Color Space Transform - PRO COLORIST Explains

[@marcwielage4678]

I'm amazed by how much confusion there is on this topic. Darren explains it all succinctly and gets to the point very fast. Well-done!

[@TimetoTalkwithYevgen]

Yes! Thank you so much indeed!

[@matango1979]

I'm a beginner and I'm trying to understand what is going on here. Could you point me to a good theoretical explanation of what is the point of color space transform, ACES transform and so on? Someone explained it to me as if you are trying to get a wider color space while you are editing, but I need to understand much more than that. The gentleman in the video uses settings for Arri, but I use Fujifilm cameras, so what should I choose? Does color space transform make sense only if you shot it in LOG or also rec709 8 bit video? As you can see I am a complete beginner in terms of color grading. :)

[@petermccabe7182]

@@matango1979 CST can be used on any footage. What color space are you shooting Fuji in? Log or Rec709? You would do a CST from one of those to Davince Wide Gamut

[@powawowah]

Finally got around to taking some test footage with our FX30 and using it in Resolve using this method.....all those channels that just pull log footage in and manually add saturation & Contrast in a node to get it ready to work on is mind boggling. As soon as I saw you were working on an advert with Stanley it was obvious you knew what you were talking about!

[@cooolguymani]

BROTHER, YOU ARE THE BEST!!! You oooh really helped me!! THANK YOU VERY MUCH!

[@i_am_smartwisevevo7542]

Is now am understanding CST🔥 TL thank you master!!!

[@johevideos]

This is good. Thank you Darren.

[@mwk240]

Assume you could also put the final CST into a Group Post-Clip?

[@DarrenMostyn]

yes. Its my normal way but hard to show in youtube without having to explian groups too! You got it !

[@eddyjuillerat835]

Thanks.

[@LazySlothProductionsLLC]

Hello Darren, I recently saw your video on the ASUS channel where you spoke about their ProArt PA32UCG. How do you like it? Is it still a good monitor for Dolby Vision mastering or is it only for normal HDR broadcast mastering?

[@DarrenMostyn]

I haven't used it for Dolby mastering so would be unfair for me to say.

[@LazySlothProductionsLLC]

@@DarrenMostyn I see. What do you use it for? I've heard that the ASUS monitor has a pretty serious blooming problem on anything above 800 nits. Have you experienced this?

[@benjaminmagambo3849]

Thank you

[@DarrenMostyn]

You're welcome

[@evandux]

That CMD + drag trick just made my life so much easier. Thanks for all the great information Darren!

[@DarrenMostyn]

Happy to help!

[@RichB-78]

Where would you put the CST to convert to Cineon Film Log for using the DR Film Look LUTS? Or does it not matter where?

[@mrkumaran]

Hi Darren, thank you for your videos. Could you do a video explaining what Rec 709-A is all about. Thank you, much appreciated

[@AlpineAirsoftAssault]

Would love a video about working with 8bit video from consumer DSLR LIKE CANON 70D ETC...

[@PatHoffman-r5s]

Thanks so much for this! This was one of the best videos for a proper pipeline in DaVinci I have seen. I am still having problems with the exports from DaVinci to look the same as within the colour grading. Every time I am exporting from DaVinci and play it back, it looks flatter and less contrasty as in DaVinci. I am also working on a Mac which I know has this problem. Can you please make a video on these settings for proper export? Thank you so much!

[@iamthereforeimustbe]

I’m a total beginner and each of your videos demystifies another area. Perfect 👍🏻

[@DarrenMostyn]

Glad you like them Andy! Always learning!!

[@maxxbom777]

Wonderful! Can you complete the pipeline?: Group Preclip: CST Input: Camera Profile. Output: Davinci Wide Gamut Clip: Nodes for grades Group Post Clip: CST Input: Davinci Wide Gamut Output: ? Timeline: FilmLUT by Davinci (e.g. Rec 709 Kodak2383) CST: input ? Output Rec 709 Gamma 2.4 The second question would be: Do you have a video of camera matching using color chart (Blackmagic 6K camera)?

[@scottw6960]

Great video as always Darren. How do you deal with graphics and fusion compositions in a color managed space?

[@martindoersch]

Thanks for this explanation! (Is there somewhere a list on what input and gamma settings you should choose depending on different cameras)

[@darkepicfilms]

Love your vidoes. If we are working in DWG then exporting as REC 709 is there any point working within DWG during the grading? Like editing in 4k but only exporting in 1080p? ps. this might be a stupid question

[@SPLMixing]

What's your advice for working with Canon M50 mark II footage using the Cinestyle (flat-looking) profile? My monitor is sRBG and I know that the Canon shoots in sRGB also. Am I best to work in an un-colour-managed environment, set my output to sRGB, and timeline to DaVinci Wide Gamut, for example?

