@@AaronandTaylor helped a lot! I have saw tutorials from guys with milions subscribers with no satisfiyng results, and then i found your channel. Thank you! Keep up!
Yes. The output color space should reflect the monitor you are viewing with. Generally that will be rec709 scene or rec709, gamma 2.4. MacBooks with a P3 display have a quirk where when using the output gamma 2.4 the viewport display will look different than the rendered file. Changing the output colorspace to rec709-A resolves this discrepancy so both will look the same.
As far as I know it defaults to rec709. You'll need to look up the specs on whatever monitor you are using to make sure you are viewing colors correctly.
@@AaronandTaylor it really did. My first steps with R6 and Davinci were based on other tutorials and the result was not satisfying at all - but I gave your method a try a try as it was R6 based. It looks like it has it's own specific and most of the tutorials are Sony focused :D it's just soo emberasing to realize how many mistakes I did with my files until now....
I know the feelz 😅 I struggled for a while too when I first got my R6. Curious how Sony and Panasonic have swept the market like that. Canon just seems to be playing catch up with everyone else. Having switched from a Lumix GH5 there's still some features I wish I had on the R6 **cough cough** custom video profiles. But that autofocus is just too good.
Just got a question as I am rewatching it over and over again. Nod 2 transforms from timeline to rec709 / cineonlog. But then nod 4 transforms from from rec709/gama2.4 - why not a cineon instead of gama? I thouth we would use same input as output. 7-8 minute of the tutorial.
This is something I didn’t explain very well. The reason for this is because these film look LUTs are basically cineon to gama2.4 conversion LUTs. So the LUT itself is converting cineon to gama 2.4. But because we’re in DWG color processing mode we need to then convert gama2.4 back to DWG to view it properly. If we’re doing this grade in rec709/gama 2.4 color processing mode we wouldn’t need this last node at all. Since I made this video I’ve been discovering some limitations in using DWG color processing mode. For example using HDR wheels rips off about 15fps in render speed on my MacBook Pro. Also if you open a clip in Fusion it looks bad because Fusion doesn’t yet know how to work in DWG. This is important to me so I’m back to using a rec709 color process mode so things hold together in Fusion but it doesn’t exactly mean we can’t still use DWG on the color page using CSTs. We can create a node setup on the color page to use DWG if we want it. Only note HDR wheels work but don’t work appropriately. It would look something like this. CST rec709 to DWG > nodes to style and correct exposure > CST DWG to cineon > node with Film LUT Basically all nodes between the two CSTs are being used in DWG while our timeline is in rec709.
Not technically, I don't think. I believe that Resolve Color Management is usable in the free version so you should be able to get C-log3 to transform to REC709 easy enough just by selecting input color space on your clips. I think the problem you might run into is using a Color Space Transform plugin in the color page. To the best of my knowledge all the plugins give you watermarks in the free version and I would assume that a CST would do the same so that would restrict you from converting to Cineon Log for Film LUTs.
The free version will not load the files direct from camera, I am getting around that by converting the C-Log3 first to DNxHRQ and then grading with the wide gamut color space...
Great video guys! But I have one question: My DaVinci Resolve is not the Studio version as yours. However, as I record in C-Log3 with the color space Cinema Gamut on R6 Mark II, when I try to transfer the videos to the application, Davinci does not recognize the videos and I can't open them to wok on my timeline. Do you have any idea what's happening please?
That would be a codec licensing issue. C-Log3 records to h.265 and the free version of resolve doesn't like that. Resolve now comes with an app, Blackmagic Proxy Generator, you might be able to use that to easily convert the files over to something that it can import.
If you’re mastering a project on a P3 display you’ll just want to set your output color space to P3-d65 in the project settings. The timeline colorspace can be set to whatever you prefer working in as that only changes how the color tools handle and resolve will, on the fly, covert that to whatever your output colorspace is set to. However, If your mastering for TH-cam or plan to have it viewed on rec709 displays, you’ll notice a color difference between the resolve viewer and the rendered video. MacBook and other apple displays use a P3-d65 gamut and that’s a common issue when mastering to rec709. The solution in resolve is to set the output colorspace to rec709-A in the project settings. This corrects the gamut shift while applying the appropriate rec709 color tags to the rendered video metadata. If your working on some other brand display in P3 and that’s what you plan to master your project to, it gets pretty messy and you’ll run into issues using resolves film LUTs because they prefer to have a rec709/cineon film log color input so you’d have to have a CST to convert P3 to rec709/cineon log, apply lut in a second node, and then add a third node with a CST to convert rec709/gamma 2.4 back to P3. (The lut itself converts cineon log to gamma 2.4.)
