I plan om making episode about this very soon.
Awesome, neatly explained :) . I have a request, can you please do a video about CST, there are a lot of it in youtube and it's all confusing because everyone has a different take on it, I'm just curious on how you would use it. Thanks!
Hi. I don't use an ACES workflow. I'm happy to make an episode if I get enough requests. As an independent studio I am not tied to ACES workflow so I use BMD RCM.
Darren, you legend, I’ve been looking for videos just this week which can help me understand how to work with HDR in Resolve, and BAM, here you are, reading my mind. Blackmagicdesign should be paying you to make their educational content, you have a knack for providing just the right amount of info, without dumbing things down too much. What i would love to see is how do I deal with footage shot in (S-)log when working in wide gamut - i got some very funky results when changing to use wide gamut. Do the clips need to have their input colour set to them appropriate log and gamut? It seems like using LUTs aimed at Rec.709 aren’t very useful now, i guess i need to get better at grading!
@@DarrenMostyn Actually I would like to know the answer too. When working with slog3cine in wide gamut, how do I apply for example kodak lut? Do I put input color space on a clip or using CST? It gives me funky results.
I like your videos a lot, they are profound, clear and didactically really well made. Thanks a lot! Now a question. You are right: when I switch to the wide gamut, my log-shots don't look flat anymore (not lut applied). But there are some shots coming from an F55 that are sLog3, exactly like the others, and still look flat (exactly same values they have when not color managed). - Any idea what this could mean????
That was a brilliant explanation! Thanks! Could the HDR wheels replace the primaries wheels entirely? Or is there a specific use for the primaries wheels where the HDR wheels wouldn´t be appropriate to use? I love your content! keep it up! Greetings from Argentina :)
Sorry Bruce...only just seen this - Gamut is the amount of colour it can handle. DaVinci Wide Gamut is the largest of all the Gamuts. REC709 is the smallest Gamut- it cant handle as much color space, but you can 'funnel' a wide gamut into rec709 space. Actually...i thought I had answerd this one..? maybe not,
Thanks for your great videos on color management. I have a question about input color space though. I am on a project with mixed footage. GH6, DJI Mini 3 and a few GoPro 8 Black shots. I am working color managed and with DaVinci wide gammut intermediate in the project settings. What would be the correct input color spaces for the footage? GH6 recorded in V-Log so that's fine and recognized automatically. But what would make sense for the Mini 3, which recorded D-Cinelike 10bit, and GoPro, that recorded 8bit Protune flat? Is it just sRGB perhaps? Or just set to bybass color management for that kind of footage?
Thanks for a thorough and well explained video...pleasure to watch and happy to be a subscriber. I have been pulling my hair out with all the different color management settings and this helped a lot. A quick question: if Im grading something I know will be viewed on an HDR screen I would have to set the output color space to eg rec.2020/2084 and select 1000 nits? 1000 seems to be the upper limit for most consumer screens. (In the video you set the output to rec709) A lot of time my footage ends up looking weird though...even on my HDR capable editing screen
@@DarrenMostyn Hi Darren! Workflow as follows: S-Gamut3.Cine/S-Log3 10bit 422 from a Sony A7S3 into Resolve. Convert nodes to HDR mode and use HDR grading tools. Experiment with color management settings 'till the cows go home. Play with export settings 'till hair turns grey. (limiting colorspace to DCI P3 seems to help) Its definitely not smooth sailing and there always seems to be some issues with how the colors look and behave during grading. Deliverable is H264 for a client. They dont need HDR but thought it would be a good skill to have so was trying out workflows. Most recent phones and TVs do HDR nowadays so figured it was worthwhile. I ended up redoing the whole project in SDR as I encountered to many frustrations on the way :)
@@nichegholm1 So the important thing here is to be working in a color space that can deliver HDR and SDR if that is REALLY what your client needs. Looks to me you are just delivering HDR because you can. What about your clients or audience not on an iphone 12/ipad pro or similar yet..? Keep to the DaVinci Wide gamut in RCM and then you can switch from SDR to HDR as an output. REC 2020 as an output will be of no use as the are no devices capable of displaying. Stick to 2084 for HDR so you are then in a controlled colour space that potentially matches your viewing device. Unless your client request HDR then Id be staying safe with SDR for now. All the best. Darren
Also note that grading with HDR tools does not make it HDR. And, what are you viewing the grade on..? Is it HDR monitor. If not, forget it. If so, I would be set to DCI P3.
