@@DarrenMostyn one question please, Do I need to white balance the footage first before applying the Kodak film look. Just incase the shot wasn’t shot on proper white balancing
If someone could only watch one tutorial on colour grading, this is it! Grading isn't just about getting a single frame to look good, it's about getting the whole show matching and looking good. Perfect!
The complexity towards the end was actually mind blowing.. I keep procrastinating grading my footage because I feel I need to understand more, but I think I better get on now.. this has been a big help, the most important bits are the explanations of the individual tools themselves, I come from photography LR/PS working with raw, this workflow albeit accomplishing the same things is very different and not easy to grasp in the beginning.. the qualifier referencing was some great content.
These little tips (ripple node changes to current group, different modes for watching split views) while talking about your topic is really helpful! Thanks for sharing these!
your message got featured in this video! Ive listened as i always do! Thanks for commenting!! Appreciated. I want to deliver what you want - not what I want!
an other very instructive tutorial. While you perform on balancing, I'm discovering new tips and technics from a pro-colorist, the way to organise NODES, their hierarchies, no fear for CST, all is clear now for the two CST (to DWG, to Rec 709) within the main nodes's architecture... thank you so much for efforts you've put into tutorials, very helpfull. All of a sudden you've become my main source of learning DaVinci Resolve, great teacher
I'm binge-watching your videos since yesterday that I found you, Darren. Paused this video to say a huge thanks! Won't write more, as I can't wait to continue watching!
Called out! Haha. I totally agree though. Getting looks is fun and not too hard as long as you have the time to play. But man, getting every shot to have the same look and charm, especially with different cameras and lighting setups, is where the real experience and knowledge come into play. Thanks so much for this info! Can't wait to try some of these techniques out. I've been practicing for years, but still feel like I'm just starting out.
This is an incredible tutorial. The grouping feature is absolutely essential for my workflow and you explained it perfectly. Cannot wait for this series to continue!
Since getting omniacopes its been super easy to match shor exposure. I just use false colour and im able to quickly see where everything is at a glance and match it straight away.
Another great video, thank you for taking the time to make these, always great explanations on how things work or are done. I find it very interesting the way you grade and how Cullen Kelly seems to prefer working in a colour managed workflow. I look forward to your next video. 👍
"You would expect them to match but they don't". I'm glad I'm not the only one. I shoot the same thing from 2 angles and 2 of the exact same camera, same white balance, exposure and everything set to manual to avoid spending hours grading them. When I import them there is always a difference. I think it's an optical illusion, as the background and lighting will be slighting different, and your eyes adjust to it erroneously. When I zoom in to the white background, pixel for pixel they are the same RGB value, but my eyes see them looking different. It's really annoying trying to correct for perceptual colour differences. Although it might have something to do with different lenses thinking about it
I will literally be first in line for your masterclass. Your perspective on Dehancer gave me the confidence to utilize it for upcoming projects. Keep up the solid work! Too much is left up to interpretation these days(I still have yet to see someone outside you & Qazi have a proper CST for R3D or like Footage). Feedback on color from the right source is everything. Y'all are super-heros for color on YT. We appreciate you leading sheep to greater pastures. All the respect. /salute
Nice job explaining the process of matching different clips, Darren. It is a subject of great interest to me because I am currently working with older footage from an earlier camera and I want to use that footage with the clips from my newer camera. I am really looking forward to Part 2 and beyond.
Really good subject to cover. Shot matching is the thing that is left out of most tutorials - yet colorists need to have good grasp on this. I know I've given you some needling in the past on "not labeling" the nodes. I still really think that for tutorials, people who are new users, that labeling helps them follow the tutorial better. What and how people do in that matter to their own workflow is up to them. The zooming in with the side by sides - I tend to go a lot further and take out everything but the face to analyze skin or blouse/shirt hues. Just a few points in exposure and hero choices. I have been on a bit of rant lately about getting the intention of the photography. You, of course have been doing this for a long time and probably have good eye for it and do it naturally. But talking to DPs and Grips, and such I have been researching what they do and which hero shot best represents their intentions. First being exposure. Depending on the actual DP - if they expose one stop over - it's a good idea to set the exposure accordingly - so knowing what it is shot with, ( the log) and then setting the middle grey, gets you, at minimum, to what they were seeing on set. Using DWG though means that middle grey should be around .336. The other thing is the choice of the wide, mid, close takes. Almost every DP I have talked to, have said that the closer they can get the lighting, the more accurate the footage is. The long shot ( wide ) that usually comes in the edit for an establishing shot, the lighting is pulled back to accommodate not being in the frame. They tend to rely on the fact that you are at a distance, and less scrutiny is put on the frame, as compared to a close-up. There is a point also ( not so much in this particular scene ) but people should sus out the direction and strength of the light source as part of the shot match. If that girl had a bright window on one side of her face and then the matching clip was from an angle that is from the dark side - the exposure is a lot trickier and wouldn't necessarily match on the scopes. That's where your experience kicks in, and you don't completely use the scopes, but make them naturally fall into the same world through the grading. Sorry for the long comment - I love this kind of stuff, keep em coming Darren.
