Master Matt, my friend, you forget to mention that this method of CM isn't going to save you if you have a un-calibrated monitor, or a monitor set on a different color space, not sRGB or REC709. I know you already post two videos about monitors and how to use them correctly. Thank you for all the free fantastic tips, lessons, and positive vibes.
Great video. The limitation of the color-managed workflow is that color correction comes after the transform and in some scenarios, you won't be able to bring back highlight or shadow information.
The ODT (Output Device Transform), which transform your clips to delivery format (e.g. Rec709) happens after the timeline, so the color space you are grading with is still in whatever color space you set your timeline with. Im not sure what happens behind the scenes in automatic color management, but you can just uncheck it and customize it to your needs. Input color space means the color space of your clips (for mixed cameras, you can just right click your clips just like what Matt did in this video). Timeline Color Space is your working color space, meaning your canvass then Output Color Space is the Color Space in which what you intended your film to be viewed at e.g. Rec 709, P3, etc. So if you set your timeline color space to a wide color space like Davinci Wide Gamut, then it wont limit you since its currently the widest color space.
Color correction comes after the Input Transform (to the Timeline Color Space) but before the Output Transform (to the Output Color Space) so you’re not losing anything 👍🏾
Great video. Didn’t know that option was there. Question though. What is the difference between this method and the Color Space Transform tool under the effects tab and using the slog3cine option from there.
They work the same. node based color management is great if you need to conform footage that's not a default option (like DLOG-M) or if you're using multiple tools that work in different color space aware tools.
I use a mix of Sony, GoPro and Insta360 footage. What color space would you recommend for the log action cameras? I have just been using Rec 709 but not sure if there's something more "accurate" I should be using. Thanks for another good one!
You can also easily select al the clips in the media page to give them the right color space. This way, you can easily select all the clips without having to go through the whole timeline to deselect drone shots for example.
Hey Matt! Thanks for the video. Please -> Don't forget about us Final Cut Pro X. I'd love to color grade on DaVinci but already invested my money on Apple's suite, and if there is a way to make a round trip between FCPX and Resolve Free Version, that would be awesome. Ah, and please consider the new FCP 10.8. Thanks a lot!
@@whoismatt Thanks Matt....I really love FCP and now it's muscle memory (in terms of quick keys)....It may not have as many features (AI) like Premiere, etc., it is still a great piece of software. Would love to see if there is something like what you found in Resolve available in FCPX.
Does this work with dng files. When i download a dng raw file i go to my camera metadata in davinci and in the drop down i get an option for clip, i click on this then i get an option to convert to black magic cinema but all the clips come out really dark and im not sure what else i can do to improve it. Im sorry if ive not explained myself that well but i hope you get the gist of what im saying.
I don’t believe this would work as well if you aren’t filming in slog3 unfortunately. You’d want to use a lut tuned for coloring cine4. My luts work great for that
I believe this method applies it to the entire project, whereas using a node to do the Color Space Transform allows for individual clips to have their own settings. So if you're mixing footage from different cameras (say, drone, and two different camera bodies) you can select the CST settings specifically for each clip. Which I still prefer also.
These are some awesome tips that’ll for sure speed up the editing process. I knew some of this stuff, but selecting all those clips at once is gold. Didn’t know I could do that! I was copying one at a time, which was still faster than editing each clip. 😂 Now I’ll be flying through edits once I nail my look.
What amazes me most in learning all these tricks and hacks that the freaking developer foresaw all we need to have and built all that stuff in. Why we don't see tons of vids from the developers to let us know all their software capabilities and teach us all they built in there for us? 😊
I can't speak to premiere, but everything inside of resolve is available inside the manual. They also have some pretty extensive video education available on their website.
where is this applied...talking in terms of nodes...is this applied at the end or the beggining...if curves ar used do they affect the log footage or the 709 space?
I would highly suggest watching this video to understand node based color management and doing it this way instead. Qazi essentially answers your question with scientific proof, and his color management will yield much better results and is explained in much more detail. Video is here czcams.com/video/jRs-NlIdz0c/video.htmlsi=3wAyhWIda5VDUpbp
The ODT (Output Device Transform), which transform your clips to delivery format (e.g. Rec709) happens after the timeline, so the color space you are grading with is still in whatever color space you set your timeline with. Im not sure what happens behind the scenes in automatic color management, but you can just uncheck it and customize it to your needs. Input color space means the color space of your clips (for mixed cameras, you can just right click your clips just like what Matt did in this video). Timeline Color Space is your working color space, meaning the color space of your canvass then Output Color Space is the Color Space in which what you intended your film to be viewed at e.g. Rec 709, P3, etc. So if you set your timeline color space to a wide color space like Davinci Wide Gamut, then it wont limit you since its currently the widest color space. Just watch this video for a more comprehensive outlook of Color Management czcams.com/video/w0ubDSzEEYg/video.html&ab_channel=Team2Films
@@whoismatt OK, that's probably why when I change the settings under color management, the footage comes in already set. I have had Resolve for over 2 years, but I have to admit...Color Correction part is good, but I still edit with Premiere. I don't like how many of the features in Resolve are hidden and it works kind of clunky to me. I like the work flow better in Premiere Pro. I've used Premiere for almost 28 years now. Hell, I used it before Firewire!
