Use Resolve like a Real Pro: Davinci Wide Gamut Workflow pt.1

Unlock the full power of Resolve by using Resolve Color Management and DaVinci Wide Gamut! In part one, we'll dive deep into project setup and setting up a look for your project that works scene-referred in your pipeline!
If you have questions after the video, be sure to tune in to the next Grade School, live here on KZbin!
Here are the LUTs mentioned in the video: procolor.ist/e...
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Get my free Kodak 2383 Film Emulation LUT for DaVinci Wide Gamut (you'll get one for ACES, too!): procolor.ist/fr...
My new LUT pack is here! Studio-grade, cinematic looks all designed specifically for DaVinci Wide Gamut:
procolor.ist/v...
Check out my ebook, The Colorist's 10 Commandments! In it I've laid out the most important things I've learned as a colorist, and all of them go beyond turning knobs inside Resolve: procolor.ist/ebook

[@sharifilmsweddings]

I usually never comment but the content you put out is the best I could ever find on KZbin. Thank you.

[@joedore5206]

Just wanted to say thank you for sharing your knowledge. It's very much appreciated.

[@lakshmish666]

Currently i am going through all the videos one by one and by far this is one of the BEST channel on youtube to learn color grading. Your teaching style is one of the best i have seen. That calm voice and moderate pace makes it so easy t o learn. THANKS!

[@BaylonTV]

I have watched a handful of color grading master classes and this 3 part video series is faster, easier to follow, and more effective than all of them. Thank you for posting these.

[@stehume]

First time i have ever herd about the time line mode, so much better then doing the grading on one clip then applying it to the others, what a time saver Thank you

[@nelsonpuello8722]

Thank you, Cullen. I have recently made the switch from Premiere to Davinci and needless to say there is a lot to catch up on. Your systematic approach to explaining makes the concepts unambiguous and clear. I prefer to learn principles over tips, and you do an excellent job at laying out principles. I can't thank you enough.

[@abryanna7594]

You are truly a gem!!!! So so incredibly thankful for you and the videos that you so thoughtfully create. These playlists that you have made are helping me learn so much and I really cannot thank you enough! I appreciate you fam. 💛

[@peturthor5140]

Light on packaging, super high on substance! By far the best stuff I've found on youtube to date on colour grading in Resolve. I found your Aces videos super helpful as well although I'm sticking to DWG. Your simple and methodical approach to the whole process is a breath of fresh air in the mighty realm of youtube!

[@2424rocket]

First I need to say that I think you are terrific, and a wealth of knowledge, and a breath of fresh air. No long introductions, no rock ‘n’ roll music in the background… And you’re probably about five times smarter than the average color grading tutorial… now to get to your one flaw… do you ever get to the point? You repeat everything that you say at least three times and three different versions of the same thing. Make a statement and do it. You don’t have to go over and over and over again what what you’re going to do. We’re not morons… Well at least some of us are not… We get it the first time you say it. With all due respect.

[@SergVideo31]

It's a great idea to split a complex work to simple parts by making common tasks for all clips at first and then only correcting difference. I am delighted. Thank you!

[@davidlovephotog2]

Nobody has ever mentioned the timeline mode when working with color nodes. What a time saver.

[@CptCurk]

Such a great content... Already watch that 3 knob, and shared it to all my Creator's friends. It's precious for colorist. But filmmakers also ! It increase a LOT my workflow. Thanks again !

[@satyamdograreallife]

Wow Cullen, It was such an Informative Video. I can literally feel Confidence emitting in the form of Aura like a Super Saiyan after watching this. I feel like I'm in the right hands of learning to make shots more compelling. Light Box tip was such a game changer, like not to apply grades but to have node structure with all the labels over all shots👌SICK👌

[@fahdal-tolais833]

Bro thank you so much for these information, I really was looking for someone to explain these details, again thank you so much.

[@mannydrives]

Thank you. I’ve been looking for someone that plays within the colour management space. I also appreciate the global tips because we often see a colourist focus on one clip. I don’t have the time to adjust each and every clip.

