Apple Mac Color Management Tips For Davinci Resolve 17 with Daria Fissoun
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- čas přidán 5. 09. 2024
- Apple Mac Color Management Tips For Davinci Resolve 17 with Daria Fissoun
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So frustrating. If you had just let her speak after asking her to go through the preferences setup for working on a Mac without a declink, we would have got clear directions. Instead, this is very confusing!!!!
yeah, with all due respect. he had Daria as a guest and shes an industry top professional who literally wrote the book on this stuff..let her talk. he spent half the time showing his preferences and processes. kinda weird and a lost opportunity. unless this was just meant to plug her book. I dunno
What I got from this video is
Settings
1: Use Mac Display color for viewer
2: Davinci Color Managed
3: Davinci Wide Gamut
4: Output Color (Rec 709 Gamma 2.4)
Deliver Page
1:Color Space Tag (Rec709)
2:Gamma Tag (Rec709A)
The 2.4 will cover non color manager apps and the Rec709 tags will cover the color managed apps.
Did you have good results with this? Using these settings I got inconsistent colors in both color managed and uncolor managed applications (QT & VLC)
All rendered files appear consistent in quicktime and web, and very similar in VLC. However Davinci's viewer has a darker mid point. Any fixes?
I have a Mac Mini M1 and an Asus ProArt monitor(can change the gamma to 2.2 or 2.4).
What setting should I use on Resolve’s color management and delivery?
After a lot of testing, this is the simplest option on Mac:
1. Use the default Resolve color management settings if they suit you (Rec 709)
2. On the timeline you're exporting, in the Color tab, as the last node, add a Color Space Transform
3. Input (both) = Use timeline, Output space = Rec.709. Gamma = Rec.709-A
4. On the deliver page, under advanced, set the Color space and gamma to the same as the CST output.
- This way you get to grade your footage in 709 as usual, and not worry about any special adjustments.
- When you enable the CST the color tab, the image in Davinci will look washed out. But in crucially, in Quicktime/IINA/VLC on Mac, as well as on CZcams, the contrast and saturation of the image will look exactly as in Davinci BEFORE you enable the 709-A CST.
- The counter-intuitive thing here is that if you start in Davinci in 709-A you might get footage that looks different to what you shot and have to compensate for it.
- The other issue is that CZcams "recommends" you upload in 709 (not A). I tested both 709 and 709-A and compared to Davinci, and I get the same drop in gamma (darker image, crushed blacks, more saturation) on CZcams as I do in Quicktime if I export to 709 (not A).
Well that didn't work.
@@honeybearfilms Maybe you didn't change the export space and tag on the last page. Works for me, after trying a lot of different approaches. I didn't actually set the colour space and gamma of my timeline first, just kept it at default.
-709A CST at the end
-Set the export file settings to 709A as well
@@alaeifR I worked it out. You can’t leave the input settings as “on timeline”, you have to manually set them to Rec 709.
@@honeybearfilms Then do you also need to manually set the timeline to Rec.709?
What's confusing is not simply seeing what she recommends! (As opposed to seeing a visual of what Craig has been doing.)
Being a non-technical person, hearing all this is both a God-send and frustrating. Very glad still I came across this video. I think I will have to watch it a few times to digest it all.
or just fire up Final Cut, concentrate on creative process, and forget all that nonsense
@@DaMoroshka or not!
These Videos are worth so much and available for free. Thaks so much for the effort and sharing!!
Great info but I’m just as confused on how to configure my IMac and DR to get the best possible color for CZcams. Would an external color calibrator help? My exports from DR are dark and less saturated compared to the DR viewer and I can’t figure out how to address it
UP!
Rec 709-A in Project -- Add Color Space Transform node Rec 709 2.4 (if you'd like) -- Deliver: add Rec 709-A gamma tag = Export looks same in Quicktime and FCP as it did in Resolve.
What was she trying to explain when she asked you to borrow your screen before you took over the conversation? 3:59
Great video guys. I have a question: And in the mac settings display, did you use rec,709 ITU, COLOR LCD (the default one), SRGB or any other profile?
I work on a Mac and have had the hardest time being able to use a Davinci WG timeline color space. I've always had gamma shifts within my exports. Is there anyone out there that uses a Mac and a Davinci WG timeline colorspace that would be able to help me out with color management and export settings?
So what management settings should I use for davinci and premiere I don’t understand. I’m just trying to have my video look it’s best on web and tv
For color space tag I usually pick P3-DCI and for Gamma Tag I pick Rec-709 and I find that works really well.
What about deliver page settings ? Same as Project?
Or - Rec-709 and Gamma 2.4 ?
Or - Rec-709 and Rec-709 ?
🙈🤦🏻♂️
@@_Drab don't choose same as project unless in your "project settings" you have it permanently set there. Otherwise I just pick it manually each time before I export. And I do P3-DCI and Rec-709 and honestly it keeps my export identical to my edit every time.
@@AdamSzarmack try it. ((( For me color and contrast - wash out after export (Work on MacBook M1 and calibrated built-in monitor)
@@_Drab hmmm. I'm on a MacBook Pro with an Intel chip. Maybe that's what's causing a difference. 😕
Could you please help me out. I'm using this settings for a HD video on a new mac book pro. Am i missing something or the colours i'm seeing is close to accurate? Settings Mac display profile(s):
1. HDTV Video (BT.709-BT.1886) (Apply System Gamma Boost turned OFF)
Resolve settings:
Preferences -> System -> General
1. Use 10-bit precision in viewers if available CHECKED
2. Use Mac display color profile vor viewers CHECKED
Resolve Project settings:
Color management
1. Timeline color space: WG/Intermediate (i'm not sure should i use rec709-A here or not)
2. Output color space: rec709-A
Hello! Thank you for the content. Is this applicable to any Mac or are those without a screen (Mac Mini/Mac Studio) free from harm?
