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- Past hour
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Nobody except a very few can afford a Sony X300 or the other grade one HDR monitors on the market, so yes the consumer TVs are what most artists use to practice HDR work.
- Today
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Hi everyone. I know this subject is somewhat uncontroversial at the moment, but I'd like to know what your experience creating HDR is through Resolve. Anyone using TVs instead of monitors like the Sony X300? I use an LG B7 as the primary monitor and almost always what I see in it during grading is very different from the material on YouTube.
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Color Management Workflow in DaVinci Resolve
karl ellison commented on Stig Olsen's record in Courses
Very insightful tutorial. Thanks for this. Clear, concise and to the point. Just how i like 'em. - Yesterday
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Was at NAB this year and spoke quite a bit with Blackmagic representatives. They were all very professional and helpful, some questions that could not be answered were directed real time to other representatives. Two other companies I that want to highlight in terms of the professionalism of their representatives at NAB were AJA and Tektronix,
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Would be great to see these remaining lessons soon.
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No, never been to NAB. Living in the UK means it's a fairly expensive trip, unless a company is prepared to foot the bill! IBC in Amsterdam (September) is much easier and cheaper to get to.
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Did you go to NAB this year @Bruno Mansi?
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Is he a nice guy?
- Last week
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Render Colour tagging and render color space
Jean Paul Sneider replied to Jean Paul Sneider's topic in Baselight
HI! So It looked wrong when I selected "input colour space". Not really sure what it does., when I put "No Conversion" it works as expected so I have a work around until I understand how i actually works. Once I put "No Conversion" looks right but keeps tagging it as rec 709 no matter what. Even if I select a different render colour space like Arri Logc Wide Gamut it tags it as Rec709 2.4 -
Render Colour tagging and render color space
Andy Minuth replied to Jean Paul Sneider's topic in Baselight
Hi Jean, Do you mean that the render looks wrong or that the rendered files are tagged with the wrong colour metadata? -
I keep these charts on my disk 😃
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As I worked closely with Stefan for nearly 12 years, what Tom said is correct , he keeps it simple and has great taste, which any master colorist should possess.
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Stefan doesn't give many interviews, but he did chat with Steve Hullfish's book The Art & Technique of Digital Color Correction, and I found a lot of what he said enlightening. My take is that Sonnenfeld works very quickly and uses simpler techniques than a lot of people suspect. He does extraordinarily good work, and there are few other people in Hollywood (and everywhere else) who grasp the importance of client relations, sales, business, and technology and have the ability to balance all of them the way Stefan Sonnenfeld does.
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Compared to focusing on a single scene, it is worth paying attention to the global color change, This is stef most powerful magic.my Immature feeling 😛
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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.
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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.
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Color Management Workflow in DaVinci Resolve
Apichai Sutthichat commented on Stig Olsen's record in Courses
Been waitin, really appreciate this early release! Cheers. -
Color Management Workflow in DaVinci Resolve
Nicolas Hanson commented on Stig Olsen's record in Courses
Finally some next level workflow stuff, I love it! -
I have been using DaVinci Resolve for more than a decade but these workflows are completely new to me as I have only been working display referred. I think you have managed to make this rather complex topic very easy to understand. Looking forward to dive into both RCM and ACES.
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Marc, Thanks for your help... that is just what I needed to know. Your other ideas regarding how to proceed are also interesting ,however, the big issue with this project is that it is being done on a shoestring budget because it is being funded by an overseas charity with very limited means! Resolve is free to use which is why we chose it! Actually the transfers will all be done using a projector and camera.... (not very professional, I know...), but when the nearest telecine or scanner is 'n' thousand miles away, it makes the whole issue all the more taxing. In addition, the government who own this film, do not want it taken from the country! The content is all newsreel so already has the issue of limited or no lighting control and having to deal with very dark skin tones in very bright conditions, creating very deep shadows and high contrast, so even in its' heyday, it would have been far from ideal material. Realistically, we need to train locals to do this work and provide a limited and manageable workflow which costs nothing more than local pay rates.... so the task is a challenging one. However, I believe that even if not perfect, we will be able to achieve a good deal in terms of saving the content and if a small quantity of it is required for broadcast at some future point, it can always be fully restored then. My feeling at this point is that anything which makes it more viewable and therefore allows a wide audience to see it will be as much as we can manage at this point. Once again thanks for your help...
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Thanks for all the positive feedback, everyone.
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Color Management Workflow in DaVinci Resolve
Kenny Mosher commented on Stig Olsen's record in Courses
Thanks guys!!! -
Color Management Workflow in DaVinci Resolve
Emily Haine commented on Stig Olsen's record in Courses
The color controls will feel a bit different but it's totally up to you if you prefer to work in the standard range or in one of the others. -
I still like that I own the Micro. It looks very classy on my reclaimed wood desk in the studio, which matters for making a good impression in clients. And my wife, when it's in our living room! It also impressed clients when I bring it on site. And I do prefer its nice metallic rings. So I don't wish I got the Wave2 instead, I just wish I had it also :). Well what I really wish is that BMD would open up the Micro and Mini API to Assimilate and Adobe and SGO. After all, if BMD makes money on hardware, why do they care if we use that hardware with other software? Maybe it would even open up other markets for them, Scratch and Mistika users in the market for a portable surface.
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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