[@williamarcinas6518]

Thank you! I've really redone the way I do my grading from the ground up thanks to the knowledge bombs you've dropped on your channels. Learning to think on this scale and how everything fits big picture really helps you come up with the creative direction.

[@themarcosaguila1]

Obsessed with your content! I just started my journey in coloring and I’m having so much fun! You explain very in-depth ideas in such a very understandable simple way. It’s so easy to follow along . Thank you so much for making this available online for free! You are a blessing ! I wish you the best ! May God bless you!

[@themarcosaguila1]

Woww just wow. This video is a gem

[@TerenceKearns]

Nice workflow. Not overcomplicated or too intricate.

[@pedrosanchez4035]

Love it you are speaking my language

[@nwb741]

Legend. Thanks for all your lessons. I picked up your lut pack and finally I have a useful set of print stocks that are versatile across multiple cameras to create a unified look on the timeline

[@nwb741]

@@CullenKelly Speaking of tools, how do you know what color space a Greyscale clip is in? I use the Solid Color generator in effects, then create a compound clip from it. I want to use it to test color pipelines and tools, but I don't know how to verify what color space that clip is in

[@joshuavandermerwe7058]

Sincere question: what do you mean by nailing exposure? In your example you didn't have a waveform up so were you simply adjusting lift and gain by eye? In a normal workflow are you doing anything different? And at this point, why would you avoid gamma adjustments? Every time I watch one of your videos it's like my brain explodes with new info. Thank you so much for sharing your skills with us all.

[@imiy]

There's histogram

[@Rob_eight10media]

Thank you Cullen for your continued excellent grading series.. The info you provide is always delivered in an articulate, easy to understand fashion ..as a relative newbie to Resolve it makes the delving into the intricacies and learning so much more enjoyable..

[@gopolarisstudio]

Thanks dude! Especially for clearing up that we can't use LUTs not specifically designed for Davinci Wide Gamut

[@matrixate]

Excellent. I watched at 1.5X which was the perfect speed for me.

[@andirose]

Thank you! I'm so excited I found your channel while you're doing this series and still in the early stages. I've watched almost every tutorial maker on this subject a level-headed approach to consistency is exactly what I've been looking for! I'd love to see a video that looks at the core elements of creating a look from scratch for a whole timeline that is in the vein of something radically colored like sin city, mad max, or a pop music video. Can't want to learn more, thanks!

[@andirose]

@@CullenKelly Awesome! Yes, I've been loving watching the few bits where you've used fusion to explain the difference between looks and luts that don't take the full color compression/expansion into account and I'm so grateful this all finally makes sense! I'm just about to hop into fusion to do some experiments right now. Thank you!

[@PaulDavidWedel]

Ahh thank you for this! Another thing I'm trying for my first Exposure and Ratio pass is to do a saturation 0 on the final node in the timeline. This way I'm not distracted by colour imbalances and can just focus on Exp and Ctrst!

[@dkhart]

Amazing video! Thanks for sharing 🙌 Looking forward to the second one ✌🏻

[@GlenReed]

Thanks for the new series!! I’ll be back for the rest 😉

[@baker2880]

Another great vid. These kinds of breakdowns are really useful.

[@MPAflix]

Great, start getting some meat now, looking forward to the part 2. thanks for sharing.

[@crank_FPV]

Finally something that makes sense to me

[@koushikbhattacharya832]

awesome awesome valuable class...pumped for the next one 💪

[@barrymurphy5548]

Superb again Cullen !!

[@Bombbeachh]

Love this workflow

[@heloisemoise8179]

Not that you need me to tell you, but an outstanding channel. Admittedly, I have to play a lot of catch up with your content. Shooting on a Canon 90D, either in the 'cinestyle' profile or via a presumed CLOG 3rd party add on ( how accurate I don't know), is limiting. Add to this that I'm not a colorist, just someone who wants to get the best end result with the tools I've got. Within reason. I do see that your intention is to fulfill the potential of coloring while keeping it as simple as reasonably possible. Or should I say, the way you do, "make it simple." I'm trying not to get lost in the abyss of DaVinci Resolve - or your tutorials, to some extent - and glean from it (and you) what I can at the level I'm operating. Appreciate your work.