We are in 2024 where ai do most of the boring part, and davinci cant detect automatically? why? Even premiere can do that, which has basic color editing capabilities.
Its not about color management, its about how to apply log lut to footage lol And you cant talk about color being the same on all devices coz all displays arent the same
Color grading is something I have never been interested in. I do client work and don't have time to spend hours on color grading. Find it interesting how content 'creator's ' are obsessed with it even though they just talk to a camera
There's a chance it will auto detect the log profile from the xml sidecar file. Alternatively, you can run through the common log profiles, and see what looks best.
@@TroyQwert I meant you should be able to cycle through the common log profiles in that dropdown menu. There's a good chance that one of them will feel more correct than the rest. Try Canon Logc, 2, or 3, vlog, slog2, slog3, if you think your camera op had a red or arri, you can log3G10 or logC3. If the image looks 'normal', just interpret as rec709/gamma2.4. Is there a particular clip in particular that you're trying to correct? Also - if you have those sidecar xml files and resolve doesn't detect the profile, the xml should still state the recorded gamma and color space.
Master Matt, my friend, you forget to mention that this method of CM isn't going to save you if you have a un-calibrated monitor, or a monitor set on a different color space, not sRGB or REC709. I know you already post two videos about monitors and how to use them correctly. Thank you for all the free fantastic tips, lessons, and positive vibes.
Thanks Mat, cool video
Thank you 🙏🏼
Great video.
The limitation of the color-managed workflow is that color correction comes after the transform and in some scenarios, you won't be able to bring back highlight or shadow information.
The ODT (Output Device Transform), which transform your clips to delivery format (e.g. Rec709) happens after the timeline, so the color space you are grading with is still in whatever color space you set your timeline with. Im not sure what happens behind the scenes in automatic color management, but you can just uncheck it and customize it to your needs. Input color space means the color space of your clips (for mixed cameras, you can just right click your clips just like what Matt did in this video). Timeline Color Space is your working color space, meaning your canvass then Output Color Space is the Color Space in which what you intended your film to be viewed at e.g. Rec 709, P3, etc. So if you set your timeline color space to a wide color space like Davinci Wide Gamut, then it wont limit you since its currently the widest color space.
Color correction comes after the Input Transform (to the Timeline Color Space) but before the Output Transform (to the Output Color Space) so you’re not losing anything 👍🏾
@@he.smile_ If your timeline is set to rec709, you do.
I don't have any log on my canon 90D what type of setting should i use? Thanks in advance
Great video. Didn’t know that option was there. Question though. What is the difference between this method and the Color Space Transform tool under the effects tab and using the slog3cine option from there.
They work the same. node based color management is great if you need to conform footage that's not a default option (like DLOG-M) or if you're using multiple tools that work in different color space aware tools.
I use a mix of Sony, GoPro and Insta360 footage. What color space would you recommend for the log action cameras? I have just been using Rec 709 but not sure if there's something more "accurate" I should be using. Thanks for another good one!
Please do a tutorial for premiere pro as well 😊
please make one for Premier too.
You can also easily select al the clips in the media page to give them the right color space. This way, you can easily select all the clips without having to go through the whole timeline to deselect drone shots for example.
Thank you for the Premier Pro Guideline too
Thank you for this tutorial, How do you make that color transition at 0:56
Thank you for the Premier Pro Guideline too plzz!
i'm guessing this only wors if you have footage with only one camera in your project? I'm my case it's unlikely :(
Hey Matt! Thanks for the video. Please -> Don't forget about us Final Cut Pro X. I'd love to color grade on DaVinci but already invested my money on Apple's suite, and if there is a way to make a round trip between FCPX and Resolve Free Version, that would be awesome. Ah, and please consider the new FCP 10.8. Thanks a lot!
I have a lot to learn about Final Cut still but it’s one of my goals to learn it and start teaching it too
@@whoismatt Thanks Matt....I really love FCP and now it's muscle memory (in terms of quick keys)....It may not have as many features (AI) like Premiere, etc., it is still a great piece of software. Would love to see if there is something like what you found in Resolve available in FCPX.
Does this work with dng files. When i download a dng raw file i go to my camera metadata in davinci and in the drop down i get an option for clip, i click on this then i get an option to convert to black magic cinema but all the clips come out really dark and im not sure what else i can do to improve it. Im sorry if ive not explained myself that well but i hope you get the gist of what im saying.
So, i not gonna be able to use this tool if I have no idea what camera was used?
Is this better than using the color space transform effect in the color page?
Always great content!