@@DarrenMostyn Yes, its definitely a case of "can do HDR" than "need HDR". But I enjoy playing around with new workflows and building up skills. I try out oyour suggestions... much appreciated!
Thanks for another very informative video. As a slight aside, is there any need/benefit to using a CST to convert to and from DWG as first and last nodes in my tree if I'm already using a colour managed DWG colourspace in my project settings ? Thanks.
Daz do you know how to automatically darken text in a HLG HDR project in Resolve without using ACES? White text causes too much blooming when played back on a HDR device.
Hi. The grey scale is from the edit page - generators>grey scale. Add to your edit timeline. You then need to add a compound clip to it by right clicking the clip on the timeline. Now you can see that in the color page. Then, I have 'popped' the waveform out (see my episode on scopes) to make it floating window. Hope that helps.
Hello Darren, again excellent tutorial. Just one more question. Within Davinci 18, if I import a Canon Raw DNG file into the project with a Davinci color managed wide gamut, the Canon DNG files are very dark. At least one stop. There is no option (right click input color space on the colorpage)) because I think it is a Raw file. So I add bypass color management (on the clip in colorpage), now the clips becomes better but it has less color. I have to add at least 35 percent more color. Is this normal?
Thank you for your video, Darren! Are the any difference between applying input color space to clip and use color space transform for the same reason? Looks like CST is more flexible, isn't it?
if using CST you need to BYPASS input at either clip stage or color management stage. The new 17 tools take care of the tone mapping much better so that is why I used CST on Resolve 16. But, yes its the same thing. With CST you re determine where in the node tree of course.
![Watch these 25 mins to FULLY Understand Color Management [Beginners Guide]](http://i.ytimg.com/vi/AAeZKZ5feGA/mqdefault.jpg)
![[DRIP] ‘Love, Maybe’ PREVIEW](http://i.ytimg.com/vi/U7hwHp95m1k/mqdefault.jpg)
This video has just broken down something I've always avoided clicking. I can't wait to sit at test this out.
Thanks, Mr. Mostyn
Enjoy Stanley. All the best.
Darren, thank you for your willingness to share your knowledge and expertise in such a comprehensive and coherent fashion. It is quite refreshing to view such quality content on a platform that is inundated with lackluster performers. As a photojournalist in El Mirage, Arizona, I started my journey to learn videography back in May of this year to add more functionality to my work. Having tutorials like yours to learn from has made that process less painful. I look forward to your next video.
Hi Thomas. Thank you for your kind words and glad you are enjoying the channel. I work hard to make sure content is strong. Might be another week for a new episode - we have so much work on at the moment - just had a huge influx of work. Will endeavour to make sure not too long t wait. Next few episodes are planned and hope you enjoy. All the best, darren.
Many other people tried to explain this but non of them wasn't good like you, even they don't know how to explain it, That's mean beside you are good artist you know how to teach. Thank you again for sharing
Thank you Sir! You are most welcome, and so pleased you appreciate my teaching technique. Enjoy!
Invaluable resource! So glad you joined the community of experts to help us newbies find our footing in the weird and wonderful world of Davinci.
Thank you Angie. Enjoy.
You are more thank likely the best instructor for DaVinci Resolve that I have ever heard..Keep up the great work.
Thank you, appreciated, You might want to join my exclusive EMAIL list for free items and future goodness eepurl.com/hob0oH (non-spammy guaranteed).
THANK YOU. More HDR (specifically Dolby Vision) content PLEASE.
There's not a lot of videos explaining HDR and Wide Gamut in DR, much less with such clarity. Thank you, Darren.
watching four of your videos gave me more than a half year of what I got from a payed course. I want to support you! sorry for my bad english. I am from Germany
Daren. As a music director, I could say, your resolve tutorials are simpy the best. Keep up your amazing work.
Glad you like them Zevnikov. Appreciate that. I grade a lot of music promos for Amazon.
Thank you Darren for such tutorial. I am just beginning Davinci, after many year using premiere Pro. I follow you in every tutorial, and you are the best. Thanks.