[@heloisemoise8179]

@@CullenKelly That is to be my next step, having purchased your latest LUTs, which are rather nice. Looking forward to this series continuing. I have Resolve sitting there anxiously awaiting your next move 🤣

[@chrisb5823]

Thank you for not having an annoying music bed on your videos.

[@joelbarnett1]

What is the difference between using DaVinci wide gamut intermediate vs selecting "automatic" project wide DaVinci colour managed?

[@jessetimmmiller1870]

Thank you for this video, Cullen! Question: does the native Kodak 2383 plugin included with Resolve 17 Pro meet the wide gamut input/output criteria?

[@stalman]

I've been learning a lot from this series and found it really helpful. One problem is that since my Rec709 LUTs don't work with a color managed workflow, I'm left no options in terms of film emulation. Of course I tried out your 2383 right away, planning to purchase the pack, but the results looked nothing like your example here. I've retraced my steps several times and can't figure out how I'm ending with radically different results from my clog2 footage.

[@sturm3n]

You can use 3 nodes to "take a detour" to Rec 709, apply the LUT, and go back. Colorspace Transform node -> LUT node -> Colorspace Transform node Set the first CST node to go from timeline colorspace/gamma to rec709. The output of this node is in Rec709, so when you apply your LUT in the next node, it will work properly. Finally, you need to transform that Rec709 stream of data back to the timeline colorspace/gamma, so you reverse the first node's settings to make the third node. These should be the last 3 nodes of your grade, because applying the LUT will destroy any extra hidden shadow/highlight/color data that isn't already visible. Conceptually, what we're doing here is (in our first node) manually doing the final Davinci Wide Gamut transform to Rec 709 that Resolve's color management will do under the hood, but we're doing it manually so that we can apply our LUT in a Rec709 environment. However, with RCM, it's still going to apply that transform no matter what, so our last node is an inversion of that final step so it cancels out.

[@stalman]

@@sturm3n That completely makes sense and I was able to make it work, thanks for the tip! It seems like in the long run, best practice would be finding some solid DaVinci WG film cuts though, no? It seems like if I were to do this workaround, I might as well just use one CST node at the end rather than color managing the whole project.

[@itayozari6252]

Thank you Trying to use film looks built-in LUT using DWG color management. how can I achieve that? Use CST choosing output gamma as CINEON FILM LOG before applying the LUT? I think this is not the correct workflow... Thanks!

[@ethanklingler]

Hey Cullen! Great video. Where can I find a link to the DWG Gray?

[@jacoblyse2322]

In the lightbox I selected everything then right clicked a clip, but I don't have the option to "apply grade". I have Davinci Resolve Studio 18. What should I do?

[@mpeg2000]

Do setup a second project for adding graphics and titles, since those would be affected also with a setup like this?

[@dubdubdub911]

Hello & thanks for useful info understandably presented:) A noob question here: does Davinci Wide Gamut Workflow has any sense, when working with 8bit Sony a7III HLG files?

[@christianrushpostpro]

Curious about using DWG in a CST-node format. I like to use a CST all the way upstream to make all my footage DWG and then do my primaries, then looks, and lastly an output CST all the way downstream from DWG to either REC709 or ST2084. The one thing I'm REALLY getting stuck on is the tone mapping+gamut mapping options within the CST OFX. Can you possibly give some best practices for that on the input and output CST? I feel like I'm just using the "davinci" option and "Saturation compression" to get me where I need to quickly and easily but I feel like that's not a 1-size-fits-all option just based on the manual. Luminance Mapping looks like it's got a better control but I don't know how to harness it. I'd like to know how those tools work as best I can so that I can keep using this node-based color management. any tips would be appreciated, and if i missed this in another video then apologies.

[@christianrushpostpro]

@@CullenKelly submitted - i hope we get to go over it in the next Grade School :)

[@robertoarosio5495]

Hy Cullen. I have Davinci 17 but can't see the project settings tab as yours. I just have the option Davinci WG intermediate and no choice for output color space, just a box for HDR mastering for.... unchecked. Can I still use this approach instead of ACES? I just let the default options after selecting WG intermediate?

