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Update: Dolby changes stance on DRTs. We asked Nate McFarlin, Senior Content Engineer, Dolby Laboratories, a couple questions that have been troubling us for a while now: (1) Why exactly is it that Dolby insists on input and output DRTs being set to NONE in a Resolve Color Managed workflow; and (2) When mastering Rec2020... Continue Reading →
Cullen Kelly has contributed a tutorial entitled How to Fix the Dreaded “Video Look” Using DaVinci Resolve to the Frame.io Insider blog where he shares several tips that we've used with great success since following him on his YouTube channel Grade School; but we advise against making an S-Curve as he recommends if you're exposing to the... Continue Reading →
When it comes to post-processing, using the fewest number of transforms and working at the highest available bit depth in a native color space greater than the display color space are key to preserving the greatest image quality. So, should you be changing your timeline color space to DaVinci Wide Gamut Intermediate or not? Three... Continue Reading →
Per-Timeline Resolve Color Management Timelines using custom settings now allow you to override color management settings on a per timeline basis. This allows setting of independent timeline and output color spaces per timeline along with other color management properties. Any existing custom timelines are automatically initialized to color management settings from the project. Set Composite... Continue Reading →
In earlier versions of DaVinci Resolve, to prevent power windows from appearing on an external monitor, we went to View > Window Outline and checked Only UI. That option has been moved to within the three dots menu in the Color page viewer as shown in the photo below.
Here are the revised settings for Sony S-Gamut3.Cine/S-Log3 and ProRes 4444 XQ Rec.2100 ST2084 (from ProRes RAW), the chief difference being no more input or output DRT. Only restrict output color space to P3-D65 if the mastering display is calibrated to P3. Set 'HDR mastering is for' according to the capabilities of the mastering display.
Go to File > Media Management > Press Start Mission completed! The .RDC folder containing the R3Ds and .rtn as well as the .drt have been saved.
In their Quick Start Guide to DaVinci Resolve Studio, Dolby Vision says to set the input and output DRTs to none on the color management page, which is why we're guessing that they wouldn't be overly fond of choosing tone-mapping in Resolve's OFX CST either - but there's no prohibition against OOTF that we're aware... Continue Reading →
The job of color management is to take what the camera saw and transform it into what the display can show. That's Cullen Kelly's definition of color management. And when we perform what is one of the most basic types of color management - simply placing a single CST at the very end of our... Continue Reading →
If you even think about this for a second, you realize it doesn't make sense. “If we start with the concept of a display referred workflow, […] it basically comes down to this idea of working in a color space that matches the output display. In other words, the physical device on which the end... Continue Reading →
What's the difference between scene-referred and display-referred grading? Stefan Ringelschwandtner, on his website Mononodes, explains it very clearly with simple diagrams. He writes: "The easiest scene referred workflow is to transform the image from LOG to Rec709 color space at the very end of your node tree – e.g. Timeline level. And do the grading... Continue Reading →
Thomas Graham, Head of Dolby Vision Content Enablement at Dolby Laboratories: Can you all just tell me in the sense of what your timeline working space is that you find suits you best to create HDR imagery? Now I know there's a lot of controversy about working sort of in PQ or working in camera... Continue Reading →
Walter Volpatto on why he doesn't do secondary corrections on skin. "I do not do [a] secondary on the skin. For me, when I do balance, it means that the main actress - balance, color, skin tone - has to be right. Then I do everything else. There is no reason for me to make... Continue Reading →
Something doesn't seem quite right here. In this video with Armando Ferriera where Shane Ruggieri explains how to work with Sony footage, the renowned authority on HDR does something peculiar... "The first thing that I would do is I would come in - let me turn this this monitor off - I would first come... Continue Reading →
We've already made it abundantly clear that we're not overly fond of transforming the log color space of our camera to DaVinci Wide Gamut or ACES but that we could understand wanting to bring all of your footage into a common working color space if you're dealing with a multi-camera shoot. It ensures that the... Continue Reading →
When it comes to post-processing, using the fewest number of transforms and working at the highest available bit depth in a native color space greater than the display color space are key to preserving the greatest image quality. So, should you be changing your timeline color space to DaVinci Wide Gamut Intermediate or not? To... Continue Reading →
For the past six months, we’ve been uploading Rec.2020 ST2084 (P3-D65 Limited) videos to YouTube, but it appears that many are still operating under the assumption that Rec.2020 videos constrained to P3 should not be uploaded to the video sharing platform. In order to settle this question once and for all, we recorded a billboard... Continue Reading →
We've made a few more changes to the RED Komodo post-workflow, including adding Rec.2020 ST2084 (P3-D65 Limited) for those working with a display calibrated to P3-D65, such as the MBP (2021). From the DaVinci Resolve user manual: Gamut Limiter Lets you limit the gamut to a specified standard. Useful in situations where the delivery color... Continue Reading →
A few days ago, over at our facebook group, I had some pretty harsh criticism for a DP teaching a painfully obvious way to use power windows in DaVinci Resolve to create a halo effect around the subject's head in order to make them stand out. A better way - particularly if you've got a... Continue Reading →
The clip incorporates many of the techniques discussed in our Monster guide - the most comprehensive and up-to-date free resource on the Internet for HDR10 workflows in DaVinci Resolve Studio 18 that shows how to use false color to nail exposure every time; how to use HSL to selectively target problematic areas for the best... Continue Reading →
The Daejeon Chronicles 