I used the exact settings you recommend both on my R5 and in DaVinci Resolve 18 and found that there was no impact on the flat C log3 look of the clips. Any suggestions as to why that might be? Thanks.
That's strange. I've never seen that issue before. If you know your working in DWG and selecting the correct input color space for your clips and they still shows up in log, you can try and use a Color Space Transform effect instead and see if that works to get a rec709 look. That will do the same thing but it transforms at a node level rather than a color managed level.
Usually I don’t deal with to many issues with noise unless I mess up my exposure while filming or if my ISO is high. If I do sometimes I’ll setup a node with denoise slightly pulled up but that increases render times and requires the studio version. A useful cheat I use is to setup a hue vs sat curve and pull down the purple and green saturation. Those colors are usually associated with high ISO noise if you zoom in on it but it really only works on a shot by shot basis.
I’m shooting on an R5 and just found the cinema gamut setting. When using that color space, should I expect to have less noise in the footage/more flexibility in color grading?
I haven't noticed any difference in noise. I think thats just going to be a limitation of the camera sensor if there is any noise. I prefer Cinema Gamut just so I can get the most of of my color grading when I adjust colors in Davinci Wide Gamut. I like how the color cotrols handle and filming in a large color space complements that. At the end of the day we're delivering in REC709 so it really all comes down to your own personal preferences. I think for future proofing it's a good idea to grade and film in the largest color space possible because standards change and one day we might all be delivering in HDR rather than REC709.
(figured it out) i hope evryone can have a good laugh at me and also learn from my mistake hahah, well turns out its go pro 9 black footage not my cannon r6 footage lol im so sorry im such a noob at all this lol hey hope you can help im in a bit of trouble with the same camera (canon eos r6) and same settings canon log 3 cinema gammit 23fps, i followed youre instructions on color management set everything just the way you did but when i go too the media page to input the color space, the image jsut blows up crazy the higlights are blown way outta proportion and the video looks ruined none gradable know matter what i do too normalize it in my case, its a video with lots of red a lot!, its in a hallway the hallway has no light and i set a red light inside a room so that the red light would bleed out into the hallway, so the only lite source is red no other source is there, it looks normal when i imported with normal davinci ysrgb but as soon as i try wide gamit like in youre video it just falls apart, any idea why? i this kinda sucks, id be willing to send you the footage if it helps figuring it out.
Sound like a codec licensing issue. If you’re using the free version of Resolve it does not import h.265 video and that is typically the result. The paid version will take care of that issue. Alternatively you can use the new proxy generator app to transcode everything to a format that can be read in importing.
thank you so much.. trying this on my r8
Excellent video. Recommended by TH-cam and you answered all my questions I was having. Thank you 👌🙏
Awesome!! Glad it helped!
Yep, that‘s what I needed to know. Awesome. 🎉 Game changing for me. Thanks a lot!❤
Thank you very much! I really struggled with this, now thanks to you it's so easy.
Glad to help!!
Still cant get my head around all this. you explained everything really well so it isn't your fault, but ive got a lot to learn
Stick with it. You’ll catch on!
This has helped so much with correcting and grading specifically for the R6. You make it so simple to follow. Thanks!
Glad this helped! There's not a lot out there on grading R6, C-Log 3 footage so I thought this would be a good thing to contribute to the community.
Clog 3 cinema gamut 4.2.2 not loading video, it only import sound though im using resolve studio.
Have a r6 and have just switched to resolve! You are the man! Thank you!
No problem! Glad this helped!!
@@AaronandTaylor helped a lot! I have saw tutorials from guys with milions subscribers with no satisfiyng results, and then i found your channel. Thank you! Keep up!
Wow, this tutorial is great! Thanks for sharing!
Glad it helped!!
amazing men, thanks youuuuuuuu
No problem!!