OK on the node labels. I forget Im a professional and get so used to which node is which and I dont care to label but you are right - I'll TRY HARDER!! As for details, this is first one of a few I'll do....not giving it all away in one episode!! Thanks as always my friend! Darren
@@DarrenMostyn Recall the line from the 1986 comedy movie The Three Amigos "We don't need no stinkin badges" could apply in this case as "Darren don't need no stinkin node labels" :)
Darren, Thank you very much! I appreciate that you take your time for such highly valuable content. I hope you keep it up, cause I can learn a lot from you 🙂
Great video. You talked about other videos showing "fixed node tree" but you've got so many videos in channel I couldn't find it. Could drop a link to point me in the right direction please. Cheers
Darren, Your “how to…” approach to every day challenges for colorists is a great way to teach grading in Resolve. I can grab it and put it to use right away. Thanks man!
Thanks for this Darren! I've been doing this for a few years but I'm embarrassed to say that I wasn't aware of what node reference sizing did so that’s going to be a great help.
You're a great teacher! I started using DaVinci a few days ago and your videos really helped me understand Color Management and the basics when it comes to grading. Thanks for your videos!
Josh, was a pleasure for you to invite me to grade this video! Loved your channel for years as you know.. I Love Beard Meets Food and Sister Beard! Thank you for agreeing for me to use your footage to make this tutorial to share my knowledge! Wishing you and Adam and all the crew a fantastic 2023!
What I love about theis video is all the great info. What I hate about it is that I keep trying to click on stuff in Resolve and then realize I'm watching a video when I keep pausing it haha.
I want to say - I learn framing stills, and how to view shots for shot matching all this tricks I learned from you, i know resolve tool’s because of your videos thank you for that
Hello Darren Mostyn, could you make a video about balance? How do you balance images, with offset, gain wheel ? or Global HDR ? Or it depends and if it depends why and how do you know which to use ? Thanks
Hi Darren, thanks for the fantastic tutorial as usual! Will you ever do an in-depth tutorial on how to best use the other aspects of Dehancer? (film, print, grain, gate weave, etc.) Thanks! :)
@@Bordsteinpflaster In my experience so far yes, but Ive not upgraded fpr a while and i believe newer version is better. I couldn't upgarde as I have a big broadcast job on here for months that is only just signed off and was worried may change any dehancer settings I had.
Thank you very much for this Video! Does it make sense to transform Log/rec709 Footage to Wide Gammut for grading (and back) or does that only make sense for Raw-Footage?
13:15 This is an awesome tip when working with groups and the fixed node tree makes perfect sense. I have a question when working with groups: I usually group clips according to scene, then apply my fixed node tree to the "Group Pre-Clip", do a general balance (which then work across all the clips such as getting the shirt to look the correct blue) and then fix all the small things related to specific clips on "Clip" level. Here's the question (finally🙈): What's your reasoning behind working in groups and grading on clip level and then rippling the change to the group? Won't it be quicker and more efficient, for instance when the client wants the blue to be even more blue, to grade in "Group Pre-Clip", and just correct the blue on one node and it automatically updates on all the other clips as well, instead of fixing it in one clip and rippling again? Thanx for this tutorial, you teach me something every time!
For me to ripple grade is one button press on my advanced panel so it is really easy. 'shirt' level work as in this example is really clip level stuff IMO. Group level would be. a 'look' or you can put your CST's and halation etc FPE in the groups PRE and POST. Hope that makes sense.
Hi Darren! I'm subscribed but I can't find your node tree. It's always amazing to watch your videos and how you work! You make it so easy, I'm just a newbie trying to learn from people like you. What you do in minutes it takes me hours... so thanks for sharing all your experience!
