Some of my students in my Digital Filmmaking and Cinematography classes have switched over to Resolve, which means they've been using the color panel. I'm not a colorist, but I've been slowly teaching myself Resolve over the last year after buying a Blackmagic 6K Pro. For a special lesson, I showed them color managed workflows and I showed the way I'm used to working with most LOG footage (start with a CST IN to DaVinci Intermediate - GRADE - End with CST OUT to Rec709 Gama 2.4).

I also showed them a project I had shot on 6KPro where I used Juan Melara's "6K2ALEXA" LUT at the end of the node tree because I preferred the highlight rolloff to the Resolve CST. I know I COULD accomplish a similar roll-off using the grading tools, but this LUT gets me closer to where I'd like to be and saves me time (and I'm always grading under the LUT).

One of my students asked if I was "hurting" the footage by using this LUT at the end instead of a CST. I told him I didn't think so but I thought I'd get some more opinions. Any thoughts so I can make sure to tell the students the right workflow? I already asked one of my friends who's a professional colorist if there's a problem with this method and he didn't think so. I also think that, for younger students who are just starting out, it makes sense that they may want to use a conversion LUT that they like as long as they still grade underneath it.

I’m an Editor (and occasionally a motion designer) who works in advertising. I’m usually responsible for color grading my projects and would love to upgrade my monitor soon. I’m torn between the Eizo CS2740 and the Asus PA32UCDM. Both have their own pros and cons, and I just can’t make a decision. What would the talented folks on R/Colorists do!?

Yes I've read the wiki and still have the following question.

Windows 10 BMD Ultrastudio 4k Calibrite Display Pro

What's the best colorimeter for up to 300€?

Hi all,

I'm setting up a remote workflow for a real estate video using Blackmagic Cloud between an editor and colorist.

To avoid uploading the large original camera files, can the colorist work only with the proxies generated and synced by Blackmagic Cloud? Are these proxies generally good enough quality for color grading a real estate video, or are they mainly just for editing? (I don't need insane detail since it is a real estate video. We're just basically brightening up the image, remove minor color casts, and using a CST for the log footage)

Appreciate any advice or experience with this proxy-only workflow. Thanks!

I want to present this alternative technique that is very common in compositing,

https://youtu.be/Z5W5l2U3CUw?si=bUkYxhpekfJO9aA4

Completely seperating the keying and roto nodes from image manipulation nodes which is imho a better way to setup keys as it does not depend on the previous image manipulation node.

This makes your node tree more resillient to upstream changes and look changes - which really helps when dealing with live changes in a client session.

I also enables you to node-cache your keys so you gain performance from complex denoise-keyer chains and such.

All in all - i personally preffer this workflow - but i want to make sure you take it as a alternative that you can use - it might not fit everyones workflow and thats ok!

I hope you gain something from it - let me know if it did or didnt i am not doing tutorials very often but i try to keep them straight to the point without any nagging intro animations, music , clickbait tiltes or other flashy things, got enough of that stuff allready in my job..

Hi there, so I am in the process of designing a new suite. Since forever I have always had a smaller grading monitor in front on a desk with 2x GUI monitors beside it. The larger client monitor has been elsewhere in the room.

After having a few nice experiences grading in a projection theatre with everyone looking at the one display - I was curious if it would work with one of the large FSI 65" monitors in a similar fashion - ie with a desk at the back of the room with 2x gui monitors and panels, then client couch in front of the desk and at the front of the room about 12-14 feet from the grading desk a large bias-lit XMP650.

Im just curious as to whether anyone has worked in a similar configuration?, I'm mainly just curious as to whether the constant re-focusing of eyes between the gui/scopes at the desk to the large grading monitor further back behind could cause eye strain from extended use? Compared to all monitors being on the same focal plane which is what im mostly used to.

Using Davinci Resolve 19 free version on Windows 10.

What is the goto for fading clips in and out when the LUT causes posterising of fade outs. Logic suggests I add a node after the LUT in the timeline node graph on color page, and then keyframe the Key Output Gain but that doesnt work, I guess I am just gain controlling the node not the entire thing.

Hi all, I’m dealing with some underexposed footage and running into a small but bothersome artifact. Between light source and shadow, there’s a sort of color shift and blockiness. Either slightly magenta of slightly green. It’s not normal color banding.At first I felt like it was breaking up because of the poor exposure, but upon further inspection all the info is there in the log image. The color shift seems to be in davinci. I assume it’s my settings. Color science: DaVinci YRGB timeline: DWG/Intermediate Output: Rec 709 gamma 2.4

Lately I’ve been focusing more and more on color grading (and learning DR). This time I worked with footage shot on a Canon R6 in C-Log3 using the Sirui 40mm T1.8 (in case anyone’s curious about the gear). I’d like to hear what you guys think. Is there anything I could’ve done better with this grade? Honest feedback, good or bad, is more than welcome! :)

Video

Hey everyone, I’m trying to figure out what kind of color grade this look falls under — whether it’s a specific film emulation, a known cinematic style, or something more custom. The scene in the barber shop. I can’t post an image on this sub Reddit so I’ve attached a link here https://youtu.be/aDvwXeFR5qo?si=oZMFijFS0CMqjrIp

I’d really appreciate it if anyone could help me identify: 1. What kind of movie or visual style this resembles (e.g., teal-orange blockbuster, Kodak 2383 print look, bleach bypass, etc.) 2. What techniques, LUTs, or grading workflows you’d recommend to recreate this kind of look in DaVinci Resolve (or whichever software you’re familiar with)

Thanks in advance — I’m just trying to level up my grading game and learn from the pros here!