Thanks Luis. Appreciated. Glad you are enjoying my channel.
Jambo Darren! Cannot thank you enough for sharing this useful information. Dealing with HDR footage at he moment and your channel came highly recommended. Only half way through this video and I've already learnt so much. Shukran.
You’re welcome Sonny.
Thank you! Great explanation, straight to the point without a 2 minute channel intro clip.
Always will be to the point! I'm a busy man!
@@DarrenMostyn same. Thanks again legend!
You've got a great way of going in depth where a bunch of other folks on TH-cam skate over the important (but sometimes buried) bits. Thanks for being conscientious about show us how these things really work in terms of the philosophy of the approach to use, and also the hands on. Bravo!
Thank you Meeno. Appreciated. Yes, I work hard in making sure the episode explains clearly what I want to get across. Thank you for acknowledging as is it takes at least 1 day to make, usually more as I'm a perfectionist by nature of my job as a colourist!
As always a clear no-nonesense 'just the facts' tutorial - practical/useful/ concise- bravo!
Thanks Darren, this is a beautifully clear explanation of the HDR tool - really helpful. I have been experimenting with it and I have found the Saturation adjustment to be much more natural looking than the equivalent Primary Saturation tool.
Would kill for video(s) from you about HDR grading, delivering SDR and HDR of the same project, as well as Color spaces, and how to set up the program perfectly. Best training I've seen yet. Keep it up. :) And thank you.
Thanks Ben. I have something coming but not as comprehensive as your wish list just yet. Appreciate the commnets though. Thank you
Love the OPT/ALT + CLICK for the Project Settings Tip! Use it all the time! Another one of the ones I learnt from you! 👍🏻 Great video!
Thanks Alex. See your channel moving quickly now too!
This was a very useful and informative video
Woderful tuttorial on the HDR tool finally I can uderstand a bit more how to use it Thanks Daren
Glad it was helpful!
Another great one - Now I just want to use the HDR tools for everything :)
Once again, I must say that Resolve's color tools is just better than what I am used to from Lightroom being mainly a photographer. Resolve's controls just make so much sense and work so smoothly.
Me too! I wish i has as much control over colors and lights in lightroom. I learned a lot about photo editing while learning davinci😁
I have been a Resolve user in the past but have been abandoning it since a long time, because the pain of going from PP to Resolve for grading (I saw you did a tutorial about it). We always had issues when mixiing sources, fps and adding effects and Transform. Since that time Resolve has evolved a lot and now I strongly consider making it my only post production software, even if Speech-to-text Subtitles, Free Graphics, Dynamic Link and After Effect will certainly be missed. Thank you very much for your great tutorials which allow me to keep track of the new tools available today !
You wont regret it. Plenty of resources and motion templates that work great in Resolve. you wont miss dynamic link! Speech to text is the big one - hoping it comes soon. The editor is amazing....no brainer! Good luck!
@@DarrenMostyn I am mostly afraid of situations where big clients have already their templates for titles that you have to use in AE... But I suppose that I will just have to rent AE for a month in those occasions. The only thing is that I will still have to pay for Lightroom as I didn't see any convincing alternative. Thank you for your work.
Finally something to match the BaseGrade from Baselight in Resolve
Hi Darren, thanks for this excellent video series. It is such a relief to finally watch explanations and tutorials from someone who really knows what they are doing, and your knowledge and lack of BS sets your videos apart from the hyped-up amateurs on here. I have set notifications to on! THANK YOU!!
Glad it was helpful! Thanks Simon. Appreciate the Sub and notifications
Number One Davinci Resolve channel with tons of valuable insights and tips. Great video once again, thanks alot, Darren.
Much appreciated!
Really great Darren. When BMD released 17 my immediate reaction was that there were lots of bells and whistles that people will jump on, but the HDR tool to me seemed like the one that Colorists would really appreciate. Although there are a few others as well. Can't tell you how many times I have grabbed luma keys on specific nodes and through many other controls got to the same point as using this tool. Even in skin tones, I have found that having that control on the roll off of specular highlights and highlights has already improved my workflow. Will be quite exciting as they work out all the bugs to use in full production. Anyway, really happy you released this one, there are a few things that I learned that here, that I didn't get from playing around with it. And that my friend is well worth the time it take watching your tutorials. Soon to be 10k subs - really happy for you. Wish I could click the "Like" more than once.