[@albertocollazo9986]

Cullen: Thank you very much for sharing your knowledge. When I started doing color correction around 2005, one of the first things I learned was that that the very first thing you do in the process is adjust your pedestal (let’s say to 7.5 IRE). Yet your node tree and workflow do not respect that. You just start with Exposure adjustment, or even worst, you start by slapping a LUT at the timeline level that affects all your clips below, even before you ensured that black is black at the clip level. What am ‘I missing here? Thank you in advance for taking the time to enlightening me on this matter

[@albertocollazo9986]

@@CullenKelly Cullen: Thanks for having taken the time to respond to my comment. The only beef I have with your approach of “if it is good to your eyes, ignore the instruments” is that once you submit your end product for broadcast, the first thing the QC dogs do is look at the instruments to ensure that the program does not have clipping, crushing or oversaturation. Because, although it may be beautiful to the eye, they will face the music with the FCC (even risk fines and /or losing their license) because, if the program does not meet the technical requirements and it is sent on air anyways, they will be spilling into the neighboring channels. And that, no matter how nice it looks to your eyes, in the broadcast business, spilling outside the assigned channel, it is a capital sin. Keep up your excellent teaching crusade. Although I may not agree with some of your teachings, I’m indebted with you for all the good things I learnt from watching your videos. Cheers!!!

[@j.oakley9588]

I’ve watched a couple of your videos on color managed workflow. I also watched your lecture. I know there’s a good chance that you mentioned it SOMEWHERE and I missed it. But how would one set everything up with footage from different cameras. Like, say I was using Blackmagic but I had a few clips from DJI or something. You probably get a lot of these, so I don’t really expect you to waste time writing a reply. But maybe a point in the right direction to a previous tutorial you made or something.

[@user-gd6pj6oh8p]

When I used your 2383 lut, I found that if the highlights are too bright, the 2383 lut seems to cut the highlight information, how should I set it to retain them? Should I set ORT to None or add a cst node?

[@thatcherfreeman]

Is there a reason you went to control exposure with the offset wheel rather than with the Global HDR wheel?

[@smallbrownfox594]

Hi Cullen, Any chance you could do something around the pipeline for Cinema DNG.

[@663]

Damn this is gold, thanks for making this, it's like ML but free XD

[@sufy.r]

why not use aces cct? i'm using it on all my projects so, an advice would be of great help!

[@patryk8509]

Hi. Amazing video! How can I get your kodak lut? the link in the description doesn't work anymore

[@VisionOneCreatives]

I tried creating a node on the timeline level and made a manipulation, but the clips never showed a preview of what I was doing. Any ideas?

[@alexbulliofficial]

Have you switched back to using Offset as a general exposure adjustment rather than HDR exposure? Could you give a quick thought over why you might choose one before the other?

[@MonstroInLA]

Bought the voyager pro package just to play with the luts! Quick question being that this is davinci color managed what if I have mixed footage like Red with Arri would I have to use a cst to dwg in order to use the luts with that footage or will they not work at all?

[@eyeonestudio8985]

Important question: if I grade on a rec 709 gamma 2.2 calibrated monitor, but develop to rec709 gamma 2.4, should I make the timeline colour space and gamma rec709 2.2 or I can use f.e. HDR DWG Intermediate and it will automatically adjust to my display? Our should I just recalibrate to rec709 2.4?

[@dominicpanico2682]

Very helpful, I am gonna try implementing this on my next project. Follow up question ~ does this color management workflow work for more documentary work where multiple cameras are used and different lighting and scenes are present? I’m excited to see the next parts of this workflow where white balancing and temperature adjustments may need to be made.

[@ameramdouni3584]

what if you're grading a feature , where you gotta be sure shots are matche , or tweeking particular secondaries adj, or let's say you character evolve and you have to walk through his journey through color and change the look , how would you approach that, if you set the look in the first place like you did? and what's you method for commercials !

[@serge_stauffer]

Thank you for all those very learnfull insights. If the majority of the clips / input is non-log / Rec.709 and I deliver in Rec.709 as well, does DWG still make sense?

