Большое спасибо

Thank you!!

Thank you :)

In our case, since we are not using an Apple monitor for color grading, we are not interested in adjusting options like "Use Mac display color profiles for viewers," as this is only useful if you are monitoring on an Apple display. In your case, you need to ensure that your monitor supports 100% of Rec 709 gamma 2.4. If it does, the ideal setup in DaVinci would also be Rec 709 gamma 2.4. Forget about Rec 709-A unless you plan to do your color grading on an Apple monitor at some point.

@ This helps so much. Thanks much! 🙏

Using Rec 709-A is helpful when your monitor is an Apple display, such as a MacBook or a Mac Display, because Apple has its own color space. Rec 709-A applies a sort of correction to display something as close as possible to Rec 709 gamma 2.4. We have a special monitor calibrated to Rec 709 gamma 2.4, which is not an Apple display. Therefore, that should be our project configuration, whether on Windows or Mac. Keep in mind that the most important thing is knowing what monitor you are using and adjusting your project according to the monitoring setup you have.

@ Thanks for the helpful response. In my case, I’m using a Macbook in clamshell mode, and using an external monitor (BENQ PD3225U) that is set to Rec709 mode. In this case, would I want to revert back to using Rec709, Gamma 2.4 rather than Rec709-A? Also, would I want to continue selecting the “Use Mac display profiles for viewers” regardless? Thanks again.

We will create tutorials with different footage, keeping one with Apple Log in mind :)

@ THANKS ❗️

Muchas gracias!!! apreciamos mucho que nos comenten. Claro pronto subiremos algun video sobre el proceso de este Short

It's important to use an aperture almost fully open and get close to the main character, as well as to separate ourselves as much as possible from the background.

Before using a print film emulation LUT like the KODAK 2383, it's necessary to convert our space to Cineon film log, which is why we place that CST before the LUT.

@@hermanosbander yes ok. But why don't we go straight from Davinci WG / Intermediate to Rec709 Cineon Film Log? When I do it that way i can leave the Rec709 node out and it results in the same way.

Muchas gracias!!1 estamos trabajando en un curso

Thank you so much!! Of course, we will keep that in mind.

Thank you so much!!! We will soon make more tutorials where we will explain the processes in more detail.

Thanks a lot!!! :)

Thanks you!!!!

Great!!! Thanks for sharing :)

Thank you!! Yes, there are different techniques. This is a structure that allows absolute control over each process, but we will make a tutorial using many fewer nodes.

@@hermanosbander We look forward to it :) Thank you

La mismas técnicas las puedes utilizar con cualquier tipo de material, siempre y cuando ajustes el proyecto de acuerdo al material con el que vas a trabajar

Se pueden lograr grandes resultados con la versión gratuita aunque en este tutorial hay algunas herramientas que no incluye la versión gratuita, Pronto haremos un tutorial utilizando solamente las herramientas incluidas

thanks!!!

:)

It's a tool that allows us to share our tutorials in different languages.

Para activar los ajustes RAW ve a la ventana Raw, y en la opción Decode Using Selecciona CLIP

Great!! :)

Thanks!!!

Thank you!! We will soon make more simplified tutorials.

"ctrl + s" or "shift + s" probably

You can add parallel nodes with Option + P, and they automatically connect to a connector that adds inputs as you add more parallel nodes.

Thank you so much!! In this case, we use a CST to convert the footage to a larger color space, DWG. The next node converts from DWG to Rec709, giving us our Rec709 output in case we want to use it as is before applying a Print Film Emulation. For this, we use another CST to convert Rec709 to Cineon Film Log so we can apply our Kodak LUT. This means we have absolute control over every process. At any point, we can dial back the Kodak effect and use it as a mask. In this video, it wasn’t necessary, but we always have that option to reduce the Kodak look. We’ll be releasing more simplified tutorials soon.

Thank you!!!!!

Thank you!! I have used it, although I often prefer a technique like the one in this tutorial since it gives me more control over where to make each adjustment.

Yes, exactly, you just need to change the input to match the format of your footage.

@@hermanosbander can you make a tutorial with Sony S.Gamut.cine3?

Thanks!!

Just found it 🙏

Thank you!!

I'm not sure if there's a way to duplicate nodes, but you can simply copy with a node selected and paste it into another one; you'll have the same adjustments.

We use different techniques, this is another method. We will share more techniques we use soon.

Gracias!!

Great!! Thanks!!

Debe ser por la versión de Davinci resolve que tienes, puedes actualizar en la página de blackmagic design

@@hermanosbander gracias así mismo la actualice y me sale

Thanks so much!! :)

Thank you. Yeah it’s another way to work with color space. In this case, we use the CST because we make adjustments in Rec709 and we can have greater control over where we make certain adjustments. But yes, there are several ways to adjust the color space.