Appreciated Jim. Just replied to your post on FB. I take time to prep these episodes to give best value to the best of my knowledge. Any little tip I find through exploring I always pass on! All the best, Darren.
Wow this is an awesome video, really helped me understand how to use these tools, and I am super excited to use them after seeing their potential, especially since I can use it on SDR footage as well! Thanks so much!
Wow. Thats incredible!!! What a powerful tool for color grading. As always. Top tutorial! Thank you Darren.
Glad you liked it! Thank you
Hey thank you Darren for such a clear and thorough explanation. Never too late to teach an old dog new tricks. ha... colorist for over forty years here...
Good to hear that everyone is benefiting, Thanks
Thank you so much for uploading this. Can't wait to study in detail!
You're so welcome!
This video is wonderfully detailed and rewards those of us who watch it multiple times. Lots of new detail for me. FWIW, I use the keyboard arrow keys to go back a few seconds and repeat a new bit if it is not understood. Great work, Darren! Thanks.
Thank you for the kind words. Really means a lot to me when people take the time to say something kind - I work hard on these episodes. Just so you know I am live on 30th December at 7pm GMT - a one off. Be great to see you there
I mean... man... you're just giving us gold ! Thank you so much for your explanations ! And thanks for your exactitude with the technical terms !!! :))
My pleasure! Thank you. Join my exclusive mailing list for occasional FREE stuff and goodness eepurl.com/hob0oH
Thanks ! It's done :))
Easy when you know how and now I know the basics, thank you for an informative video.
Glad it was helpful!
Excellent tutorial and explanation, thanks Darren a real confidence boost to try out the Wide Gamut settings.
Hi Russ. Thanks as always!
Nice one Darren. First video I have seen that explains this clearly.
Thank you tom!
Great tutorial man! Love the detail and work you put into this. It helps to understand this crucial Workflows much better. Thanks 🙏
You're very welcome! THanks for letting me know.
Whow.... In 12 minutes I moved from shying away from HDR to embracing it. Thanks!
Most welcome Andre.
Excellent explanation Darren. Appreciated. Cheers, Andrew
Appreciate you letting me know! All the best.
your videos are amazing. i'm going through them all now while I sit in weeks of lockdown. great use of my time, thanks so much, really like your explanations, speed and way you communicate the points
Glad you like them! You should definitely sign up to my email list to keep updated on extra things I may be doing. All the best. eepurl.com/hob0oH
How little we know...thank you for imparting your knowledge and time.
Thank you Darren. Excellent Content! Just subscribed.
Thank you Robert. Welcome aboard.
Hi Darren, I’m hugely grateful to you for this. I’ve started working with some HDR footage and really puzzled about the whole business of colour spaces and the HDR wheels, and this was fantastic. It was so clear - and you put in some fantastic other usability hints along the way. I cannot thank you enough!
Thank you Mark. Really Kind of you to let me know. Its appreciated. I love hearing form everyone!
This is amazing, thanks
Answered all the questions I had with regards to the new hdr option
Glad I could help
Thank you for this demonstration. You really show clearly how powerful the HDR wheels are in v17. I can't wait until the stable version of 17 is released. I really want to use it in my upcoming projects.
Glad it was helpful!
Excellent presentation. Subscribed.
Thanks, Darren! Exactly what I wanted when googling "davinci resolve 17 hdr". Well thought out and delivered. Your video should be made a standard accompaniment to Resolve 17's New Features Guide manual. Can't wait to learn more from your channel!
Glad it was helpful! All the best.
Thanks Darren, brilliant video.
Glad you enjoyed it
These new HDR tools are wonderful. You can quickly get a feel for who knows their stuff (ie Mr Mostyn) and who are bullshitting around not knowing what they are doing.
Thanks!
Really well explained many thanks for your help!!
Thank you - glad it worked for you! A lot of effort to get this explainer at right level....appreciated.
Thanks for sharing Darren, this is priceless, Keep going!!! Cheers
More to come! thank you paul
Hello thank you. Very good material. You translate well and understandably. Best regards, Jaroslaw from Poland
Thank you - appreciated
Huge thanks i didn't knew that we can isolate the dark and highlights area with a kind of histogramme, now the HDR mode is more clear for me rotating the color knob was not usefull without that. It works a bit like regular raw processing for still picture.