[@alex.muntean]

Thank you for this video. Great one. When’s part 2 coming out? When using luts designed for rec709 to my knowledge you would have to use 2 color space transforms before and after the lut (1. DWG -> 709 and 2.709 ->DWG) because the Color management is expecting a DWG signal, not a Rec709 one, right? Thanks again Cullen. ❤️

[@jonald2010]

@@CullenKelly yeah please do a video on how to properly use your luts for rec709 inside DWG. Because my luts look so high contrast when I'm in DWG color space.

[@horizonimages]

@@CullenKelly This series of tutorials on the colour management workflow has finally allowed the concept to sink in, thank you. Regarding Rec709 LUTs is this one of the benefits of using node tree CSTs instead of using the project settings for colour management? To give more freedom to use rec709 luts after the last CST node that brings it back to Rec 709? After watching these videos I now understand why the GoPro LUT I used to use without issue before using DWG and colour management now looks terrible because I've been using it in the DWG space and not Rec 709 that I believe the LUT expects.

[@imriagmon8486]

Great content as always! In the case of only having access to the native Davinci film looks LUTs, Is using a CST of Davinci intermidieate to Cineon before the LUT and another CST of rec709 to Davinci Intermidiete after it a properly color managed way of applying the look?

[@michaeldescheneaux9910]

Great Stuff

[@visual.outlet]

Hey Cullen! Could u do a video on grading 8bit footage? Shooting with an Sony a7iii (HLG3). Does the workflow also apply to this footage?

This great! But I have one thing: I have a timeline with both braw and slog3 footage when I set the settings as shown, the braw footage looks good but the slog3 looks way to flat. What can I do?

[@CullenKelly]

Right click one of your S-Log shots and check what the Input Color Space is set to -- might be incorrectly tagged by Resolve. Hope this helps!

[@rodprod8522]

This is a great video! I'm grading on an M1 MacBook Air - there has been some confusion about the gamma of Apple screens - I'm guessing the Output Colour Space should be Rec709 with gamma 2.4 (as you have), but I've also heard that Rec709-A should be used for the quirks of Apple monitors - any light you can shed on this would me amazing (there is a setting in the preference 'use Mac output for viewers' which may affect this. Also if you're able to do a video on which external monitors you recommend and how to set them up with DR, that would also be amazing. Thanks again for this valuable content!

[@rodprod8522]

@@CullenKelly many thanks!

[@LinusPhillips]

I work of a non professionally calibrated display that has good coverage of sRGB and very good coverage of the HDR DCi-P3 space and decent color accuracy, am I correct in thinking that those are the correct output color spaces to have set? And what exactly is the Color Processing mode, is that supposed to be the color space the camera was in/do cameras even have a color space? How do I determine if I should be using HDR or not is it just based of what displays its going to be on or does HDR always look best...I shoot with a A7SIII/Slog3 I am working in Davinci YRGB Color Managed

[@zweiche]

Amazing stuff cullen , ty for that! Do you know new m1 pro max lebtops monitor gamma? i dont know what to choose either rec709-a or gamma 2.2 or gamma 2.4 in davinci project settings as output color space

[@zweiche]

@@CullenKelly it does indeed! i also sended message in instagram if you dont mind checking it :) Right now i am training your balance techniques , peace ✌️

[@OkonDavid]

I love your tutorials but I have tried these steps and they don't apply to my log footages

[@TTLSTUDIO2024]

HI CULLEN CAN YOU A VIDEO ON IPHONE FOOTAGE GRADING PLEASE

[@robertkwela8186]

Hey Cullen. Thanks for your time again. Would I be able to achieve similar outcome using the HDR wheels? lets say Global exposure instead of Offset Highlight exposure instead of Gain and Shadow exposure instead of Lift. I've noticed you try to stay away of those wheels;) is there any reason?

[@Farisdaniiel]

Great tip but do you just eyeball the exposure without looking at the waveform?

[@michaelruebusch2275]

How do you know if your LUT is set up to play nice with DWG?

[@mitchellwoodin6686]

Where can we get the elements LUTs? I can only see the Voyager LUTs. Thanks!

