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.
@cinematools9621
Ай бұрын
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.
@426Studios
Ай бұрын
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.
@he.smile_
Ай бұрын
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 👍🏾
@cinematools9621
Ай бұрын
@@he.smile_ If your timeline is set to rec709, you do.
@RemyBReel
Ай бұрын
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!
@JobVisuals
Ай бұрын
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.
@phenomenalshots7626
Ай бұрын
Thank you for the Premier Pro Guideline too
@WOMENOFTROY
Ай бұрын
Always great content!
@ramsrock85
Ай бұрын
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.
@colemowery
20 күн бұрын
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.
@imacgolf
Ай бұрын
Please do a tutorial for premiere pro as well 😊
@jacoriat
12 күн бұрын
i'm guessing this only wors if you have footage with only one camera in your project? I'm my case it's unlikely :(
@anam170
Ай бұрын
please make one for Premier too.
@diamondeyesfilms
Ай бұрын
This is the video I needed.
@diamondeyesfilms
Ай бұрын
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.
@whoismatt
Ай бұрын
So glad to help! 😁
@hasenin
Ай бұрын
Thank you for the Premier Pro Guideline too plzz!
@wagnercs
Ай бұрын
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
Ай бұрын
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
@paulgero
Ай бұрын
@@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.
@joshafilms
24 күн бұрын
Thank you for this tutorial, How do you make that color transition at 0:56
@Biring1
Ай бұрын
Good timing with this 😂
@Allthingsvadya
Ай бұрын
Is this better than using the color space transform effect in the color page?
@TroyQwert
Ай бұрын
So, i not gonna be able to use this tool if I have no idea what camera was used?
@TroyQwert
Ай бұрын
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? 😊
@colemowery
20 күн бұрын
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.
@photosbyjames_
Ай бұрын
Hey matt! awesome video! have you moved over to DVR for good? or still using premiere pro?
@whoismatt
Ай бұрын
Using both :)
@teodordusa911
Ай бұрын
What would be an optimal solution if I shoot in Cine.4 rather than S-Log3? What input should I choose in this case?
@whoismatt
Ай бұрын
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
@giannippo
Ай бұрын
can you do the same tutorial with premiere? Thank you
@gospodinsevov1311
Ай бұрын
If u set the colour management before you import the files davinci will detect your slog and convert it before u even start editing.
@JakeLamons
Ай бұрын
What's the difference between using this method and using "Color Space Transform" and then choosing your camera and profile in that? Thanks man!
@jacobmendez8793
Ай бұрын
came to ask this, thanks!
@ThomasBrodtmann
Ай бұрын
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.
@OmarZaldivar
Ай бұрын
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?
@NatureSleepSerenity
Ай бұрын
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 kzitem.info/news/bejne/y4ipk4KigparY5gsi=3wAyhWIda5VDUpbp
@426Studios
Ай бұрын
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 kzitem.info/news/bejne/2GaryHiJs3d2jJw&ab_channel=Team2Films
@wendywitzig119
Ай бұрын
Premiere too please! Looks awesome!
@mariusiacob92
Ай бұрын
Do one for Adobe please 🙏
@EatBuildRideRepair
Ай бұрын
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.
@Drrezzin
Ай бұрын
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.
@whoismatt
Ай бұрын
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
@Drrezzin
Ай бұрын
@@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!
@VictorMartinez-nv4up
Ай бұрын
Adpbe Premier please.
@fR3TYNO
Ай бұрын
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
@orinorio1
Ай бұрын
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
@nickc9793
Ай бұрын
Is this just for slog etc would this work on hlg3
@whoismatt
Ай бұрын
I don’t believe there’s an option for HLG3, you’ll want to use a lut instead of this method
@nickc9793
Ай бұрын
Thank you @@whoismatt
@colemowery
20 күн бұрын
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.
@glennclayton9900
12 сағат бұрын
That was more than 1 click
@TroyQwert
Ай бұрын
So, i not gonna be able to use this tool if I have no idea what camera was used?
@colemowery
20 күн бұрын
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
20 күн бұрын
@@colemowery , can't and isn't this done by any other camera holder: see what looks best?
@colemowery
19 күн бұрын
@@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.
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