Color Management Workflow in DaVinci Resolve 16

Color Management Workflow in DaVinci Resolve 16

By Lee Lanier

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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

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Kinga Górak

Just below the ACES Output Device Transform in Resolve's color management section, there's an option to 'Process Node Luts in' either ACEScc AP1 Timeline Space or ACES AP0 Linear. Working in ACEScct, I believe I should set it to the AP1 Timeline Space. However, I met different opinions, and since I'm new to ACES, I'm a bit confused.
 It would be great if someone could throw some light on this part. Thanks!

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Lee Lanier

From my understanding, AP0 is an archival space with a larger gamut. In contrast, AP1 is designed for grading and VFX work with a gamut more closely related to Rec 2020.

Edited by Lee Lanier
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MichaelTiemann

Can you please explain the best way to attach the project files to Resolve?  I know that there's a way to connect to a database, but it requires knowing not only the location of the database, but also its name.  Nowhere have I been able to find the name of your database, so even though you supply the "Resolve Projects" directory tree, I don't know how to attach to the databases you are providing.  Thanks!

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Lee Lanier
33 minutes ago, MichaelTiemann said:

Can you please explain the best way to attach the project files to Resolve?  I know that there's a way to connect to a database, but it requires knowing not only the location of the database, but also its name.  Nowhere have I been able to find the name of your database, so even though you supply the "Resolve Projects" directory tree, I don't know how to attach to the databases you are providing.  Thanks!

Shift+1 to open project manager. Click the New Database button. Click the Connect button. Enter color as the database name. Browse to the Project Files\Resolve Projects\Resolve Projects folder and select it. Click Add. Most likely, you will have to re-link the imported footage. The project files are included to show the end state of various color management set-ups.

After this series, I switched to including .drp project files to make it easier for the user. 

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MichaelTiemann
16 minutes ago, Lee Lanier said:

Shift+1 to open project manager. Click the New Database button. Click the Connect button. Enter color as the database name. Browse to the Project Files\Resolve Projects\Resolve Projects folder and select it. Click Add. Most likely, you will have to re-link the imported footage. The project files are included to show the end state of various color management set-ups.

After this series, I switched to including .drp project files to make it easier for the user. 

Thanks for the quick response.  I found that I needed to connect only one level down: Project Files/Resolve Projects.  "color" was the ticket I was looking for.  Thanks again...gonna learn something new today!

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Frank Wylie

Lee,

Thank you for this tutorial!  I have a question about using multiple flavors of RAW footage in the same project.

In the RAW settings dialog box in Project Settings, is it only capable of defining ONE variety of RAW per project color space, or are all RAW flavors in the pull down menu active and can multiple CTLs be defined within the project using this menu?

How would you handle, say, 3 different cameras shooting different brands of RAW?

Thank you!

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