Is the output specific to the monitor? Or do we just use that setting? in the color management section. Because for me it was just rec 709 (scene)
Yes. The output color space should reflect the monitor you are viewing with. Generally that will be rec709 scene or rec709, gamma 2.4. MacBooks with a P3 display have a quirk where when using the output gamma 2.4 the viewport display will look different than the rendered file. Changing the output colorspace to rec709-A resolves this discrepancy so both will look the same.
@@AaronandTaylor does it automatically select the proper one or do we have to look it up?
As far as I know it defaults to rec709. You'll need to look up the specs on whatever monitor you are using to make sure you are viewing colors correctly.
This is superb! I saw your comment on of Rocco's films and I knew you will have some tutorial on your chanel. Thanks a lot for it!!!
No problem!! Glad it helped!
@@AaronandTaylor it really did. My first steps with R6 and Davinci were based on other tutorials and the result was not satisfying at all - but I gave your method a try a try as it was R6 based. It looks like it has it's own specific and most of the tutorials are Sony focused :D it's just soo emberasing to realize how many mistakes I did with my files until now....
I know the feelz 😅 I struggled for a while too when I first got my R6. Curious how Sony and Panasonic have swept the market like that. Canon just seems to be playing catch up with everyone else. Having switched from a Lumix GH5 there's still some features I wish I had on the R6 **cough cough** custom video profiles. But that autofocus is just too good.
Just got a question as I am rewatching it over and over again. Nod 2 transforms from timeline to rec709 / cineonlog. But then nod 4 transforms from from rec709/gama2.4 - why not a cineon instead of gama? I thouth we would use same input as output. 7-8 minute of the tutorial.
This is something I didn’t explain very well. The reason for this is because these film look LUTs are basically cineon to gama2.4 conversion LUTs. So the LUT itself is converting cineon to gama 2.4. But because we’re in DWG color processing mode we need to then convert gama2.4 back to DWG to view it properly. If we’re doing this grade in rec709/gama 2.4 color processing mode we wouldn’t need this last node at all.
Since I made this video I’ve been discovering some limitations in using DWG color processing mode. For example using HDR wheels rips off about 15fps in render speed on my MacBook Pro. Also if you open a clip in Fusion it looks bad because Fusion doesn’t yet know how to work in DWG. This is important to me so I’m back to using a rec709 color process mode so things hold together in Fusion but it doesn’t exactly mean we can’t still use DWG on the color page using CSTs. We can create a node setup on the color page to use DWG if we want it. Only note HDR wheels work but don’t work appropriately. It would look something like this.
CST rec709 to DWG > nodes to style and correct exposure > CST DWG to cineon > node with Film LUT
Basically all nodes between the two CSTs are being used in DWG while our timeline is in rec709.
Do I need DaVinci Studio to edit in Clog3? Thanks for this video. I am clueless with video but will give this a try just for funsies!
Not technically, I don't think. I believe that Resolve Color Management is usable in the free version so you should be able to get C-log3 to transform to REC709 easy enough just by selecting input color space on your clips. I think the problem you might run into is using a Color Space Transform plugin in the color page. To the best of my knowledge all the plugins give you watermarks in the free version and I would assume that a CST would do the same so that would restrict you from converting to Cineon Log for Film LUTs.
The free version will not load the files direct from camera, I am getting around that by converting the C-Log3 first to DNxHRQ and then grading with the wide gamut color space...
@howzchannel9843 how?
This is really helpfull, thank you
No problem!!
Great !! Thank you Bro
You're welcome!
Great video guys! But I have one question: My DaVinci Resolve is not the Studio version as yours. However, as I record in C-Log3 with the color space Cinema Gamut on R6 Mark II, when I try to transfer the videos to the application, Davinci does not recognize the videos and I can't open them to wok on my timeline. Do you have any idea what's happening please?
That would be a codec licensing issue. C-Log3 records to h.265 and the free version of resolve doesn't like that.
Resolve now comes with an app, Blackmagic Proxy Generator, you might be able to use that to easily convert the files over to something that it can import.