Hi Darren, amazing insight, thank you so much! :) I couldn't find any video where you explain in detail your entire node tree. Even in the christmas video, that is more in depth, there's no mention of the second set of parallel nodes. The first one is for reshaping light and making some local changes, but what about the second one? Also (except the 709 CST) what's the purpose of the serial nodes between the two sets of parallel nodes? Where could I find a complete explanation of your node tree? Thank you so much! :)
Why do you apply the looks AFTER conversion to REC709? Dehancer allows DWG input so was wondering ig there was an advantage to doing after the output CST
Great post 👍 Thank you. I just downloaded your.dry file of your node tree but don’t know how to use it. Can you explain how to get it in DaVinci Resolve so I can use it as my node tree? Thank you 🙏🏻
hello Darren, can you pls tell me, is it necessary to put CST on any RAW footage? or i should just adjust contrast, brightness e.t.c and next color grade without CST at beginning? and at the end to rec 709? am i right? or it is must do at the beginning like CST with camera, gamma, DWG and then other grading nodes? thank you for your time and great content!
One of the best teachers Ive found on youtube for Resolve grading. Thank you for your work!
Thank you Chase. Really Appreciate that. I work hard on these to give the best info in the shortest time. All the best, darren.
@@DarrenMostyn Do you need to do a cineon conversion to use dehancer
@@hansmills2982 no, you choose color space at the top of the plugin
@@DarrenMostyn one question please, Do I need to white balance the footage first before applying the Kodak film look. Just incase the shot wasn’t shot on proper white balancing
Yeah he is great but must check out Cullen Kelly man he is damn great trust me you will thank me
"Ripple node changes to current group" just changed my life. Never knew, that this existed! Thank you!
If someone could only watch one tutorial on colour grading, this is it!
Grading isn't just about getting a single frame to look good, it's about getting the whole show matching and looking good. Perfect!
Glad you liked it Jamie. Thanks for the kind words.
Wayyyyy too complicated for me. Gotta look for a more basic lesson.
The complexity towards the end was actually mind blowing.. I keep procrastinating grading my footage because I feel I need to understand more, but I think I better get on now.. this has been a big help, the most important bits are the explanations of the individual tools themselves, I come from photography LR/PS working with raw, this workflow albeit accomplishing the same things is very different and not easy to grasp in the beginning.. the qualifier referencing was some great content.
These little tips (ripple node changes to current group, different modes for watching split views) while talking about your topic is really helpful! Thanks for sharing these!
Glad it was helpful!
Darren, you never fail to bring quality content! Actually the best channel on grading out there
Appreciated Vince!
FINALLY
I remember asking for shot matching tutorial on every other community post
Thank you sir
your message got featured in this video! Ive listened as i always do! Thanks for commenting!! Appreciated. I want to deliver what you want - not what I want!
Life saver you truly are, I've been playing around with some old footage and it's like every tutorial you make is the one I need at the time.
an other very instructive tutorial.
While you perform on balancing, I'm discovering new tips and technics from a pro-colorist,
the way to organise NODES, their hierarchies, no fear for CST, all is clear now for the two CST (to DWG, to Rec 709) within the main nodes's architecture...
thank you so much for efforts you've put into tutorials, very helpfull.
All of a sudden you've become my main source of learning DaVinci Resolve,
great teacher
you are very welcome. Glad to hear they are helping.
Genius. All stuff that makes sense once you get the flow. You provide the flow.
Good to hear from you legend!
I'm binge-watching your videos since yesterday that I found you, Darren. Paused this video to say a huge thanks! Won't write more, as I can't wait to continue watching!
This is incredible. As a grading novice, this - and all your other videos - changes everything. THANK YOU.
Darren, you are good! Just love your content. Thanks for sharing.
Thanks Darren. As ever....great stuff.
Have a great 2023
I do the same trick for References as you shown. It feels good to see the pro colorist. Nice video Darren. You are best teacher. Thank you!
Super technique of applying color correction / grading to the whole group at once. Excellent solution
Glad it was helpful!
Well... you make it look easy, It encourages me to go take the next step in coloring. Happy 2023 !
Thank you for being a real person that truly wants to share your knowledge in a way that is helpful.
Great tips here. Thanks for sharing. Looking forward to the next instalment!!
Dude you rock. Best out there in terms of teaching color work in DR. Blow everyone out of the water. Love how humble you are too. Keep killing it
Appreciated kind words Chris.
So helpful...my goodness. I need to read the manual more.