[@JustinPhillip]

Nobody ever shows the color space tags on the export page tho! Currently, with the davinci wide gamut & gamma 2.4 just leaving it at Use Timeline on the export page seems to be matching for now. But i’ve always heard different things in the past, like Rec709A, etc

[@TailoredTechnique]

What about outputting to instagram ? What profile is that? Using MacBook Pro I export 709 A…

[@jonpaultucker]

Great video, very clear explanation. I often work in YRGB Colour Managed with DWG as the working space and REC709 as output. Do you see any downsides to this? It seems to do the same as the group method.

[@AmillionCo]

What’s a good starting point for BlackMagic 6k camera

[@PancakeSerenade]

5:22 that alone. 👌 thanks

[@JohannaKlugsberger]

Thank you for your great videos. I have a question: If I go to the timeline selection (the same place, where you choose the group-pre-clip one) and do some adjustments there, will it be after the editing of the individual clips? Or before? I think of it, because maybe I will need to change the reg709 to a different color space in the end. And if I have a node in every single clip set to it, it would mean to change the settings of each and every one of them. That would be a lot of work I don't really want to have to do. Love, Johanna

[@user-kv9xm3uj5z]

Great tutorials! Learning a lot! And NOW I understand why using a larger colour space for the timeline is advantageous, even when then "funneling" down to a smaller one i.e. Rec.709. Kudos!

[@joshrathbun1]

I work on a macbook and have a color calibrated monitor attached via hdmi set to Rec 709. Should the cst be set still to rec 709 or 709-A? I color correct using the video clean feed set to my mac display as (P3) , and edit on the external monitor.

[@TheRealBarkinMadd]

Could you modify your final example to move the Display CST to the Timeline node group considering that it is common to all nodes? This would move you closer to the approach Cullen uses (as you know) and more closely mimics the Resolve Color Management settings. It's really great to see how this works on each level in the pipeline. Thanks so much for posting this, Darren - your content is awesome!

[@DarrenMostyn]

yes you could absolutely.

[@jmalmsten]

That was my thought as I was nearing the end. I'm pretty sure this is why we have the timeline level nodes in the first place. To be able to funnel the final corrections that all the clips need. :)

[@shannonglen1140]

@@DarrenMostyn I had the same thought. Furthermore, how is this approach "better" than letting Resolve handle this automatically in the managed environment? Is it just the additional controls offered in the node? Also, speaking of broadcast output, how does applying the Broadcast Safe setting affect each pathway?

[@DarrenMostyn]

@@shannonglen1140 Its the same result, just I can control where in the node tree it happens. You'll get the same result. You can test that easily. Broadcast safe - avoid it ... its not good IMO - far too severe.. Hope that helps.

[@vladikorn]

Thanks a lot Darren! Any particular reason why you didn't put second CST into Post-Group as it is unified pretty much for the whole timeline? Thanks!)

[@t0mwhazzup]

Hi Darren, thank you so much for this video. I have a question though. I work in DaVinci YRGB (unmanaged) and have my timeline space on Rec.709 Gamma 2.4. I know that this is a small color space but it's the one I always deliver in... does it really make a difference, which color space to grade in? DaVinci works with 32bit float internally as far as I know, and when one node clips data, I can still pull it back in the next node. So there isn't really anything lost. Please enlighten me :) Thanks for all your efforts!

[@ChadAltDelete]

I always come back to these videos to refresh my skills. Thanks for the wealth of knowledge Darren!

[@ElFabytv]

Hello, I like to learn on your channel, but here I have the dilemma, using your CST system, everything flows very well, but the problem is when I export, the colors simply look different, that is, they look opaque, on the timeline It looks good when exporting on mac m2 the color changes, I know that this problem is solved by placing rec709-A, but if I do it I change the entire flow that you explain, how can I apply your flow on a mac without the problem of the color change when export? Thank you very much for your videos, and I hope you can help me with this problem, Thanks again !

[@UnboundedArtandCrafts]

Just curious, I'm filming on a Sony A7R ii and the input gamma should be SRGB as far as I can find. But what happens if I choose a different input gamma in davinci resolve? because sometimes it just looks better on my screen if I do...