Glad I could help!
I liked this camera position than before. BTW thank you for your tip.
Good to know! You are welcome!
Very clear explanation , thanks!👊🏾🔥
Glad it was helpful!
Great video! I have a question about Dolby Vision. How do I get dolby vision metadata (L1) into the file? I have the Studio version of DaVinci Resolve 18 and have run the DV analysis on the color side. I would then like to have the L1 metadata inserted into the file. Actually, I should be able to select a Dolby Vision profile in the export settings. However, in my case it only says: "Tonemapping". Why does the function in the export settings not exist in my DaVinci Resolve?
Absolutely fantastic insight. Thank you.
Thank you Ethan. Enjoy the other episodes I made. there is a few playlist if that helps
Is it better to use the default color management and then use a CST? That way you can make primary adjustments before the transform (thats the order of operations right?) and also take advantage of the saturation clipping and luminance mapping within the CST?
Hi Jamie. Good to see you here - Ive seen some of your channel - good stuff! Using CST allows you to choose where in the node tree the transform happens so a little more control on that side, however colour managed workflow uses saturation and tome mapping too - you need to go to the custom setting and they are under DRT.
Thank you Darren, you really bring a new level to youtube concerning resolve tutorials. Would love to see a pro course from you with more in depth explanations. And I would most definitely pay for that. Is there any disadvantage to using davinci wide gamut for sdr delivery? Seems like it could be "the new standard" for basically everything excluding aces workflows.
Hi Martin. Keep an eye on the channel!
Impressive! Added to my reference playlist!
Glad to hear it!
@Darren Mostyn Your channel is a hidden gem! I'll spread the word for all people I know that use DS for editing! Also I'll checkout your videos. Warm regards.🙏
REally great... I really learned something new here.
Richard, thanks for letting me know - Glad its useful for you! all the best
Hi Darren, I love the simple breakdown of HDR tools. My question, is can you control these HDR wheels on the mini or micro panel?
Yes on mini. Not micro. I have a tutorial on the mini panel shows you how Is the MINI Panel for DaVinci Resolve worth it? Pro Colorist Test
th-cam.com/video/rWXVdsT9_VU/w-d-xo.html
@@DarrenMostyn oh wow, I must have missed that part since I watched that! Thanks! I will need to watch it again! :)
This is great info, thank you for sharing. I will share as well.
Thanks for sharing! Thats amazing!
Very well explained Thank you.
Glad it was helpful!
Thanks Darren for the explanation 👍 Davinci resolve will more powerfull if support editing photo RAW. I had convert RAW to DNG to edit in Davinci 😁 Davinci Resolve support editing Photo
Fantastic video Darren. Can you please make a color grading workflow for braw footage. Really like to learn what color space to work on for braw
Hi. Thanks Adheesh. I just did BRAW for HDR episode? Can look at doing some more - next one will be Sony FX6. Just in planning.
amazing videos man ,,, very informative .. there's lot to learn here.. thanks :)
i am a cinematographer and very new to the color grading ..would you please make more videos like setting up a project and also how to grade 8 bit log footages for sony mirrorless cameras..thanks again
Thanks. Here is my 8 bit video. th-cam.com/video/BZqe9jXgPLg/w-d-xo.html
Hi Darren - Great tutorial! Could you elaborate on how to use the Kodak/Fuji film look LUTs in this managed/wide gamut workflow. We definitely would need a CST node to go to Cinelog and then apply the LUT - but my question is whether another CST node is needed after the LUT? My guess is output of the LUT is Rec709 and the managed flow does a implicit conversion at the end. Thanks
Do you offer a color grading master class or another form of training. Will you provide some type of color grading training in the future because you are a good teacher?
Hi. I currently offer 1-1 zoom/skype training on an hourly basis which has been really popular since my channel got a bit bigger. I am being asked by a lot of subscribers now about training courses - I'm looking into it ... It is a huge investment in time to make, and I run a busy broadcast post facility so we will see. I would love to do a pro course for you if enough people shout. Watch this space! In the meanwhile If you want 1-1 then get in touch via my facebook.com/killertipsdavinciresolve site or instagram @onlinecreativepost .