Hi there, I’m trying to color grade GoPro GP-Log footage in Resolve, and I’m not sure if I’m doing the color space transforms correctly. I work in DWG color space and typically use a CST IN/OUT workflow with other cameras to convert their LOG profiles to DWG, and then to Rec.709.

However, Resolve doesn’t have a built-in profile for GP-Log, so I have to use the official GoPro conversion LUT instead. My question is: if my timeline color space is set to DWG and I apply the GoPro LUT to the GoPro clips, do I need to do anything else in terms of CSTs? Or can I simply apply the LUT, grade underneath ir and that's it? Thanks!

Hello everyone! I am happy to share this tool for free to use in our RAW photographs in Lightroom Classic. I'm sure most of us are familiar with the Kodak 2383 or at least have heard of it. Maybe we're fans of its look. But if you also love taking and editing photos, have you ever wanted to give your RAW Photos the Kodak 2383 look using the exact same LUT we use in DaVinci Resolve? Well, it's finally possible!

I managed to use the same Kodak 2383 LUT that works with Gamma Cineon Film Log that we have inside DaVinci Resolve, to get it to work correctly in Lightroom Classic. It was a painstaking and elegant process with a couple of obsatcles that I managed to overcome.

Please feel free to ask any questions you may have.

I have a video in SPANISH on my YouTube channel where I explain the whole process: https://youtu.be/CRPT-lZm2vw?si=LCr8dTgs_Jk8yvJW

Download the Kodak 2383 Lightroom Classic Profile for Free: https://ko-fi.com/s/e96ca2dd2e

What temperature do you recommend for the lighting behind the monitors in a studio that deals with post production? Some recommend 5600k others 3000k….

Shooting with a Mini LF, and I'm having a tough time trying to understand why the Apply Arri CDL and Lut function doesn't work. In fact it seems to apply something, but it's really really subtle. I exported the LUT with Arri Reference Tool, and that works fine.

So I'm not in trouble at the moment because for this shoot we use the same LUT but...for shoots with different LUTs every once in a while, the apply CDL function would be nice to use.

Any idea why that happens?
Here's a few stills

With Apply Arri CDL and LUT

No LUT

With LUT (exported from Arri Reference Tool)

Hey everyone,

I’m looking to buy a Color Shift DCTL and I’m deciding between PixelTools Color Shift DCTL and Mononodes Color Shift DCTL. Has anyone here used both? I’d love to know the differences and which one you’d recommend.

Also, I heard there might be free Color Shift DCTLs available. Does anyone know where I can find them, and how they compare to the paid options?

Appreciate any advice—thanks!

These are the basic parameters I have:

1. Screens are calibrated to BT.1886.
2. Resolve "Use Mac display color profiles for viewers" is off.
3. I'm using DaVinci YRGB Color Managed with a target of Rec.709 Gamma 2.4
4. Export Video level at 709 2.4.

Is it safe to assume that what I'm seeing is as close to correct that I can get with my hardware? I know color is a deep topic, I went down the rabbit hole a few years back. Just trying to sanity check my workflow so when I see Quicktime doing it's thing with the gamma, I know it's not my source but Mac being dumb.

Basically, with the settings I have, Resolve is correct on what it's showing me?

2021 16" Macbook pro M1 Max Apple XDR Display 1600nit

I realize this is a tired subject and that accurate colorgrading on a macbook pro screen is basically impossible. That being said I've been having trouble finding the right software to use for calibration on the subreddit. I've heard from some that DisplayCal is still usable and by others that it's useless. Some say ColourSpace and others say that no third-party calibration software will work because of ColorSync.

I've also tried Cullen Kelly's recommendation for using Apple Displays but I didn't find it work that well, even with his custom made viewing LUT. And oddly enough when I turn the "Use Mac Display Colours" off it actually matches much better than when it's on.

Then there is Apple's proprietary calibration software "Apple Pro Display Calibrator" as well as ColorSync Utility. I can't seem to find much information on these at all.

I swear I've spent a lot of time researching this!

I’ve been working on improving my eye as a colorist, but I keep running into an issue that I’d love to get some advice on.