[@DennysBisogno]

Thank you for such a concise explanation. Are there any changes to this procedure if you are shooting exclusively on a BMCC6K Pro or G2?

[@matheussouza631]

Hey Darren! I'm confused about the role of timeline color space in a non-RCM workflow. You have your Timeline Color Space set to DaVinci WG / Intermediate. At the start of the video, you have a clip that was shot in Arri Wide Gamut 3 / Arri LogC3. You only add one CST node at the end of your node tree to go from Arri to Rec 709 Gamma 2.4. Great. Now your footage looks normalized, and you can do your grading before that CST node. My question is....what color space/gamma are you grading in before the CST? Is it Arri (what your clip is) or is it DWG (what your timeline project settings are)? I've been visualizing the node tree as a stream, and since you're going from Arri to Rec 709 in the CST node, my assumption is that you'd be grading in Arri space before the CST node. But if that's the case, then what is the purpose of the timeline color space in the project setting if you're just grading in whatever the clip's color space and gamma are? And finally, if my assumption is correct, then are there any implications of having a mismatch between timeline color space and footage color space? (aka not using an extra CST node at the start of the node tree to go from camera space to timeline color space, like you did in the second half of the video) Thank you so much!

[@BlueSlateFilms]

Super helpful video! Thank you! I have used DR color management, but still find that when I upload to KZbin or Vimeo, the colors look washed out. Any suggestions?

[@VErmuratski]

Great video, Darren, just also many things can be done in CST as well, like fine tuning of highlights - using Max Input, Max output. Also GammaMapping Method is very helphful in order to suppress red color which sometimes an issue when transforming Panasonic V-Log

[@DarrenMostyn]

Exactly. You have got it!

[@arboreal-coincidence]

Interested in this! I shoot a lot of v-log which sometimes comes out magenta but I’ve been using offset under a cst to correct. What’s the method/advantage doing it in a cst node?

[@NitinVerma-ew7lt]

Hi Sir, your Tutorial is very informative and helpful. Can you please help with CST Setting in First Node, what ''Input Color Space'' to use for FLOG2 Footage. Input Gamma : Flog2 can be selected in v19. But help with the "Input Color Space" Option. Thanks for making these helpful videos.

[@benlowe1837]

I’m a beginner so I apologize for this probably dumb rant: My biggest issue what my output after exporting. I would never have the color I want afterwards whereas final cut pro, I find it much simpler and am always getting the color from what I see in my timeline.

[@Pinkymangar597]

I can't find my canon 200d Color space anyone please help😢😢😢😢😢

[@dominic81634]

Thanks for all the content! Please do a video about the Tone Mapping and Gamma Mapping options on your OUT CST.

[@genesung5589]

Hi Darren, could you do a video on how to get Vimeo and KZbin uploads to look correct? I grade by Netflix specs - Rec 709, 2.4, dark room, etc.... However, when I upload to Vimeo for client links, it's ALWAYS considerably brighter. I've tried a CST from Rec 709 / 2.4 to sRGB / 2.2 and then unscientifically make the render DARKER just to compensate for the Vimeo brightening. It's a bit maddening. A huge percentage of content ends up on the Internet now and would be amazing to know the best methods to match the grade on your computer.

[@paulchapman2184]

This has cleared up a WHOLE lot ofr me man, you're a legend. I don't suppose you would know what input colour space and input gamma to use for a dji mini 3 pro? I readt that it's basically just rec.709. I made them noth rec.709 just now and the video IMEDIATELY looked better and more naturel. Would you be so kind as to confirm my selection? Thanks again man!

[@Karlabacken]

Question: Why don't you, at 7:01, leave both color space and gamma as "Timeline" when you already have Davinci WG and Davinci Intermediate as timeline settings in the project settings? Just so I understand. Thanks! :)

[@strollio]

Hi! Quick Q: I have an iMac - which colour profile ought I apply to my display, since the iMac offers a number of profiles , each of which does alter what I see in DR? I assume I should use the rec 709 profile, as that would align with what I'm using in DR?

[@laniakeasupercluster4606]

Hi, thanks for the Vid. I've been looking at Cullen Kelly's look development which I think (for me) sits nicely with your CST workflow.. but in this scenario, where would the output CST go? I suspect possibly in the TIMELINE section at the end of the developed look?