Thank you.
Hey Darren! Your videos are the coolest. Question: With the more granular nature/control of the HDR tools in Resolve, why would we continue using the primary color wheels? I've learned boat loads about color as of late thanks to you and Cullen. And now after seeing the ability to adjust and add zones, adjust their falloff, etc I'm wondering why not grade with HDR only? With the normal primary wheels I'm seeing that I can get most of the way on my grading with only adjusting gain, lift, constrast, pivot and saturation. So maybe that's the point - Use primary to get most of the way, and then jump to HDR if needed for other stuff. I saw you do that with a beach scene in another video. Anyway, thanks for any thoughts whenever you have time!
This is the basis of my next episode as it happens!
Dammit I just love your channel! Blackmagic should pay you for these videoes. I been working with colorgrading for 12 years and I'm still learning so much from you. I would love if you would do an in depth tutorial on Davinci color managed workflow. Specifically on grading in P3 for cinema and then colormanaging for Rec709 for TV.
Thank you, appreciated! Noted your comments on tutorials, thanks.
Thanks for the all info Darren
You are welcome Koray.
Excellent as always!
Glad you think so!
Hi great video again! I have some questions though... I shoot on a sony a6400 8 bit footage in HLG2. I used to shoot in rec709 in the picture profile but people on TH-cam recommend to shoot in rec2020. So I want to give that a try. But if I use the colortransform effect on my node in the color tab, should I choose rec.2020 for color input, and rec.2100HLG for input Gamma? And if I use the timeline color space of rec709. gamma 2.4 will the colors I see on my laptop screen be the same as the colors I see when rendering the video? I hope you have some answers for me if you have the time. Thanks in advance!
Nice one. The HDR tools looks like to give more control, if one knows what to do ;) Need to watch this s few times. Thanks.
Enjoy. Thank you Tarjei.
Hi Darren, great stuff, may I ask 3 questions!
1) In the latest version of Resolve the wide gamut setting in project settings color management is called 'HDR DaVinci Wide Gamut Intermediate' - should I stick with that in general for best quality in SDR and HDR ? Not clear on why there's a need to use anything else ?
2) For project settings/output color space when working in HDR, there are endless confusing combinations. I thought Rec2100 ST2084 was the TV standard - but I only see you using Rec2020 ST2084 / P3D65ST2084 what is the difference between these and when should I use each one? What are the standards to best stick too (a video on this would be amazing!)
3) I'm transcoding RAW files from SonyA7SIII for use in resolve. Do you have any advice for what input colour space I should use in conjunction with Question 2. For example leave as Slog3/S-Gamut3 or set to Rec2020PQ . Or does it not really matter.
Well
That’s DM style of explanation.
Awesome .
Thank you for this fantastic explanation! Is there any chance you could make a video about the proper workflow for exporting videos graded using Wide Gamut for TH-cam and Vimeo? I specifically mean preventing the dreaded gamma shift. I realize that it might be a bit of a basic topic and that you have plenty of ideas for more advanced and interesting videos, but I think that an expert’s overview of the proper grading workflow for web would be priceless.
Hey Darren, I own a Panasonic G9 and was wondering if you can show how to color grade HLG footage in Davinci Resolve. I see many people are using a Leeming lut but im pretty sure there are other options. How do I set up Davinci for to grade HLG and can you use the same timeline with other color profiles. Thank you greetings from Norway
Thanks for another really well done video. I love the new Managed Color/Wide Gamut combination, particularly for the way that the Sony Slog3/SGamut3.Cine input transform works on footage from the Sony A7s III (immediately great color and contrast). But all is not perfect: unfortunately the Input transforms for Canon EOS R5 (CAnon Cinema Gamut/Canon Log) don't seem to be working nearly as well, and I am getting colors that look oversaturated and slightly wrong. And sadly Blackmagic have not yet produced other input transforms that I would really like to see, such as DJI Cinelike-D, DJI D-LogM; Sony Cine 2, etc. One interesting one is how to handle the iPhone 12 Pro Max. Currently Resolve automatically sets the Input to Rec.2100 HLG, but the image appears very wrong on screen, with all the image up too high in the histogram. You can fix that, but it takes a fair amount of work. I wonder if Dolby Vision means a new Input space, or whether Rec.2100 HLG is correct, and they are simply doing a bad job of the transform. Or possibly I am doing something wrong?
