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What about automatically tagging Rec.709 as Rec.709-A in the general preferences as seen at @8:00 ? Will that stuff things up?

It works i have tried it thanks Frenchie i only apply that at the timeline level colour management when exporting i left it at timeline option it works for me no darker or washedout image and am haopy with it

As for calibration Mac display custom calibration is good ?

But can one be able to export looks from the look builder ???

Heavy gpu dehancers and filmcovert are going home

what you monitor referent ?

Love it! Nice job. 😂

better than the original 😹😹😹

so good!

Love it 😂😂😂

That was helpful, thank you. :)

Very good video… rec709A g2.2 CST node best used in pre grading then disable mode and export to rec709 g2.4

This is exatcly why I grade in HDR first and trim down to SDR using Dolby Vision. Or I export as Dolby Vision 8.4 which is interpreted as SDR correctly when the destination doesn't support HDR/DV. PQ Gamma aka ST.2084 doesn't suffer from any of this nonsense

I wish you showed an example color grading it in a Mac but this was very helpful. Thank you!

This is one of the best explanations of this mess, but I still do not understand it. 😃

I have to used Rec.709-A as my OutPut color space every time (in my project settings). otherwise my final render and the CZcams video looks washed, all my color grading is gone. I don't understand why. So I would like to try rec709 gamma 2.2 but this is the problem. This is one of my challenges stuff to learn. I'm using a Macbook.

I work with a Mac mini on a BenQ monitor, should I enable 'use Mac display color profile'? Thanks!

Merci cher Frencie! Vote for democracy next weekend ! Vive la France! ... and I like the nice warm light split setup

Thanks for this detailed video. I think rec709-a is the biggest topic of them all. I personally use it whenever we deliver to social media, CZcams or Webpages. If I know that the video is gonna be played on a screen in a shopping mall - then 2.4. Worked well so far. A Friend of mine just cranks contrast for deliveries. Whatever works for you :) Sometimes I feel like we are spending time thinking too much :))) Good to know the basics and reasons behind, but in the end - whatever works for you. In this day and age - there is no correct universal answer. Even if you calibrate your display, the majority of people won’t. So you do you if it works. Just my opinion tho. Glad to see your work on IG, very clean 🧼

frenchie, this has been a problem I have had for days and I didn't know how to solve it. Today I was surfing youtube and suddenly I came across your video and you just helped me like you have no idea. thank you very much for sharing this information. keep uploading tutorials like this and you will go a long way.

frenchie, this has been a problem I have had for days and I didn't know how to solve it. Today I was surfing youtube and suddenly I came across your video and you just helped me like you have no idea. thank you very much for sharing this information. keep uploading tutorials like this and you will go a long way.

The underlying issue is that Colorsync on a Mac does it's profile processing on the fly and Apple has ( to make a long explanation short ) a different gamma from the camera capture that it uses for the display function in your file. Apple assumes that a cameras capture will be the equivalent gamma of approx 1.96 and all other computers etc. have the math variable at 2.2 for the display function when writing to the card. So when played back on a Mac it will have the correct gamma that you assign to it for a display function for your monitor but when it does the inversion on the fly for your monitor it uses the incorrect math from the camera and applies it to the function. Warning technical data ahead. Typical math with gamma 2.2 Suppose we have a camera that uses a gamma value of 2.2 for encoding (γ = 2.2). 1. Gamma Encoding (Camera): • Let's say the camera captures a pixel with an original linear light value of V_in = 0.5. • The gamma encoding operation is: V_out = V_in^γ = 0.5^2.2 ≈ 0.2176 • So, the camera encodes this pixel with a value of approximately 0.2176. Then in the display gamma decoding ( for your monitor ) • Now, we want to correctly display this encoded pixel value on a monitor. We need to perform the inverse operation. • The decoding equation is: V_out = V_in^(1/γ) = 0.2176^(1/2.2) ≈ 0.4999 The monitor will display this pixel with a value of approximately 0.4999 ( which is the .5 linear we started with ) This process ensures that the image is correctly displayed, compensating for the gamma encoding applied by the camera. This correction is crucial for the image to appear visually accurate to human observers. Now if Apple uses gamma 1.96 for the gamma encoding to a file as it does on the fly whenever a file is going through Apple colorsync. The display encoding math will return a different result - the V_out = V_in^(1/γ) = 0.2176^(1/2.2) ≈ 0.4999 in this equation using 2.2 we get the 0.2176 but using 1.96 we get 0.2570^ (1/2.2 ) = 0.5392 The difference being that the final gamma curve is slightly higher using 1.96 and the difference between 0.4999 ( using 1.96 ) and 0.5392 ( using 2.2 ) from the camera gamma, the footage appears brighter at the display function. But I think That Frenchie's opinion is correct - ignore it or bake it in. If you bake in the rec709-a hack - it will have a distinct effect on PCs and other players that are not Macs. I believe that Apple will eventually fix this problem in the future, and if they do all the Rec709-a baked in file out there will be wrong. Best to ignore and make sure you have a calibrated display with a proper break out box that bypasses the Operating system and use that for all decisions.

Auto colour!!! 😄😄

So, as long as I'm using an external monitor calibrated to 2.2, I don't even need to concern myself with 709-A. Am I understanding that correctly?

Thanks for this. One question : While grading in Resolve, I use my M1 macbook as viewer for video clean feed. What should the display settings within Mac OS system preferences be set at? Especially if delivery is to be made to different platforms like TV, internet, cinema? There are many in-built display presets which make it confusing.