Definitly the most efficient person on earth to teach something... Can't wait for part 2, thanks again !
Thank you. Grateful for that I worked so hard on my last two episodes and its paying off with comments like that, so thank you,
Called out! Haha. I totally agree though. Getting looks is fun and not too hard as long as you have the time to play. But man, getting every shot to have the same look and charm, especially with different cameras and lighting setups, is where the real experience and knowledge come into play. Thanks so much for this info! Can't wait to try some of these techniques out. I've been practicing for years, but still feel like I'm just starting out.
Hey Darren, just checking in. Keeping being awesome with these videos. I remain your fan, don't ever forget that 😉🙂
I've learned only one thing from this video but it was still worth to wach it! Thanks!
This is an incredible tutorial. The grouping feature is absolutely essential for my workflow and you explained it perfectly. Cannot wait for this series to continue!
Glad it was helpful Michael.
So glad you put Masterclass in the title. That’s exactly what this is! Thank you for sharing your knowledge ❤
Appreciated Mark.
Thanks Darren! I realized a color space mistake I was making thanks to your little bit in the beginning! 🙏😊
Happy to help!
Since getting omniacopes its been super easy to match shor exposure. I just use false colour and im able to quickly see where everything is at a glance and match it straight away.
Nice one Darren :) Cheers on the fixed node tree! 🙏
Another great video, thank you for taking the time to make these, always great explanations on how things work or are done. I find it very interesting the way you grade and how Cullen Kelly seems to prefer working in a colour managed workflow. I look forward to your next video. 👍
Thank you very much Patrick.
I learn so much just by watching your scopes - thanks for another great vid
"You would expect them to match but they don't". I'm glad I'm not the only one. I shoot the same thing from 2 angles and 2 of the exact same camera, same white balance, exposure and everything set to manual to avoid spending hours grading them. When I import them there is always a difference. I think it's an optical illusion, as the background and lighting will be slighting different, and your eyes adjust to it erroneously. When I zoom in to the white background, pixel for pixel they are the same RGB value, but my eyes see them looking different. It's really annoying trying to correct for perceptual colour differences. Although it might have something to do with different lenses thinking about it
I will literally be first in line for your masterclass. Your perspective on Dehancer gave me the confidence to utilize it for upcoming projects. Keep up the solid work! Too much is left up to interpretation these days(I still have yet to see someone outside you & Qazi have a proper CST for R3D or like Footage). Feedback on color from the right source is everything. Y'all are super-heros for color on YT. We appreciate you leading sheep to greater pastures. All the respect. /salute
Nice job explaining the process of matching different clips, Darren. It is a subject of great interest to me because I am currently working with older footage from an earlier camera and I want to use that footage with the clips from my newer camera. I am really looking forward to Part 2 and beyond.
Really good subject to cover.
Shot matching is the thing that is left out of most tutorials - yet colorists need to have good grasp on this.
I know I've given you some needling in the past on "not labeling" the nodes. I still really think that for tutorials, people who are new users, that labeling helps them follow the tutorial better. What and how people do in that matter to their own workflow is up to them.
The zooming in with the side by sides - I tend to go a lot further and take out everything but the face to analyze skin or blouse/shirt hues.
Just a few points in exposure and hero choices.
I have been on a bit of rant lately about getting the intention of the photography.
You, of course have been doing this for a long time and probably have good eye for it and do it naturally.
But talking to DPs and Grips, and such I have been researching what they do and which hero shot best represents their intentions.
First being exposure. Depending on the actual DP - if they expose one stop over - it's a good idea to set the exposure accordingly - so knowing what it is shot with, ( the log) and then setting the middle grey, gets you, at minimum, to what they were seeing on set.
Using DWG though means that middle grey should be around .336.
The other thing is the choice of the wide, mid, close takes. Almost every DP I have talked to, have said that the closer they can get the lighting, the more accurate the footage is.
The long shot ( wide ) that usually comes in the edit for an establishing shot, the lighting is pulled back to accommodate not being in the frame. They tend to rely on the fact that you are at a distance, and less scrutiny is put on the frame, as compared to a close-up.
There is a point also ( not so much in this particular scene ) but people should sus out the direction and strength of the light source as part of the shot match.
If that girl had a bright window on one side of her face and then the matching clip was from an angle that is from the dark side - the exposure is a lot trickier and wouldn't necessarily match on the scopes. That's where your experience kicks in, and you don't completely use the scopes, but make them naturally fall into the same world through the grading.