@@AaronandTaylor thanks so much man! This is the first time someone give me this answer
if im using p3-d65 profile for my display, what kind of adjustments should i be applying to each of the nodes? (@6:30 part of the video)
If you’re mastering a project on a P3 display you’ll just want to set your output color space to P3-d65 in the project settings. The timeline colorspace can be set to whatever you prefer working in as that only changes how the color tools handle and resolve will, on the fly, covert that to whatever your output colorspace is set to. However, If your mastering for TH-cam or plan to have it viewed on rec709 displays, you’ll notice a color difference between the resolve viewer and the rendered video.
MacBook and other apple displays use a P3-d65 gamut and that’s a common issue when mastering to rec709. The solution in resolve is to set the output colorspace to rec709-A in the project settings. This corrects the gamut shift while applying the appropriate rec709 color tags to the rendered video metadata.
If your working on some other brand display in P3 and that’s what you plan to master your project to, it gets pretty messy and you’ll run into issues using resolves film LUTs because they prefer to have a rec709/cineon film log color input so you’d have to have a CST to convert P3 to rec709/cineon log, apply lut in a second node, and then add a third node with a CST to convert rec709/gamma 2.4 back to P3. (The lut itself converts cineon log to gamma 2.4.)
I used the exact settings you recommend both on my R5 and in DaVinci Resolve 18 and found that there was no impact on the flat C log3 look of the clips. Any suggestions as to why that might be? Thanks.
That's strange. I've never seen that issue before. If you know your working in DWG and selecting the correct input color space for your clips and they still shows up in log, you can try and use a Color Space Transform effect instead and see if that works to get a rec709 look. That will do the same thing but it transforms at a node level rather than a color managed level.
thnx
I have only one question, how is the noise handled? My main issue is if I am using Clog i have to deal witht fair amount of noise. Thanks :)
Usually I don’t deal with to many issues with noise unless I mess up my exposure while filming or if my ISO is high. If I do sometimes I’ll setup a node with denoise slightly pulled up but that increases render times and requires the studio version. A useful cheat I use is to setup a hue vs sat curve and pull down the purple and green saturation. Those colors are usually associated with high ISO noise if you zoom in on it but it really only works on a shot by shot basis.
I’m shooting on an R5 and just found the cinema gamut setting. When using that color space, should I expect to have less noise in the footage/more flexibility in color grading?
I haven't noticed any difference in noise. I think thats just going to be a limitation of the camera sensor if there is any noise. I prefer Cinema Gamut just so I can get the most of of my color grading when I adjust colors in Davinci Wide Gamut. I like how the color cotrols handle and filming in a large color space complements that. At the end of the day we're delivering in REC709 so it really all comes down to your own personal preferences. I think for future proofing it's a good idea to grade and film in the largest color space possible because standards change and one day we might all be delivering in HDR rather than REC709.
(figured it out) i hope evryone can have a good laugh at me and also learn from my mistake hahah, well turns out its go pro 9 black footage not my cannon r6 footage lol im so sorry im such a noob at all this lol
hey hope you can help im in a bit of trouble with the same camera (canon eos r6) and same settings canon log 3 cinema gammit 23fps, i followed youre instructions on color management set everything just the way you did but when i go too the media page to input the color space, the image jsut blows up crazy the higlights are blown way outta proportion and the video looks ruined none gradable know matter what i do too normalize it in my case, its a video with lots of red a lot!, its in a hallway the hallway has no light and i set a red light inside a room so that the red light would bleed out into the hallway, so the only lite source is red no other source is there, it looks normal when i imported with normal davinci ysrgb but as soon as i try wide gamit like in youre video it just falls apart, any idea why? i this kinda sucks, id be willing to send you the footage if it helps figuring it out.
Glad you figured it out! That’s got me a time or two when I accidentally had a shot misplaced in the wrong bin.
@@AaronandTaylor lol I was like, look at the metadata and boom!
Your background music is a little loud and annoying.
The music is annoying.
how do you get the footage into resolve whenever i import it doesnt bring video only brings the soud
Sound like a codec licensing issue. If you’re using the free version of Resolve it does not import h.265 video and that is typically the result. The paid version will take care of that issue. Alternatively you can use the new proxy generator app to transcode everything to a format that can be read in importing.
@@AaronandTaylor thank you for the reply didnt even think that would be an issue, guess i better start saving up for the softare!