Thanks for watching! 🎬 If you found this tutorial helpful, don't forget to like and subscribe for more DaVinci Resolve tips and cinematic color grading techniques. Let me know in the comments if you have any questions or what you'd like to see next! Your feedback means a lot. 🙌
If possible a link to the footage you used in above video will be very helpful as I follow you through the tutorial and practice grading simultaneously. 🙌
Thank you so much for the awesome feedback! I'm thrilled to hear the content is valuable and easy to follow. Looking forward to sharing even more-stay tuned!
well done and thank you for this video; I am French and I have followed you since the beginning of your channel; you do remarkable work and you help all enthusiasts like me; I am 63 years old and I continue to learn thanks to people like you; long life to your channel and thank you again
Thank you! 🙏 I’m really glad you’re enjoying the content. A split toning tutorial sounds like a great idea-I’ll definitely add it to the list! Keep an eye out for it soon. 👍
Simply beautiful...!! 😍 Love your channel man, thank you for all the great tutorials and your time, really appreciate it...! Wanted to know is it possible to get a link for all the above footage you have used for grading practice?
Is there a particular reason behind why you didnt have Kodak film print applied before you began to colorgrade your clip? You started with exposure, contrast, temperature and then later you included dehancer.
There isn’t a particular reason why I didn’t start with the Kodak film print LUT this time. Typically, I do apply it first, as it directly impacts exposure and contrast, setting the foundation for the rest of the grade. However, for this clip, I chose to go with a more linear approach initially to streamline adjustments and avoid toggling back and forth. It’s a great observation, though! Applying the LUT first generally provides a more cohesive base to build on, especially when working with Kodak profiles, as they shape the tonality early in the process.
@@MediabeeColorLab I see, thank you for explaining your thoughts process for this one. Where can I learn more about how different film profiles effect shape of the image? I have Dehancer myself and I want to understand more in detail how they work. I know that Dehancer have alot of useful information on ther blog and website.
@@fjouper You're very welcome! To dive deeper into how different film profiles affect the image's shape and feel, Dehancer’s blog and website are excellent resources, as you mentioned. They offer detailed breakdowns on each film profile, covering how aspects like contrast, grain, and tonality influence the final look. In addition to Dehancer’s resources, I'd recommend experimenting directly within Dehancer by applying various film profiles and comparing the results side by side. This hands-on approach will help you develop a more intuitive understanding of how each profile shapes the image. If you’d like more technical insights, studying film theory and color science can also be incredibly beneficial. Let me know if you have any specific questions as you explore!
im your new subscriber, this is Great Tutorials you made, would you ask my question.. what if you use ACES cct color management rather than Davinci YRGB.. cause im using ACES than when i follow your tutorial here, all the result is very different. I wanna reach color like this tutorial, but im using ACES
Great question! If you're incorporating a LUT into your grading workflow in DaVinci Resolve, you typically want to place the LUT node after your primary correction nodes (where you've adjusted your contrast and balance) but before any creative or stylistic adjustments like vignettes or grain. This placement ensures that the LUT applies to a balanced image and integrates smoothly with your footage. Additionally, it's crucial to understand the color space for which the LUT is designed, whether it's Cineon film log, Rec 709, or DaVinci Wide Gamut Intermediate. Matching the LUT to the correct color space ensures that it performs as intended without causing unexpected shifts in color or contrast. Always check the specifications of the LUT you're using to ensure compatibility with your footage's color space before applying it in your node structure. This step is key to achieving optimal results!
@@MediabeeColorLab Nice, thanks for the time to explain. So taking the structure for the video as an example: if i wanted to use a LUT designed for the cineon color space the first CST would convert from Arri to cineon (DaVinci wide gamut/cineon) then add the corrections folowed by the LUT. After the said LUT I would add a node with a cst converting from Davinci Wide Gamut/ cineon to Davinci WG / inter so I could use the Dehancer source as Davinci WG/Inter , then add the rest of the nodes as in the video and finish with an CST converting to 709/gamma 2.4. Is this a correct assumption?
@@marcuspedro6004 Thank you for your thoughtful comment! Here’s the correct structure based on the workflow: First CST: Convert from your source media (camera) to DaVinci Wide Gamut Intermediate. Add all your grading nodes, including Dehancer Pro, while staying in DaVinci Wide Gamut Intermediate. Output CST: Convert from DaVinci Wide Gamut Intermediate to Rec 709. Add another CST to convert from Rec 709 to Cineon Film Log. Finally, apply the LUT designed for Cineon Film Log. This structure ensures your grading and LUT are applied in the appropriate color spaces for optimal results. I hope this clarifies things-let me know if you have any more questions!
Hi, the footage I use in my tutorials is all copyrighted, so I cannot share them. However, you can find high quality footage for color grading in camera manufacturers' websites. Here is one for your reference: www.red.com/sample-r3d-files
Thanks for watching! 🎬 If you found this tutorial helpful, don't forget to like and subscribe for more DaVinci Resolve tips and cinematic color grading techniques. Let me know in the comments if you have any questions or what you'd like to see next! Your feedback means a lot. 🙌
Great tutorial but you go through your moves so fast it's really hard to follow.
If possible a link to the footage you used in above video will be very helpful as I follow you through the tutorial and practice grading simultaneously. 🙌
@@CM-ft9ep Thanks for the feedback. I will pay more attention to the pace of my videos in the future.
@@aniruddhnaik Hi, here is the link: artgrid.io/story/20535/traditional-india
You post, I click, I learn… it’s that simple and thank you for the immense value.