Sorry for the long comment - I love this kind of stuff, keep em coming Darren.
OK on the node labels. I forget Im a professional and get so used to which node is which and I dont care to label but you are right - I'll TRY HARDER!! As for details, this is first one of a few I'll do....not giving it all away in one episode!! Thanks as always my friend! Darren
@@DarrenMostyn Recall the line from the 1986 comedy movie The Three Amigos "We don't need no stinkin badges" could apply in this case as "Darren don't need no stinkin node labels" :)
Looking forward to the next one...
As a pro non-colorist, that was the perfect clip to choose how to balance and blend the skin tones between two contrasting scenes 👏😀
Glad you enjoyed it!
Darren, Thank you very much! I appreciate that you take your time for such highly valuable content. I hope you keep it up, cause I can learn a lot from you 🙂
No plans to stop yet! Thanks for the kind words.
You're so much better than the rest, even those who have much more views!
Thank you Sergey! Very kind words.
Found that I always learn something cool every time I watch your video. Very useful stuffs. You're a master
Thanks.
Great video. You talked about other videos showing "fixed node tree" but you've got so many videos in channel I couldn't find it. Could drop a link to point me in the right direction please. Cheers
Darren, Your “how to…” approach to every day challenges for colorists is a great way to teach grading in Resolve. I can grab it and put it to use right away. Thanks man!
very welcome
Thanks for this Darren! I've been doing this for a few years but I'm embarrassed to say that I wasn't aware of what node reference sizing did so that’s going to be a great help.
Brilliant! Very interesting and very useful, thanks Darren.
Glad you enjoyed it Ray!
Fabulous Thanks Darren
Very welcome martin. Good to hear form you again.
Didn't expect to see Beard on here! 😃
Awesome content as always, thanks for sharing.
You're a great teacher! I started using DaVinci a few days ago and your videos really helped me understand Color Management and the basics when it comes to grading. Thanks for your videos!
You are so welcome Guillaume. Check out my playlists maybe - well curated so might help you to not have to watch my 100 episodes!
Thank you very much,I learned lots of methods from your video!
Love the Channel, great lessons with no bullshit. Congrats
Thanks Phillipe! Appreciated
Amazing video as always, great to work with you on this project! 💙👊
Josh, was a pleasure for you to invite me to grade this video! Loved your channel for years as you know.. I Love Beard Meets Food and Sister Beard! Thank you for agreeing for me to use your footage to make this tutorial to share my knowledge! Wishing you and Adam and all the crew a fantastic 2023!
Superb, thanks Darren. That was very nutrient dense!
Glad you enjoyed it Appreciated
Hey Darren, Great Tut as usual, I wondered can you make a Tut about Export Settings for TH-cam/IG/Netflix deliverables by any chance?
Hey Darren, great video can't wait for part 2!
Not sure if you've already done it, but would love a video about printer lights
So fantastic, Darren, thank you!
My pleasure!
damn dude. i learned so much in just one video. thank you. I can't wait to dive into your content.
Enjoy. Plenty of curated playlists on my channel too.
What I love about theis video is all the great info. What I hate about it is that I keep trying to click on stuff in Resolve and then realize I'm watching a video when I keep pausing it haha.
glad you like it
Superb 👌I never knew you could group clips. Thanks 😊
Amazing, keep'em coming don't be afraid of even more long form extended videos.
Also what about the white balance step?
I did white balance I think ?
Thank you so much. Your tutorials are always valuable. If I could know about the management of the contain for an SRGB version!
Thanks. That was amazing. Learned so much.
Great to hear!
Your a legend Mate!
I want to say - I learn framing stills, and how to view shots for shot matching all this tricks I learned from you, i know resolve tool’s because of your videos thank you for that
Another awesome video D. 🙏❤🎉
Thanks once again for your insights as a working professional
I guess its the only channel that shows actual color grading knowledge
28 years in broadcast! 13 years on Resolve
This was really clear. Hell yeah.
Glad you liked it
Fantastic video!
Hello Darren Mostyn, could you make a video about balance?
How do you balance images, with offset, gain wheel ? or Global HDR ? Or it depends and if it depends why and how do you know which to use ?
Thanks
Super nice video ! I've been using reference sizing a looot lately and it really helps put things into more context when it comes to shotmatching :D
Hi Darren, thanks for the fantastic tutorial as usual! Will you ever do an in-depth tutorial on how to best use the other aspects of Dehancer? (film, print, grain, gate weave, etc.)