[@adeeboberoi5362]

Thank you, great again. Question, could you do a video on how to work in Fusion with color management, specially Braw footage. For instance Chroma keying a Braw image in Fusion with correct color management settings.

[@adeeboberoi5362]

@@CullenKelly Yes, your color page videos are awesome! Hope to see Fusion Color Management some time soon. Thx again, I watch all your vids.

[@AjushiPhotography]

Hmm, pretty cool - learned some new things

[@bluedun9816]

All of your videos have been extremely enlightening and educational. I have one question regarding using ACES or RCM, how does one handled footage from different cameras? I have a main Sony camera so I can shoot in Cinetone or Slog3 but I also have footage from multiple drones.

[@bluedun9816]

@@CullenKelly Thanks!!!!

[@joenicklo]

In Resolve with a Color Managed workflow, does the program automatically detect Blackmagic RAW? It's not giving me an option to change the BRAW clip's color space input. For context, I'm working with RED R3D and Blackmagic BRAW footage in a project that's setup for RED color management.

[@joenicklo]

@@CullenKelly so technically, i dont even have to tell Resolve that my input color space is Red wide gamut? (if thats what im working in?) Thanks for the reply!

[@vincentlomascolo]

Hi Cullen, not sure where to put this question. I may wait for a grade school that seems appropriate. But I was wondering if you have any best practices for what color space and gamma you prefer to receive footage in when it comes from a virtual/3d/animation environment. Would it just be ACES linear? In addition to my standard production work, I am starting to dig into virtual production and recording within unreal engine. But so far I have only exported in rec.709. I am assuming to properly master these images, you would want them in some form of log or intermediate format.

[@EUGEN_VIDEO]

Можете дать ссылку на элементы латов?)

[@MonstroInLA]

Hey Cullen I'm working with CDNG files and when I go through this process to color balance it looks really funky any recommended color space recommendations. I went with Davinci as you set it here but it's not very appealing. Should I leave it in the CDNG setting?

[@MonstroInLA]

@@CullenKelly dwg and gamma intermediate

[@EgorKlimenko-]

I always try to use professional color correction in my KZbin videos, but it takes so much time (8 hours per 153 scenes on average). Any tips on how I can speed up this process?🙃

[@xacck7203]

Hey there, Cullen! First things first, I need to give you huge props for releasing these high-quality content and explanations for free. Really appreciate it and have been endeavouring myself to learning your videos systematically from your first upload. Recently I had to skip towards color management as I am preparing to do a grade on a short I'm working on. I consider myself as still a beginner, especially towards proper color management, and really find myself confused with understanding what DWG and ACES basically is. My normal workflow right now is to use Davinci YRGB (not color managed), and then use a CST workflow in the end of my grade to convert Log into Rec.709 (or sometimes the CST workflow of Log -> Cineon and Cineon -> Rec.709 when i need to use Film Print Emulations). Really simple stuff. So what exactly is my workflow called? How does this compare with DWG or ACES? Does my initial workflow have the correct mindset to begin with? Would really love some pointers or more videos you can point out for me to take me in the right direction! Thanks!

[@xacck7203]

@@CullenKelly Thank you!

[@michaelruebusch2275]

What do you suggest for color management when someone gives you say Red Raw footage that was edited in Premiere and exported as ProRes 444?

[@willianaleman6114]

Since the camera source is known, please select the ProRes clips and apply RED input and gamma.

[@taylorhtrozzolo6552]

This is great information and I love how technical yet efficient you're being. I've been slowly discovering and implementing different color management workflows over my past 1.5 years in resolve but still have alot of unanswered questions (some of which this video has already answered). Currently I've landed on a CSI to CST workflow through nodes while staying in Davinci Wide Gamut in my project settings. from my understanding, by using automatic color management (like you are doing in this video), it seems that any adjustments made are being applied to an already converted image and therefore you've lost the fidelity of log footage. I would assume you want to make your corrections in the widest color space possible with the conversion to rec709 being the final step. Is this an accurate assumption? Or am I missing something? Does resolve color management make your adjustments before the rec709 conversion but just behind the scenes? Any information you could provide would be greatly appreciated!