Hey matt! awesome video! have you moved over to DVR for good? or still using premiere pro?
Using both :)
can you do the same tutorial with premiere? Thank you
Good timing with this 😂
Do one for Adobe please 🙏
What would be an optimal solution if I shoot in Cine.4 rather than S-Log3? What input should I choose in this case?
I don’t believe this would work as well if you aren’t filming in slog3 unfortunately. You’d want to use a lut tuned for coloring cine4. My luts work great for that
What's the difference between using this method and using "Color Space Transform" and then choosing your camera and profile in that? Thanks man!
came to ask this, thanks!
I believe this method applies it to the entire project, whereas using a node to do the Color Space Transform allows for individual clips to have their own settings. So if you're mixing footage from different cameras (say, drone, and two different camera bodies) you can select the CST settings specifically for each clip. Which I still prefer also.
This is the video I needed.
These are some awesome tips that’ll for sure speed up the editing process. I knew some of this stuff, but selecting all those clips at once is gold. Didn’t know I could do that! I was copying one at a time, which was still faster than editing each clip. 😂
Now I’ll be flying through edits once I nail my look.
So glad to help! 😁
What amazes me most in learning all these tricks and hacks that the freaking developer foresaw all we need to have and built all that stuff in. Why we don't see tons of vids from the developers to let us know all their software capabilities and teach us all they built in there for us? 😊
I can't speak to premiere, but everything inside of resolve is available inside the manual. They also have some pretty extensive video education available on their website.
Premiere too please! Looks awesome!
If u set the colour management before you import the files davinci will detect your slog and convert it before u even start editing.
Adpbe Premier please.
where is this applied...talking in terms of nodes...is this applied at the end or the beggining...if curves ar used do they affect the log footage or the 709 space?
I would highly suggest watching this video to understand node based color management and doing it this way instead. Qazi essentially answers your question with scientific proof, and his color management will yield much better results and is explained in much more detail. Video is here czcams.com/video/jRs-NlIdz0c/video.htmlsi=3wAyhWIda5VDUpbp
The ODT (Output Device Transform), which transform your clips to delivery format (e.g. Rec709) happens after the timeline, so the color space you are grading with is still in whatever color space you set your timeline with. Im not sure what happens behind the scenes in automatic color management, but you can just uncheck it and customize it to your needs. Input color space means the color space of your clips (for mixed cameras, you can just right click your clips just like what Matt did in this video). Timeline Color Space is your working color space, meaning the color space of your canvass then Output Color Space is the Color Space in which what you intended your film to be viewed at e.g. Rec 709, P3, etc. So if you set your timeline color space to a wide color space like Davinci Wide Gamut, then it wont limit you since its currently the widest color space. Just watch this video for a more comprehensive outlook of Color Management czcams.com/video/w0ubDSzEEYg/video.html&ab_channel=Team2Films
Is this in the latest Beta version 19? I tried it and I don't even have that option. I shoot with BMPCC 4K and 6K.
It’s also in version 18 as well. Resolve should automatically recognize Blackmagic raw footage and enable you to tweak it in the raw panel
@@whoismatt OK, that's probably why when I change the settings under color management, the footage comes in already set. I have had Resolve for over 2 years, but I have to admit...Color Correction part is good, but I still edit with Premiere. I don't like how many of the features in Resolve are hidden and it works kind of clunky to me. I like the work flow better in Premiere Pro. I've used Premiere for almost 28 years now. Hell, I used it before Firewire!
We are in 2024 where ai do most of the boring part, and davinci cant detect automatically? why? Even premiere can do that, which has basic color editing capabilities.
Its not about color management, its about how to apply log lut to footage lol
And you cant talk about color being the same on all devices coz all displays arent the same
Is this just for slog etc would this work on hlg3
I don’t believe there’s an option for HLG3, you’ll want to use a lut instead of this method
Thank you @@whoismatt
The rec 2100 HLG option works fantastic for HLG3. I've used it for about 4 years now, and have found it very easy to match with other cameras.
Color grading is something I have never been interested in. I do client work and don't have time to spend hours on color grading. Find it interesting how content 'creator's ' are obsessed with it even though they just talk to a camera
That was more than 1 click
So, i not gonna be able to use this tool if I have no idea what camera was used?
There's a chance it will auto detect the log profile from the xml sidecar file. Alternatively, you can run through the common log profiles, and see what looks best.
@@colemowery , can't and isn't this done by any other camera holder: see what looks best?
@@TroyQwert I meant you should be able to cycle through the common log profiles in that dropdown menu. There's a good chance that one of them will feel more correct than the rest. Try Canon Logc, 2, or 3, vlog, slog2, slog3, if you think your camera op had a red or arri, you can log3G10 or logC3. If the image looks 'normal', just interpret as rec709/gamma2.4.
Is there a particular clip in particular that you're trying to correct?
Also - if you have those sidecar xml files and resolve doesn't detect the profile, the xml should still state the recorded gamma and color space.