Thanks for the explanation! However, I’ve been using the custom YRGB curve to tackle this kind of things that require more precision. What’s the difference and pros/cons between using the HDR wheels and using the custom YRGB curve?
Hello, I love your videos and I am learning a lot from your content, I have a question, the Wide Gamut color space is only for RAW videos or does it apply to videos from a Sony S3?
Would love to know that as well!
Can you make a video about consistency ! Thx
Yes that would be great
Loved this one. After seeing your videos I finally got comfortable saying bye to Premiere Pro for my video editing and coloring work, and it's been great. And this video is just gold. That part of the color page was like a mystery that I now understand just a little. One question, and it's probably because Blackmagic have changed their menus. Both in the last Resolve v17 build that I was using and in the 18b build, there is no Da Vinci Wide Gamut. What I see is "HDR DaVinci Wide Gamut Intermediate". Are those the same thing?
yes effectively. The RCM has changed a bit but you will be fine...they made it easier. Glad to have you on board.
@@DarrenMostyn thanks a ton!
Hello Darren and thanks for all the knowledge!
Hope you see this question - how come do the primaries wheels act differently after applying DWG in color management? ie. the offset wheel is not linear anymore as opposed to working in non color managed space
thank you
The HDR tools are colour space aware and so behave differently in and out of colour managed environments. I plan om making episode about this very soon.
Awesome, neatly explained :) . I have a request, can you please do a video about CST, there are a lot of it in youtube and it's all confusing because everyone has a different take on it, I'm just curious on how you would use it. Thanks!
Hi Aneel. One reason why I started the channel - too much confusing info out there! I'll see what I can do.
Awesome content as always! Can you touch on ACES workflow in DaVinci?
Hi. I don't use an ACES workflow. I'm happy to make an episode if I get enough requests. As an independent studio I am not tied to ACES workflow so I use BMD RCM.
Darren, you legend, I’ve been looking for videos just this week which can help me understand how to work with HDR in Resolve, and BAM, here you are, reading my mind. Blackmagicdesign should be paying you to make their educational content, you have a knack for providing just the right amount of info, without dumbing things down too much.
What i would love to see is how do I deal with footage shot in (S-)log when working in wide gamut - i got some very funky results when changing to use wide gamut. Do the clips need to have their input colour set to them appropriate log and gamut? It seems like using LUTs aimed at Rec.709 aren’t very useful now, i guess i need to get better at grading!
Thank you Alex. Appreciate that.
@@DarrenMostyn Actually I would like to know the answer too. When working with slog3cine in wide gamut, how do I apply for example kodak lut? Do I put input color space on a clip or using CST? It gives me funky results.
Great video Darren!
Thank you.
I like your videos a lot, they are profound, clear and didactically really well made. Thanks a lot!
Now a question. You are right: when I switch to the wide gamut, my log-shots don't look flat anymore (not lut applied). But there are some shots coming from an F55 that are sLog3, exactly like the others, and still look flat (exactly same values they have when not color managed). - Any idea what this could mean????
Very informative thnx
Glad it was helpful!
That was a brilliant explanation! Thanks! Could the HDR wheels replace the primaries wheels entirely? Or is there a specific use for the primaries wheels where the HDR wheels wouldn´t be appropriate to use? I love your content! keep it up! Greetings from Argentina :)
You could imagine the HDR tools as an extended primaries! Glad you like the content. All the best, Darren.
thanks Darren for your tips! 👌🏻
My pleasure!
Learnt so much from this one. Newbie question Why is it called gamut?
Sorry Bruce...only just seen this - Gamut is the amount of colour it can handle. DaVinci Wide Gamut is the largest of all the Gamuts. REC709 is the smallest Gamut- it cant handle as much color space, but you can 'funnel' a wide gamut into rec709 space. Actually...i thought I had answerd this one..? maybe not,
Thanks for your great videos on color management. I have a question about input color space though. I am on a project with mixed footage. GH6, DJI Mini 3 and a few GoPro 8 Black shots. I am working color managed and with DaVinci wide gammut intermediate in the project settings. What would be the correct input color spaces for the footage? GH6 recorded in V-Log so that's fine and recognized automatically. But what would make sense for the Mini 3, which recorded D-Cinelike 10bit, and GoPro, that recorded 8bit Protune flat? Is it just sRGB perhaps? Or just set to bybass color management for that kind of footage?