When I’m deep in a grade, everything looks balanced and intentional, but when I step away for a few hours (or overnight) and come back with fresh eyes, it suddenly feels off. Colors that seemed right now feel too pushed, skin tones don’t sit how I remember, or the overall look just doesn’t land the same way. This problem feels especially pronounced when attempting to do a “pushed” look.

Here’s a panel from a recent project where I felt great about the grade while working on it, but coming back later, I started second-guessing my choices. The client wanted a pushed look that was very bright and pastel

https://i.imgur.com/ASOZ846.jpeg

How do you deal with this issue? Do you have any strategies for making sure your grades hold up over time? Do you rely on reference images, or other methodology? Is it simply a matter of committing to a direction and accepting there are 1000 ways to handle any given image?

This is partly a rant, and partly to ask for advice.

I'm working on a feature film shot on a RED. I received the film as a flat textless prores4444. The gist of my issue is that 75% of the film is white balanced poorly. And I don't mean slightly off, I mean entire scenes are swathed in pure red and about 1 stop under exposed. Originally I thought no big deal, they probably want this scene to be fairly dark and warm. Turns out they want the walls 100% neutral white, skin tones spot on, and every nook and cranny exposed nicely.

Here's what I've done so far in communication. I explained that due to the way it was shot it's probably going to take extra time. I also explained it may simply not be possible to recover all the details in shadows and such. And here lies the part that gets to me a bit; the client responded that they "had white balanced for the white walls, and we didn't use a LUT in the viewfinder because we wanted to see it in LOG to make sure all the details were there."
WHAT??? So basically they didn't use a Rec709 transform on set because they thought they could better evaluate exposure and white balance in LOG.

So fellow colorists, we've all been in situations where balance/exposure is not ideal. I've had it happen on $1,000 films. And on $1,000,000 films. I won't say which category this one falls under, but I've never had it this bad before. My question to you all is how would you talk to the client if you were in my shoes and needed to try and explain to them why this is taking so many revisions?

Hey folks, I need some help! I’m trying to get better at the creative side of color grading—not just the technical stuff (I already know DaVinci & Premiere), but how to actually think like a colorist. How do pros decide on a look? And how much does lighting on set affect the final grade?

If you’ve got any good courses, YT channels, or just personal insights, I’d love to hear them. Appreciate any help.

Hi everyone! I'm pretty new to color grading and absolutely love the look and feel of GAWX's work.

I was wondering if any of you could point me in the right direction to find a PowerGrade (or even just some guidance) that could get me closer to that kind of aesthetic.

It feels like a bit of a jungle out there when it comes to finding the right tools and techniques, so I figured this might be a great place to ask for advice. Any tips or resources would be super appreciated!

Hi everyone. Usually I work with groups putting the IDT in Group Pre-Clip, the main grade in Clip level, some group adjustments in Post-Clip and the ODT in the last node of the Timeline level. Before the last node (in timeline level) I set my look development (split tone, overall saturation, maybe halation, grain...).

Sometimes the editor sends to me titles made with png and here comes my question. How do you handle it? I mean, how do you make sure the look doesn't affect the png titles?

The last time I used an adjustment clip all over the timeline to apply the look but even though it worked, it didn't convince me.

Any suggestions? Thanks!!

Feature film, finished coloring 99% of the film with global settings. 99% is from the Arri 35, LogC4

I have a few DJI mavic clips, a few rec709 prores clips (stock footage), and a few gopro clips in the timeline.

How do I go about bypassing the global color management for just these individual clips?

I realize I could have set the clips individually rather than the global setting, but it's too late now. When I right click a clip in the media pool, I do not have the option to change the input setting... it's just not there.

Any help?

I'm sure others may have gotten the email from Cullen Kelly, but it seems as though TAC Resolve Training has been using his likeness to sell content. That also includes Steve Yedlin, Jill & Mitch Bogdanowicz.

From Cullen:

"On top of all this, when I told TAC we’d have to make this announcement if they didn’t take our names and images off the website (they even made an animated character version of Yedlin to put at the top of their site), they refused to remove us and threatened to sue me if I said anything.

But I won't be bullied and stolen from, and now I'm sharing the realities of what's happening with their company. (This is actually the short version of the story.)

So, again, I’m not in business with TAC, and when you see them using my name or selling my courses, it’s done without my permission and without compensation. Same story when you see them using the names, images, likeness, or work of Dr. Bogdanowicz, Jill Bogdanowicz, or Steve Yedlin, ASC.

And all of us actively discourage doing any kind of business with TAC Resolve. "

I'm working on a TV series set in a prison. The production team has asked me to make the inmates unrecognizable in DaVinci Resolve by applying a blur. Right now, I'm doing this by adding a circular window to each inmate and tracking it using the Resolve tracker. This is a very time-consuming task, especially when action shots in the prison yard are included in the edit.

Does anyone have a golden tip to simplify this process? Are there any brilliant AI tools with face detection that I could use for this? It would be great if this could be done on a node-based level within Resolve. But I'm also curious about tools outside of Resolve that could be used for this.