[@IziD07]

Hey Darren! thanks for the tutorial. I tried your example but the Davinci Wide Gamut & Intermediate CST options washed out (peaked) earlier than the rec709/gamma 2.4 footage. Any ideas as to why the opposite happened with me? Thanks in advance

[@alexmayall2121]

I know this is an old video, but how do you use CST if the camera you used is not available in Davinci? (I used a Zcam, that uses Z-log). Any help appreciated :)

[@eyelashviper6030]

Your videos are excellent. I still might be confused on when then timeline color space (project settings) is "applied". In your video on that, it sounded like the input footage (in my case from BMPCC 6K Pro - Davinci Film) was converted into the timeline color space selected in project settings. However, if that were true, you wouldn't need the Input/Pre CST that you did in this video. So, the project settings timeline color space is not applied? Actually, if it were to be applied, DR would need info on the input footage color space... and you can't assign that to a clip unless you're in a color manage workflow. So, I'm guessing the project setting in a is really just a value that you can use in your CSTs by selecting "Use timeline", but otherwise it does nothing. Is that correct?

[@TaoCovillault]

Hi Darren, first of all, thank you so much for your amazing content 🙏 I am learning Davinci after 10+ years on Final Cut and your channel is my main source of information 😁 But I'm still struggling a little with this topics to be honest 😬 I shoot S-Log3, most of the time, mixed with D-Log drone shots and D-Log M Action cam. And I don't like to do my edit with flat files, so I would like my clips to look at least normalized in the Media Pool already. So, from what I understood, I can't work in Color managed workflow because I have mixed color spaces... My issue is that if I apply their corresponding LUT in the media pool, then I can't use CST in the node tree :/ And it seems like the LUT applied at the media pool level is crushing the information for further edit 😒 And I actually really like the phantom LUT as a base grade, but since they are meant to bring s-log3 into Rec.709, I also cannot use them with CST 🤔 So I wonder how to process to be able to see my normalized clip in media pool and grading under my favorite LUT 🤷🏽‍♂

[@malikzhang4464]

What's the difference between having Camera Manufacturer Color Space -> Rec 709 CST in the 2nd node and having Camera Manufacturer Color Space -> Davinci Resolve Wide Gamut CST in the first node, and then Davinci Resolve Wide Gamut -> Rec 709 CST in the last? Would I get more dynamic range the way you do it?

[@diegochak7560]

Great episode! I would like to suggest a new episode, could you talk about DCTL? THANK YOU!

[@gillesjohn3072]

I'm also on mac. And each time I choose Rec 709 gamma 2.4 instead of Rec 709-A in the output color space of my Project settings, my footages appear completly too dark. I'm a bit lost with that. If you have time to make it clear, or someone else, I would appreciate. Thanks for your videos Darren!

[@VErmuratski]

Great video, just one thing I want to mention: If you already set TimeLine and Input color space to DR WideGamut, you do not have to organize the first node (CST) to transform SOMETHING -> DR Wide Gamut. Just start grading on the first node and have the final transform, of course, (Clip Color Space) -> REC709. Because from the first node you are ALREADY in DR Wide Gamut

[@todorvassilev8592]

Hello Darren, this video helped me a lot. I'm very grateful for what you are doing with this KZbin videos. I edit my videos on MacBook Pro M1 and external monitor BenQ PD2700U. My question is that - following the tips from this video what settings should I be using on my monitors? Currently on the Mac display colours look over saturated compared to the BenQ. Should I use Rec709 color profile on the Benq or both of the monitors? When I'm calibrating the monitors with external calibrator what should be the target for calibration? Thanks!

[@alpksa9372]

Amazing. Now I can edit my Gopro files properly. Can you also show how to export correctly? thank you very much

[@IllusionaryFed]

Thanks Darren I have 2 questions, with the CST DWG Workflow where would the Noise Reduction Node or The HL Manipulation Nodes be placed? Before or after the First CST Node & What if we are using a Plugin like Dehancer, where would the node of the plugin be placed seeing as it has its own camera settings, thanks!

[@DarrenMostyn]

Big topic but covered Dehancer answer is here kzbin.info/www/bejne/aoPGmHWlpb18faM

[@trinhbinh3219]

Thanks for your sharing. Appreciated! I am a newbie, can you help me clarify how can I define the input color space? When should I choose ARRI or RED or something like that. Thanks for your help!

[@KnifeGuy_]

I guess what I don't understand and my question is- if I can get the image looking really good without CST, is that what comes out on the other side when I render? And if it looks good already, then why do I need a CST?

[@盲道道道]

In "Davinci YRGB" color science, Why I can see the picture in view window by right way? Whether the view windows showed decide by computer display gamut ?

[@EarthKingPrime]

Excellent CST tutorial! I used to put CST first. Can Davinci colour managed setting use Davinci Wide Gamut by default? or is it just SDR Rec.709?

