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- Yesterday
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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
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Blackmagic Micro Panel vs. Tangent Wave 2
Jacob Jabornig replied to Jacob Jabornig's topic in Panels
Thanks for your detailed answer! Since you own the BMD Micro and considered to buy the Wave 2 now do you think you would've been better off at the start with the Wave or do you think the BMD Micro was worth it to buy because of the much better build quality and so on? I don't think i'll be using more than DaVinci in the near future but to have the possibility to do so is really helpful. -
SCRATCH does not require you to select an "input color space" as such - you would be working directly on whatever the RED SDK gives you. If that is Rec709, or REDWideGamutRGB, Rec2020, etc. is totally up to you 🙂 . You can set this per clip, or for the whole timeline, or all clips in your project. So if all clips are set to REDWideGamutRGB, this is what you're then working on (your "input" format if you want). From thereon out, there is an output color space on the main output node, that "unifies" everything - to e.g. Rec709 2.4 gamma. This obviously is applied after any grade - same as for any display transform, which you can set for UI and preview screen separately. Greetz, Mazze
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Color Management Workflow in DaVinci Resolve
Amit Mishra commented on Stig Olsen's record in Courses
So well done, you guys are incredible! Great -
Color Management Workflow in DaVinci Resolve
Romain Kedochim commented on Stig Olsen's record in Courses
Very good tutorial - simple and straight to the point. And every bit showed is useful. Definitely making me a lot more confident to try ACES for my next indie feature I'm starting in a few days. I might play around with it and see how it feels, but at least I'm confident that the configuration of the project will be correct and work as expected. Well done guys! -
I watched the color management course and DaVinci process the RAW files input color space automatically. Does it work that way in Scratch too?
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Yes, you can grab a still frame of the "good" image and then paste that within the keyframe area and that should recall the keyframed color correction. You have to kind of figure out a strategy for dealing with color fading. To tell you the truth, I don't think Resolve (or Baselight or Lustre or whatever) is the best tool for that job: you'd be better off doing kind of a "best light" and then sending the files through an MTI DRS or a similar restoration system just to "stabilize" the color fading, and then take those files and color correct them for a final look. The problem with film color fading is that it's non-linear, meaning that one side of the image is going to be more faded than the other, so you could wind up having to use a lot of power windows and masks on top of the keyframe issue. The labor involved would be ridiculous, to the point where it'd drive you mad. One thing I know that Lowry Digital did back in the day (when I was there around 2010-2012) was they would break the image down into RGB, then process and reduce the flicker and fading on a channel by channel basis. Once that was done, they would merge the RGB files back together again. That may be more complicated than what you want or need to do, but it's interesting to note that generally one channel is flickering or wavering more than the others, and that might give you a clue as to how to attack the problem.
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What Jeff said. The Micro is well manufactured, but has mainly two disadvantages imho: It only works with Resolve and it is quite heavy, which can be a disadvantage if you have to carry it around (i.e. on-set). The Wave2 is lighter, due to its plastic chassis and works with almost any application, incl. Resolve. The downsides of the Wave2 are basically, that it's plastic (very robust plastic, though) and that it has master dials, instead of rings. That is more a question of taste, I guess - but at the same time, it's also a reason why the Wave2 is more affordable. Cheers, Mazze
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Hi Andres, the upcoming SCRATCH 9.1 will ship with quite a big update on its color management, allowing you to work natively in various camera color spaces (such as REDWideGamutRGB and Log3G10). So when loading RED footage into SCRATCH, you'd debayer it to those REDWideGamutRGB and Log3G10 using IPP2 and then work your way off from there. You can do so by either setting the display transform to Rec709 (or anything else) and basically work before the transform to Rec709, or just work on the log image as-is and grade from there. As for roundtripping from other applications: SCRATCH allows you to dynamically set the reel-id of any (or all) shots to different formats: I.e. just "A004", or "A004C012" (to stay within the 8-character limit of EDLs), or even the full clipname: "A004_C012_XDFIGFN". Depending on how the editing app interpreted the reel-id and put it into the XML/AAF/EDL you are conforming in SCRATCH, you are able to accommodate for this. Let me know if you need anything else. Cheers, Mazze
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Amazing article I have been following " The way of the printer lights" since I read Walter and Marc talk about this
- Last week
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I own the BMD Micro. It's extremely well-built, compact, and nice-feeling. And it drives Resolve great. Sometimes I leave it at the studio at an assistant station, sometimes I take it home with me for "homework." And it's great to bring to clients for on-site work (like when they say they have a color station, but it's just an iMac hooked up to a crappy Samsung TV). I'd say the Micro is best suited for lift-gamma-gain style grading in Rec.709. I'd say it's just OK at ACES or grading in a node prior to color space transform, because the Micro doesn't have dedicated printer lights, or any way to adjust the low and high ranges in the Log controls. But the huge disadvantage of the Micro is that it doesn't work with Scratch, Mistika Boutique, or Premiere. I avoid grading in Premiere like the plague, but I'd say there's at least one project I encounter per year that's such a messy Premiere sequence that it's better to just stay in Premiere than make the roundtrip (the XML round trip and relink would take MORE time than just grading in Lumetri). After many years of Resolve only use, I've started to incorporate Scratch and Mistika, and I actually had to pull my Avid Artist out of a box in my basement to drive these programs! TBH, I was considering adding the Tangent Wave 2 to my kit, since my Artist just found a permanent home at the studio.
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This is the best course I have seen about color management in Resolve. It's a lot of bits and pieces on other sites but here everything is covered in one class and it's extremely well put together. Thanks Lee and Lowepost for always delivering top quality!
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Personally I don't use most of the controls in the panels and bought a Wacom pen instead after owning several of them. I'm more into entering numbers and precision than turning the wheels wildly in all directions. That said, I buy the speed argument.
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You can use a color space transform at the end to go to P3 but you need to watch the transform on a P3 projector/monitor and do some adjustments if necessary.
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Hey! I’ve been looking to buy a grading panel for a while now and considered the Blackmagic Micro Panel as well as the Tangent Wave 2 as a good option for my budget but can’t really decide which one to take and which one would fit better for my needs as i am a student which just goes into the grading direction and wants to make this to my profession. I'm curious to hear from you guys for which one you would decide and the benefits of those in detail. Greetings, Jacob
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Hi Zamora. RED (IPP2) and RAW workflow is covered in our new Color Management Workflow Training that was published today.
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Workarounds implies you have some problem with your current method of working. I suspect you mean workflows. I think it would be useful if you were to be more specific about what sort of software for editing/sound mixing/grading you're most likely to be working with. For example, round-tripping between Avid MC and Baselight will be different than (say) FCP and Resolve. As a starter, you might want to take a look at Kevin McAuliffe's tutorials on 'Conforming in Davinci Resolve' in the Courses section