Thanks for a thorough and well explained video...pleasure to watch and happy to be a subscriber. I have been pulling my hair out with all the different color management settings and this helped a lot. A quick question: if Im grading something I know will be viewed on an HDR screen I would have to set the output color space to eg rec.2020/2084 and select 1000 nits? 1000 seems to be the upper limit for most consumer screens. (In the video you set the output to rec709)
A lot of time my footage ends up looking weird though...even on my HDR capable editing screen
So pleased to hear you have subscribed - thank you. What is your deliverable..? Who are you delivering to that needs HDR.?
@@DarrenMostyn Hi Darren! Workflow as follows:
S-Gamut3.Cine/S-Log3 10bit 422 from a Sony A7S3 into Resolve.
Convert nodes to HDR mode and use HDR grading tools.
Experiment with color management settings 'till the cows go home.
Play with export settings 'till hair turns grey. (limiting colorspace to DCI P3 seems to help)
Its definitely not smooth sailing and there always seems to be some issues with how the colors look and behave during grading.
Deliverable is H264 for a client. They dont need HDR but thought it would be a good skill to have so was trying out workflows. Most recent phones and TVs do HDR nowadays so figured it was worthwhile. I ended up redoing the whole project in SDR as I encountered to many frustrations on the way :)
@@nichegholm1 So the important thing here is to be working in a color space that can deliver HDR and SDR if that is REALLY what your client needs. Looks to me you are just delivering HDR because you can. What about your clients or audience not on an iphone 12/ipad pro or similar yet..? Keep to the DaVinci Wide gamut in RCM and then you can switch from SDR to HDR as an output. REC 2020 as an output will be of no use as the are no devices capable of displaying. Stick to 2084 for HDR so you are then in a controlled colour space that potentially matches your viewing device. Unless your client request HDR then Id be staying safe with SDR for now. All the best. Darren
Also note that grading with HDR tools does not make it HDR. And, what are you viewing the grade on..? Is it HDR monitor. If not, forget it. If so, I would be set to DCI P3.
@@DarrenMostyn Yes, its definitely a case of "can do HDR" than "need HDR". But I enjoy playing around with new workflows and building up skills. I try out oyour suggestions... much appreciated!
Thanks for another very informative video. As a slight aside, is there any need/benefit to using a CST to convert to and from DWG as first and last nodes in my tree if I'm already using a colour managed DWG colourspace in my project settings ? Thanks.
Fantastic video!
Thanks Andy. You might want to join my exclusive EMAIL list for free items and future goodness eepurl.com/hob0oH (non-spammy guaranteed).
Daz do you know how to automatically darken text in a HLG HDR project in Resolve without using ACES? White text causes too much blooming when played back on a HDR device.
Hi Darren. Great tutorial, but how do you get black and white screen up and the scope next to it..and what scope is it..?
Hi. The grey scale is from the edit page - generators>grey scale. Add to your edit timeline. You then need to add a compound clip to it by right clicking the clip on the timeline. Now you can see that in the color page. Then, I have 'popped' the waveform out (see my episode on scopes) to make it floating window. Hope that helps.
Thanks Darren. And thanks for all the great tutorials..👍
Hello Darren, again excellent tutorial. Just one more question. Within Davinci 18, if I import a Canon Raw DNG file into the project with a Davinci color managed wide gamut, the Canon DNG files are very dark. At least one stop. There is no option (right click input color space on the colorpage)) because I think it is a Raw file. So I add bypass color management (on the clip in colorpage), now the clips becomes better but it has less color. I have to add at least 35 percent more color. Is this normal?
Thank you for your video, Darren!
Are the any difference between applying input color space to clip and use color space transform for the same reason? Looks like CST is more flexible, isn't it?
if using CST you need to BYPASS input at either clip stage or color management stage. The new 17 tools take care of the tone mapping much better so that is why I used CST on Resolve 16. But, yes its the same thing. With CST you re determine where in the node tree of course.