[@jean-pierrecantin3546]

Before going crazy I'm going to ask here if ever someone knows the answer. I own a Ursa Mini 4k. I know how CSTs work, but I just can't find anywhere this information. For my ''IN'' cst I have to put what comes out of the camera. I also have a canon R6 and I know when I shoot Clog3 and Bt2020 what my color space and my gamma are. I just can't find the info on what's coming out of my URSA when I film in ''Log'' which is film for it and what the gamma is. The footage looks real bad when I try all the options that are offered in Davinci for my CST. Anyone can help? Thanks.

[@StephaneV79]

Hello, thank you for your videos. Do you have any advice for choosing an input color profile for GoPro FLat?

[@jessegeraldoduna2242]

Hi Darren, would you be able to make a tutorial on how to convert a rec.709 graded project to XYZ color space for DCP deliverable? Much appreciated 🙏

[@mooastudioproduction]

Hello Darren, First thanks a lot for all your video is really usefull !! I have a question. I followed you rules about how to color graded a clip. Using CST, in Davinci YRGB --> Timeline color space Davinci WG / Intermediaries OUTPU color space REC 709 Gamma 2.4 I use Canon R5 c log 3 footage in Canon Wide gamut. I use my MacBook Pro screen to work. Every time I export my movie, the color is little bit less saturated and contrast that what I have in Davinci. After lot of research I lost and I don't know how to fix that. Thanks a lot again for your amazing work ! Antoine

[@조형준-o5z]

Hello, thank you for making great tutorials! But I'm having trouble when I change project settings, from the color management davinci YRGB into davinci YRGB color managed it has to be the same as using CST node but it's not... please help me.

[@reliantfilmsproductions9752]

Hey, Darren! Great video, but I have question… What would you use for camera profile color space for kinefinity camera???

[@VELVET462]

as a beginner I wasn't aware of why the CST node is set at the end. Now I understand that, it makes perfect sense. Just Subscribed. Im sure i can learn a lot more from your vids! Thanks

[@DarrenMostyn]

Glad it was helpful!

[@giacomolamonaca6988]

Really informative video. I remember watching a tutorial where you went a bit more in depth about grouping shots in the colour page (pre-clip, clip, post-clip) but I can't find anywhere. Any chance you could point me in the right direction? Cheers

[@ellieusmusic8663]

Thank you so much. Sorry for the super long comment that I left. I would love to hear on a recomendable node tree for 12bit Cinema DNG from a Sigma Fp. Once again thank you!

[@johndc7446]

I have been using Rec 709 gamma 2.4 for a while now as my timeline color space. Is there a reason when should I use Davinci Wide Gamut as timeline color space and also when to use the rec 709 gamma 2.4 as timeline color space?

[@DFaustmann]

If I hadn't subscribed to you already, I would do it again - thank you for this tutorial, Darren - greetings from germany :)

[@elieharfouche6424]

Hello Sir. I have been following you lately. I have a question regarding CST. color grading the footage by using CST replaces the manual transform log by using the primary color wheels lift, gamma, gain & saturation?

[@AndieNow]

I roundtrip from FCPX to DR for grading then back into FCPX. There's always some color and gamma discrepancy that I can't figure out. My footage is Canon Log (Canon C100 MKII) and my project settings are Davinci YRGB Color Managed, Resolve color management preset: SDR Rec 709, and output color space rec 709 (scene). I have a CST at the end my node trees that go as follow input color: Canon Cinema Gamut input gamma: Canon Log output color: Davinci Wide Gamut output gamma: Use timeline All I want is to keep maximize my log image and retain the grade from DR when I take it back to FCPX and export from FCPX as Apple Pro Res 422 Rec 709. Can you help me here? or point me in the right direction? Thank you! Thank you for all you do in your channel. Its been an eye opener

[@WilliamHenryAlbert]

Hi Darren, I am using a Sony A6600 and shoot in Gamma Cine1 and Color Mode ITU709 Matrix. I cannot see these on the CST. My question is which Input Colour Space and Input Gamma would I use for this profile? I have always been confused by this but your video is helping me a lot. Thanks.