This is precisely the video I needed. Thank you!
hey man, when i check use mac display color profiles for viewers my footage gets noticeably darker, to the point where it almost ruins projects ive already done. Should i really still check it ?
this is awesome! i was looking for this info for ages! thanks!
If the provided clips are Rec 709 transcoded, are the settings below correct?
1. Display profile on Mac Display is sRGB.
2. Output Color space in Resolve Project Settings - sRGB gamma sRGB.
3. Deliver page - Color Space Tag - Rec 709, Gamma Tag - Rec 709 A.
Thanks
I am not clear if you are using an external monitor such as say a BenQ without a decklink, is the mac controlling that color space, so do you have to turn on the Mac settings in General for that? I have a Mini Monitor, but only use it sometimes on an OLED for final.
Hey there! What kind of color profile should my MacBook Pro retina Display be in order to properly colorize for social media (eg. youtube) and where to I tell Davinci Resolve what color profile my screen is? Thank you!
Were you able to figure this out? I have the same question!
@@micahbode id like to know that too.
can someone please answer his question i like to know
@@MsSoFruity just enable Mac profile display viewing in davinci Resort
I have a 2019 Imac. Is that SRGB? Is it just the newer ones that are P3??
Thanks, thanks, thanks sooooo much!!!
You're welcome!
Does this problem go away when using a non-Mac display?
I would love to know too
Listen to Daria - smart lady.
I see everyone using output color space as 709 Gamma 2.4, but then whatever I upload to youtube is washed out. Even if on the deliver page I use the 707-A tags. The only thing that matches is using 709-A in the 'color management' page.
How is everyone else using gamma 2.4 and exporting without color shifts? (on mac)
Hi! Did you figure this out? Same problem. I either have 709A in color management and consistent color in CZcams, DaVinci and QT ( and terrible in VLC), or 709 2.4 and than it is washed out for CZcams and QT, but good in VLC ( still a bit oversaturated)
@@user-oh2yx3gr6e Nope. Spent days looking into this and there's no clear answers. I guess just use 709-A if you're doing online delivery?
@@user-oh2yx3gr6e I'm having the EXACT same problem! Rec709A in Color management works on Quicktime / Vimeo / CZcams, but VLC looks horrendously oversaturated.
@@skermani Did you work this out, I have the same problem!
Me too, any ideas?@@user-oh2yx3gr6e
After 10 years still do not understand this properly.
It’s tricky, tag videos rec-709a then export Rec-709 with gamma 2.4 then do a test upload to CZcams and watch the video in different browsers to confirm it looks good.
@@CraigBeckta Thanks but it does not work as this creates the shift as well. iMac screen is around gamma 2.2 so the setting that creates the closest results is to use Mac color profile in Davinci, set automatic tags to Rec709A, then use the timeline color space to Rec709A as well, but then choose Auto when rendering. This gives very similar results in Mac Finder viewer which is basically the same as QuickTime, Chrome, CZcams, while VLC and Mozilla show the shift as usual because those apps do not use Mac color profile at all.
It is still very confusing for me as I am coming from the audio world where we also use calibrated speakers, however the process is simple, straight forward and very logical, while this makes me feel stupid every time Davinci changes the rules. Until V17 I used Rec 709 Scene, but now this does not give the correct results.
Or maybe the problem is the iMac P3 display, but then again every display needs calibration.
@@BojanBojovic I noticed a difference in the settings when I upgraded to Davinci 17.2. I am testing out a new external monitor setup this week so I can bypass Mac's color management. Check out my video with the BM Decklink Mini Monitor 4k.
@@CraigBeckta Thanks. Could you please help me understand this better. Let's say I have external monitor instead of this iMac, that one still needs calibration, right? But where the calibration is located, in the monitor or the system does it as it is the case with the internal iMac screen?
In what way external monitor simplifies this?
@@BojanBojovic The Blackmagic Design Decklink Mini Monitor 4k bypasses the computer color management. I am then sending a 10 bit signal to the LG CX 48 which I calibrate to reference standard using Color Space software. It is close to reference accurate but much cheaper than a very high end 20k monitor. Plus you can also use the LG CX with your Xbox or Playstation and watch Netflix etc. It is one of the most color accurate consumer displays on the market and it also is HDR and Dolby Vision compatible. LG CX 48: @t Visit the AVS Forum and look up the LG 2020 Oled display calibration thread if you are interested.
After hearing her noncommittal explanation (i.e. do your own testing), and reading the comments, clearly we still don't know what the hell the answer here is.
They should create something that you can just click for this to happen automatically. You’re a software developer, not sure why you put this on the consumer.
Why wouldn't she have used a good mic to do this enterview.
Daria isn't it time to get a proper mic? I appreciate your help, but I barely hear what you're saying. and some keywords are lost.
And @Photo & Video Tutorials I wish you would highlight her suggestions in terms of enjoying both worlds at 8:25 it's still a little unclear.
Thanks
Daria Spasibo !
Bro your green screen game is atrocious.
Too bad Daria doesn’t understand how to have good audio.
You took the words right out of my mouth… Very hard to understand her. She’s supposed to be a pro and she can’t do basic audio voiceover.
@@2424rocket Don't think Daria was responsible for the Audio. Check out the other videos where she appears. It has to do with lots of stuff out her control: there are transmission artifacts as well as possible problems on the recording end. She is a total tech wiz, though she's a freaking genius when it comes to color grading.