Thank you so much for the awesome feedback! I'm thrilled to hear the content is valuable and easy to follow. Looking forward to sharing even more-stay tuned!
well done and thank you for this video; I am French and I have followed you since the beginning of your channel; you do remarkable work and you help all enthusiasts like me; I am 63 years old and I continue to learn thanks to people like you; long life to your channel and thank you again
@@dominiqueLemaitre-s8v I appreciate your support🤩. Im glad you found my tutorials helpful👍.
What an amazing video! Great job!
@@Dehancer thank you so much 🙏❤️☺️
You now what you do👍👍
Thank you!
Nice tutorial..!❤️
Thank you ❤
please could you make a toturial about split toning !!!!! genius bro~~
Thank you! 🙏 I’m really glad you’re enjoying the content. A split toning tutorial sounds like a great idea-I’ll definitely add it to the list! Keep an eye out for it soon. 👍
Simply beautiful...!! 😍 Love your channel man, thank you for all the great tutorials and your time, really appreciate it...! Wanted to know is it possible to get a link for all the above footage you have used for grading practice?
Thanks so much for your kind words! The clips are from Artgrid.io
Here is the link: artgrid.io/story/20535/traditional-india
جدا رائع طرقتك سهلة في العمل
Glad you found it helpful. Sukran!
Is there a particular reason behind why you didnt have Kodak film print applied before you began to colorgrade your clip? You started with exposure, contrast, temperature and then later you included dehancer.
There isn’t a particular reason why I didn’t start with the Kodak film print LUT this time. Typically, I do apply it first, as it directly impacts exposure and contrast, setting the foundation for the rest of the grade. However, for this clip, I chose to go with a more linear approach initially to streamline adjustments and avoid toggling back and forth.
It’s a great observation, though! Applying the LUT first generally provides a more cohesive base to build on, especially when working with Kodak profiles, as they shape the tonality early in the process.
@@MediabeeColorLab I see, thank you for explaining your thoughts process for this one. Where can I learn more about how different film profiles effect shape of the image? I have Dehancer myself and I want to understand more in detail how they work. I know that Dehancer have alot of useful information on ther blog and website.
@@fjouper You're very welcome! To dive deeper into how different film profiles affect the image's shape and feel, Dehancer’s blog and website are excellent resources, as you mentioned. They offer detailed breakdowns on each film profile, covering how aspects like contrast, grain, and tonality influence the final look.
In addition to Dehancer’s resources, I'd recommend experimenting directly within Dehancer by applying various film profiles and comparing the results side by side. This hands-on approach will help you develop a more intuitive understanding of how each profile shapes the image.
If you’d like more technical insights, studying film theory and color science can also be incredibly beneficial. Let me know if you have any specific questions as you explore!
im your new subscriber, this is Great Tutorials you made, would you ask my question.. what if you use ACES cct color management rather than Davinci YRGB.. cause im using ACES than when i follow your tutorial here, all the result is very different. I wanna reach color like this tutorial, but im using ACES
Thank you for your kind words. I noted your request. I will try to address it in future tutorials. Stay tuned. Best,
I can't find the color slice in my panel, please help me 🙏🏾
Please make sure you have the latest version of Davinci Resolve, i.e., 19.
@@MediabeeColorLab Thank you!! I'm using Resolve 18 🫠
nice one
@@traveler360 🧡🙏
if i have a LUT that i want to use in this structure or create a look, where would i place the node fort the LUT/Look?
Great question! If you're incorporating a LUT into your grading workflow in DaVinci Resolve, you typically want to place the LUT node after your primary correction nodes (where you've adjusted your contrast and balance) but before any creative or stylistic adjustments like vignettes or grain. This placement ensures that the LUT applies to a balanced image and integrates smoothly with your footage.
Additionally, it's crucial to understand the color space for which the LUT is designed, whether it's Cineon film log, Rec 709, or DaVinci Wide Gamut Intermediate. Matching the LUT to the correct color space ensures that it performs as intended without causing unexpected shifts in color or contrast. Always check the specifications of the LUT you're using to ensure compatibility with your footage's color space before applying it in your node structure. This step is key to achieving optimal results!
@@MediabeeColorLab Nice, thanks for the time to explain. So taking the structure for the video as an example: if i wanted to use a LUT designed for the cineon color space the first CST would convert from Arri to cineon (DaVinci wide gamut/cineon) then add the corrections folowed by the LUT. After the said LUT I would add a node with a cst converting from Davinci Wide Gamut/ cineon to Davinci WG / inter so I could use the Dehancer source as Davinci WG/Inter , then add the rest of the nodes as in the video and finish with an CST converting to 709/gamma 2.4. Is this a correct assumption?
@@marcuspedro6004 Thank you for your thoughtful comment! Here’s the correct structure based on the workflow:
First CST: Convert from your source media (camera) to DaVinci Wide Gamut Intermediate.
Add all your grading nodes, including Dehancer Pro, while staying in DaVinci Wide Gamut Intermediate.
Output CST: Convert from DaVinci Wide Gamut Intermediate to Rec 709.
Add another CST to convert from Rec 709 to Cineon Film Log.
Finally, apply the LUT designed for Cineon Film Log.
This structure ensures your grading and LUT are applied in the appropriate color spaces for optimal results. I hope this clarifies things-let me know if you have any more questions!
@@MediabeeColorLab thanks. This clarifies everything for me. You are doing an amazong job with this channel. Keep it up.👊🏾
@@marcuspedro6004 Thanks for your support! Happy grading!
Why is it free to watch this masterpiece 😂
Glad you're enjoying it! Consider it a special gift-enjoy the magic while it lasts! 😂🌟
just thanks
Most welcome
Can I ask for a sample video from you to study? I hope you agree and send it to me
Hi, the footage I use in my tutorials is all copyrighted, so I cannot share them. However, you can find high quality footage for color grading in camera manufacturers' websites. Here is one for your reference: www.red.com/sample-r3d-files