[@patreeese]

Very great to learn, and for better understanding.Thank you for your good job here keep going !! But i dont understand why should i work in a higher-better colorspace and convert it in for example to rec709. The user can not see it and my work is gone ? or am i wrong ! thx

[@chrisogrady28]

Hi Darren, I've been trying to get my Calibrite passport video to work with CSTs and it seem to work on my log footage, but not on the 709. Do you know how I should order my nodes? Should I be transforming from 709 to DWG, then using the colour chart tool with both input and output set to DWG, then a CST to convert DWG back to 709? Because when I do this it completely kills the image, especially the reds, Thank you in advance

[@phalhappy8612]

Thank you for very well explaination. BTW what movie is that footage?

[@MickeyNdubuka]

Awesome Video @darrenmosten, but if we did all this in the group pre clip, and it's converting back to Gamma 2.4 while still in the Group pre clip, haven't we already lost all the extra wide information before getting to the main clip where we will grade as usual? Because the Clip is receiving Gamma 2.4.

[@laniakeasupercluster4606]

Thanks for the video. How does this ‘pipeline’ work if you’re using say a GoPro or an iPhone where the colour gamuts and spaces are relatively unknown?

[@JavierBarbera]

so confuse. I'm sorry.

[@robinb5752]

having spent 20+ years in Photo processing this is one of the very few video colorspace tutorials which makes sense to me. Thank you for that explanation!

[@DarrenMostyn]

Glad it was helpful!

[@DKiaulakis]

Hello, can't find how to work in DWT (Davinci Wide Gammut) and use color checker. Looks like that Power Window and Highlight function disables CST conversion (grading node is in between the CST in/out nodes) and unclear how to level up exposure and colors in this case. Footage shot in vlog. Is there are any option to use color checker card and to work on DWG color space? Thank you.

[@creativeflyfishing998]

The question I'm struggling to find an answer to is whether this makes sense for HLG3 from a Sony?. It should have rec.2020 and rec.2100 HLG for input and gamma. If I use this for the CST it does not look the same compared to colormanaged. I used to use the Leeming LUT in Final Cut before, but I'm not sure how to work with this in Davinchi Resolve especially if go color managed (or if this is even necessary). The footage always looks good, and very similar regardless of how I do it, but the subtle differences remain... Any ideas?

[@EdwardKilner]

I don't understand the phrase "underneath that CST". Underneath / above exactly what?

[@matteoranzi00]

Thanks for sharing your CST approach @DarrenMostyn! However, there is something I wonder about that I can't figure out: how do you deal with "node highlight" mode on in this scenario? (e.g. isolating mask for scopes when adjusting skintone). How do you keep the last CST node on in order to display those right colors? Thanks in advance!

[@jonathanessmann6467]

hey man, when i check use mac display color profiles for viewers my footage gets noticeably darker, to the point where it almost ruins projects ive already done. Should i really still check it ?

[@smryt9728]

5:36 Im slightly confused. I was under the impression using color management and grading afterwards was the same as putting the CST at the end of a node tree. If Color Managed workflow is akin to grading on top of a CST why would anyone ever use Color Management?? My head hurts 😅

[@KTSpeedruns]

The hardest part is knowing what color space and gamma the initial video is in. I can't seem to find a straight answer on what the color space and gamma I should be putting as input for something captured in the Blackmagic Camera android app.

[@billykoak8381]

Just tried this workflow but when I export the color is not the same as resolve viewer😑 the classic QuickTime problem how do u deal with that when client only know QuickTime 🙃

[@charlesdavidmedia]

The video we've all been waiting for !

[@DarrenMostyn]

Appreciated Charles!

[@J.K.productionsDE]

Alright. So I have my canon m50 that records standart mp4 footage, but I tuned the contrast and saturation down to make sort of my own flat profile, just to have a bit more to work with since it's 8 bit footage and there isn't really a lot of dynamic range. Is that still considered rec.709, but with "wrong" contrast and sat levels? Of course I wouldn't need any kind of cst then?

[@ProEditingLooks]

best this is sir pls make a vdo on 10 bit c log clip & how to color grade black & white clip. love u sir from India

[@felixxyzz]

Do you have a Video about where to use Film grain or Halation? Especially if you only want to have the grain in the background and not in the face?

[@samt9097]

One thing I don't get. When you add CST to a clip, are they added to the clip and then put in the Timeline or are they graded when inside Timeline? Also, we can add post Timeline node grades but no pre-Timeline nodes?

[@cinemavius]

anyway, what about plugins like dehancer, filmbox and another else ? where should we put in correct way sir ? after CST or before CST ?

[@matejivi]

thanks

[@whothennow24]

At 0:30, right off the bat I'm confused. "This is Arri footage." What does that mean? Is Arri a camera or something?

[@ChadAltDelete]

If i could like this 10 times i would. Thanks again!!!