Color Management Workflow in DaVinci Resolve 16

Color Management Workflow in DaVinci Resolve 16

By Lee Lanier

xap3.144.16.40

 

We continue our DaVinci Resolve 17 training with a new high-end course in Color Management Workflow. This is an intermediate course for colorists and visual effects artists taught by our instructor Lee Lanier.

In this training series you will learn to work with both display-referred and scene-referred management including ACES, matching camera profiles with color space transforms and DCTLs, how to set up your projects for multiple color space outputs, everything about RED IPP2 and RAW workflow, how to use the Gamut tool, LUTs, CSTs and OpenColorIO in Fusion, and much more. 

The DaVinci Resolve project files and footage are available for download so that you can easily follow along.

About the instructor

Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood.

Who is this course designed for?

  • Colorists
  • Visual effects artists

Lessons overview

  • Lesson 01: Introduction and terminology
  • Lesson 02: Display vs scene referred
  • Lesson 03: Display referred space and LUTS
  • Lesson 04: Mixing Camera footage in display referred
  • Lesson 05: Matching cameras with an OFX plugin
  • Lesson 06: Color management in Fusion
  • Lesson 07: Using RCM Resolve color management
  • Lesson 08: Working with ACES
  • Lesson 09: RCM and ACES inside fusion
  • Lesson 10: Adding color transforms in resolve
  • Lesson 11: Adding LUTS and using opencolorIO
  • Lesson 12: Switching to RCM wide gamut
  • Lesson 13: New color space aware tools and HDR palette
  • Lesson 14: RCM input and and output DRTS

Software required

A free version of DaVinci Resolve or DaVinci Resolve studio

Become a premium member and get instant access to all the courses and content on Lowepost.

 

Become a Premium Member

 



  • Like 1

Go to home

User Feedback

Recommended Comments



Jan Klier

This was a very helpful overview. Even if one knew most of it, seeing it all put together is a good reminder if nothing else.

There is branch in this workflow that interests me that wasn't covered. And that has to do with color management of the gallery stills. What color space are they in, do they retain it from when they were taken, do they live in timeline color space and gamma.

Also how does that work if a gallery still is imported.

Specific use case: I created a Rec709/2.4 color chip of a specific Pantone color I had to match. The easiest I know to do that is to use Photoshop and it's built-in color libraries and then save it as a Rec709 TIFF image.

But when I'm working in a scene referred project that is based in RED IPP2 settings with a LUT at the end of the workflow to convert to Rec709, how can I import a gallery still with known color space and map it. Since importing a gallery still is the best way to create a reference wipe.

Link to comment
Share on other sites
Lee Lanier
59 minutes ago, Jan Klier said:

Also how does that work if a gallery still is imported.

Specific use case: I created a Rec709/2.4 color chip of a specific Pantone color I had to match. The easiest I know to do that is to use Photoshop and it's built-in color libraries and then save it as a Rec709 TIFF image.

But when I'm working in a scene referred project that is based in RED IPP2 settings with a LUT at the end of the workflow to convert to Rec709, how can I import a gallery still with known color space and map it. Since importing a gallery still is the best way to create a reference wipe.

Using "Import with Output LUT" when importing a still might give you the chance to convert the still to the correct color space in Resolve. It requires a matching LUT file. I have not had a chance to test this.

Although a bit of a workaround, I suppose you could also use a Loader to bring the still into Fusion and apply a Gamut or OCIO Colorspace color transform to it.

Link to comment
Share on other sites
Tom Evans

Tom Evans 244

(edited)

16 minutes ago, Adéyẹmi said:

Isnt the output colourspace suppose to be same as your monitor calibration?

Not necessarily. Your output space should match while you are grading,  but as explained in the course, you can switch upon delivery. That's kind of the whole point of applying the output LUT or ODT at the very end. 

Edited by Tom Evans
Link to comment
Share on other sites
Evan Anthony

I went to that link to download the DCTLs but not sure where they are on that site?

FUND IT in the download..sorry

Edited by Evan Anthony
my mistake with post
Link to comment
Share on other sites
Grant McNair

Really love this, and all of the LowePost courses.  One thing that is missing, and would make all courses better, are speed controls on your video player.  Thanks!

Edited by Grant McNair
Link to comment
Share on other sites


Guest
This is now closed for further comments