I edit on a Mac and deliver in color space tag P3-DCI and gamma sRGB and my colors are consistent everywhere even without checking “use Mac display” in settings. The only time I change it is when delivering for TV since rec709 is the broadcast requirement.

Here's what I've experienced myself and what has worked for me: The problem is the Apple's ColorSync and how Apple devices display the gamma and saturation of the colors. If you are just grading web content on a Mac and don't have an IO device like BM Ultrastudio, you should have "Use Mac display color profiles for viewers" always checked in Resolve. This will make your viewer in Resolve match Apple's ColorSync. Your output color space can still be set to Rec709 gamma 2.4. The 1-2-1 tagged export will look the same on QuickTime player as it looks in Resolve, so no need for Rec709-A even in preview purposes :) However there will be a gamma shift when you upload that same file to CZcams, Vimeo etc. When I grade on a Mac in Rec709 gamma 2.4 environment I do this: After the grade is finished, for the final export I'll put a cst node on timeline level going from gamma 2.4 to gamma 2.2 for content showed mostly on mobile devices, and for content viewed mostly on desktop, from gamma 2.4 to Rec709-A. Then leave the color space/gamma tags to "same as timeline" on the delivery page, so the file will be tagged 1-2-1. The timeline level cst node will make the image darker but it'll compensate for the gamma shift, and when uploading to the web the gamma will shift back to the original. For me this gets consistent and pretty close results and you can still grade the footage in gamma 2.4 setting. Also from my experience, grading in Rec709 gamma 2.2 environment (with display calibrated to gamma 2.2) works if you are on a Windows, but after the exported file has been uploaded to CZcams etc, it will still have a slight loss in contrast/saturation when viewed on a Mac. And vice versa the footage graded/viewed on a Mac will look a bit darker when viewed on a Windows device. So it's basically impossible to make the same file look identical on both systems. You just have to decide yourself which one you want to prioritize. Just my two cents :)

The Solution : Work on Windows - no more gamma shift issues haha

Gamma es Muy importante !

OOOH I've wondered this since I have a Mac and 709a so far has given me good consistent output. Can't wait to watch this.

Not taboo for me: I'm using a PC (but with a crappy monitor which isn't even calibrated 😭) Ta vidéo est top, mais il y a un un petit manque : 🥔🐇😁

Thank you for your knowledge about gamma selection. I make sure my output is what the client requests, avoiding any confusion down the line when delivering your product.

Hi, I watch your channel and I really like it. Could you make a video about color grading for movies shot with an iPhone, for example, the 13 PRO model? Without using LOG coding. There is no such video and there are many users with similar phones.

Curious! what I do is grade 2.4 709 etc, but on timeline made a 709a cst, and also add rec709a on gamut tag. Seems to export properly that way for me but the primary reasoning behind it being the 1-1-1 tag carrying through

gamma is absolutely not contrast lmao

hey frenchie! What mac display profile for you using along with the output colour space of 709 gamma 2.2?

Understanding this problem is very much like chasing rabbits down rabbit holes in the bottom of a dark coal mine, with a box of matches for illumination. My understanding of rec.709-a in resolve was that it was simply a tag, not a grade. So you output rec.709 gamma 2.4 with a tag of rec.709-a so that QuickTime recognises the output as rec.709 gamma 2.4. And other systems and applications would then just ignore that tag. It seems to me based on your tutorial that we ought to be delivering bt-1886 for broadcast, and distribution when rec.709 gamma 2.4 is requested or when destined for tv broadcast. Because that sidesteps the issue of the gamma curve of rec.709 being “undefined” or misinterpreted, yet meets the assumed broadcast standard of rec.709 at gamma 2.4.

Super Chloé, merci ! Il y a plein de youtubeurs qui suggèrent l'utilisation du Rec709-A mais je préfère l'avis de quelqu'un dont l' étalonnage est le métier ! 😊👍

REC709-A has worked for me and it seems to have a constant delivery for CZcams. I will experiment more...Thanks Frenchie !

OMG THANK YOU FRENCHIE !!!

Thanks !!for sharing this RGB technique seems to work really nice and soft.

oh man, the idea of bluring just the red channel is awesome!

thanks for the new tip, but i love watching you, i mean your videos (long format) 🫣

Super intéressant ! En voyant le rush, je me dis que ça serait cool, un short ou une vidéo sur l'étalonnage de plan VFX ? quel workflow ? étalo avant ou après le dégommage des fonds verts ? voila voila Encore merci pour la vidéo !

I really appreciate what you are doing and... don't listen to the knockers, if anything, they should be pitied because they'll do nothing with their lives!

why does none of the CZcams colorists make videos about cases when the colorist does not know which camera was used for filming. let's say I'm a freelancer and a client just uploaded a video to the cloud asking me to make the colors brighter. instead, every colorist on CZcams: "well, it's obvious that this was shot on Canon, so we put Canon in Inputs..."

Hi Chloé, thank you so much for this technique! However, the problem is that it affects the contrast of my image as well. Is it possible to get this result without affecting the contrast of the image ? :)

I'm glad that Casey Farris mentioned your channel. It's like finding gold. All of these tutorials have been game-changing for me. Quick, actionably, entertaining, and informative.

Wow. Another amazing technique. I'll try it on my next grade.

This méthode does not fonctionne for moi! J'ai toujours un gamma shift mais j'utilise aces CCT, is it trop nul par rapport au davinci wide gamut?^^