Thanks! :)
It has potential for an episode yes. There is a discount code in the description BTW if you are looking to buy it. All the best, darren
@@DarrenMostyn if I may follow up on MP's question here, is it best practice to use the dehancer node after the 709 transform?
@@Bordsteinpflaster In my experience so far yes, but Ive not upgraded fpr a while and i believe newer version is better. I couldn't upgarde as I have a big broadcast job on here for months that is only just signed off and was worried may change any dehancer settings I had.
Please how to do magnifying glass of davinci resolve ?
🙏🙏🙏
Great content!
Amazing helpful video ty for making it to show us
No problem - glad it worked for you!
Wow super helpful. Thanks
Glad it was helpful!
Excellent thank you
Very nice!
i think false color ofx will serve you way better in matching exposure in talent's face and complex shots ,
good series, looking uo for more :)
I have false color on my omniscopes all the time.
Thank you very much for this Video! Does it make sense to transform Log/rec709 Footage to Wide Gammut for grading (and back) or does that only make sense for Raw-Footage?
Great Video the sizing was new for me
Glad I could help
Very interesting, thank you.
Hey Darren, I'd love it if you could do more on your grading process for BMPCC 6K pocket footage like this.
I really need a basic tutorial on nodes and what the heck node trees are really all about!
13:15 This is an awesome tip when working with groups and the fixed node tree makes perfect sense. I have a question when working with groups: I usually group clips according to scene, then apply my fixed node tree to the "Group Pre-Clip", do a general balance (which then work across all the clips such as getting the shirt to look the correct blue) and then fix all the small things related to specific clips on "Clip" level. Here's the question (finally🙈): What's your reasoning behind working in groups and grading on clip level and then rippling the change to the group? Won't it be quicker and more efficient, for instance when the client wants the blue to be even more blue, to grade in "Group Pre-Clip", and just correct the blue on one node and it automatically updates on all the other clips as well, instead of fixing it in one clip and rippling again? Thanx for this tutorial, you teach me something every time!
For me to ripple grade is one button press on my advanced panel so it is really easy. 'shirt' level work as in this example is really clip level stuff IMO. Group level would be. a 'look' or you can put your CST's and halation etc FPE in the groups PRE and POST. Hope that makes sense.
@@DarrenMostyn Makes perfect sense. Thanx for the reply!
Hi Darren! Why Gen4? Gen5 is wider and you can choose Gen5 in Camera Raw settings for BRAW. Thanks
this is awesome !
THANK YOU
Thnx!
Welcome Boris.
loved your tutorial - NEW SUB
appreciated.
this is the most difficult editor that I ever utilized. I just can't make my videos look great as yours. saludos
Hi Darren! I'm subscribed but I can't find your node tree. It's always amazing to watch your videos and how you work! You make it so easy, I'm just a newbie trying to learn from people like you. What you do in minutes it takes me hours... so thanks for sharing all your experience!
Thank u sir♥
More for speed I'll put film emulation on the timeline node tree rather than each clip. What if anything would you use a timeline node tree for?
That would be a great example.
So useful🙏
Hi Darren, amazing insight, thank you so much! :)
I couldn't find any video where you explain in detail your entire node tree. Even in the christmas video, that is more in depth, there's no mention of the second set of parallel nodes. The first one is for reshaping light and making some local changes, but what about the second one? Also (except the 709 CST) what's the purpose of the serial nodes between the two sets of parallel nodes?
Where could I find a complete explanation of your node tree? Thank you so much! :)
Hi, What should be the color space settings/CST for round trip of Davinci to Premiere Pro or any NLE Software
Why do you apply the looks AFTER conversion to REC709? Dehancer allows DWG input so was wondering ig there was an advantage to doing after the output CST
I like how older British film professionals still refer to music videos as music promos.
I was already at school when MTV just started!
Great post 👍 Thank you. I just downloaded your.dry file of your node tree but don’t know how to use it. Can you explain how to get it in DaVinci Resolve so I can use it as my node tree? Thank you 🙏🏻
hello Darren, can you pls tell me, is it necessary to put CST on any RAW footage? or i should just adjust contrast, brightness e.t.c and next color grade without CST at beginning? and at the end to rec 709? am i right? or it is must do at the beginning like CST with camera, gamma, DWG and then other grading nodes? thank you for your time and great content!