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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Lee Lanier
1 hour ago, Jesper Hammarbäck said:

Hi,

 

Thanks one question.

If I want to work in rec709/2.4 for tv but to match the logarithmic hero camera (the log space I'm working on)

How would you setup that?

If you use RCM, make sure the Input Color Space is is set to your camera log space. Set the Output color space to Rec. 709. Then, it's up to you if you want to have the Timeline color space (the space your grade  in) set to your camera space or Rec. 709. Lesson 7 will walk you through RCM.

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Lee Lanier
6 hours ago, Willian Aleman said:

As alway, this is a great tutorial. Especially, the lesson regarding the HDR topic.

Thank you.

Glad to hear it. Thank you for checking it out.

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stephen Mylonas

I have heard from this video that you can or should grade in REC709 then if needed expand to HDR later for deliver if needed.  

https://www.youtube.com/watch?v=OZUkrbaLf4A&list=PL0tE4-pMS473Wwr7LcSYmw8XfIpfhdE26&index=23

On 4/17/2019 at 10:47 PM, Ryan Dean said:

When working with RCM, what is an appropriate timeline colour space to work in ? Is it better to work in something like an ARR-Log_C format or a REC_709 space. Thanks 

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Tom Evans
13 hours ago, stephen Mylonas said:

I have heard from this video that you can or should grade in REC709 then if needed expand to HDR later for deliver if needed.  

https://www.youtube.com/watch?v=OZUkrbaLf4A&list=PL0tE4-pMS473Wwr7LcSYmw8XfIpfhdE26&index=23

Just to make sure you are using the correct phrasing to avoid confusion... the display color space should be set to rec709 but he recommends that you set the working colorspace (timeline colorspace) to Arri Log C.

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Lee Lanier
1 hour ago, Filippo Di Primio said:

thanks for this amazing course! 🤓Does anybody have suggestions where to find more courses about Tone Mapping methods and SDR > HDR conversion?

Thanks. I'm actually recording a new version of this course, which should be available sometime in the relative near future. There will be additional information on mixing SDR with HDR and tone mapping.

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