[@deejayody]

Hi Cullen. I'm a beginner colorist with a lot of my client project shot with sony slog 3. I've tried your setting for DWG color managed. but after i apply the setting the footage still have log color, not rec 709 color. Is slog 3 not compatible for this workflow, or i did something wrong?

[@CullenKelly]

Slog3 can definitely be color managed into DWG! Without seeing your exact project settings, hard to say exactly where the issue could be. Maybe double check that you have an output setup to take you from DWG to Rec709, whether that be in the project settings or with a cst!

[@itsjohnrice]

If you shot in CinemaDNG what would your input color space look like?

[@chrischiles6263]

Hey Cullen! I've recently hit a weird snag while working in the DWG workflow, and I am hoping you may be able to shed some light on the situation. I've been using this workflow for a while now, and its been working amazingly. I love what it offers. I typically am working with Clog-2, and I've never had a problem with it. It works perfectly. Just set the color space for the clips to "Clog-2" and boom, done. However, I was recently handed some footage that was shot in CLog, and it just *will not* convert properly while trying to feed it through the DWG workflow. When I select CLOG for the color space, it spits out an image that is *hyper* saturated, and highlights and shadows are clipped and crushed. Its just obviously not the right world for the clip for some reason. I tried bypassing the Color management and using a CST, and I found something interesting. When I input the Color space as Canon Cinema Gamut, the results are identical, overly saturated, things clipping/crushing. But, if I then switch the Color space to Rec. 709, I get a much more pleasing, natural looking image. Something that I can actually work with and grade. So I suspect that the Color Management is applying the Gamut as the Canon Cinema Gamut, and thus giving the unnatural looking results. Is there some way to change this within the Color Managed workflow? Is this a bug within Davinci and its conversion for CLOG specific clips? Or, am I just a goof and probably screwing things up somewhere? Thank you for all of your help so far, your tutorials are actual lifesavers. If you have a moment to take a look, or help with this, I would really appreciate it!

[@williamr.shirley3800]

I have had the same issue, but with Clog. Clog-2, and Clog-3. Just hyper saturated. Did you find a solution?

[@The_Twilight_Cuts]

Are all the CKC LUT's compatible for a DWG to DWG workflow? Thanks.

[@CullenKelly]

Great question! Yes!

[@robertkwela8186]

Hey Cullen Hope everyone is good just a quick one which version of DR studio you recommend for m1 chip Mac atm

[@robertkwela8186]

@@CullenKelly Im using 17.4.2 but I'm getting a wash after rendering with gamma tag to GAMMA2.4 I got m1 Mack mini with external monitor. do I have to turn on "use Mac display color profiles for viewers"? and use Rec.709-A or this is only for Mac display Thanks

[@BlaineWestropp1]

Great video as always, couple questions for you. Is the color management happening at an input or output level? In your workflow above, where would you map the HDR wheels… log C or davinci wide? Lastly, why adjust exposure with offset over a mapped HDR global wheel?

[@BlaineWestropp1]

@@CullenKelly cool. I guess what I’m trying to figure out is this.. if you open resolve under default settings, and bring some Alexa footage in and place a 709 transform on a node… before that node you map the HDR wheels to log c. You work before the 709 transform. And then you can work after the 709 transform transform if you wish… on top of it. With media managed.. is everything happening “before the media manage davinci wide” … if you want to map the HDR are you mapping them still to log C. Hope this makes sense.

[@BlaineWestropp1]

@@CullenKelly ah I guess you answered my question regarding not needing to map the HDR wheels when working in davinci wide gamut. Thank you! Love watching your videos.

[@zechenwei1139]

Is the offset wheel going to provide an exposure-like brightness change or will it just shift the whole waveform up and down without changing its shape? Thank you

[@zechenwei1139]

@@CullenKelly Thank you! I also learned this by watching many of your previous videos recently! They are so insightful and are very helpful to me. thank you so much for sharing your knowledge with us!

[@barrywallisable]

Hi, I am very interested in your 10 commandments ebook. On your website there is no information on how many pages, examples used or the general amount of information within the book. This ebook is expensive, for an ebook, so I would hope that it is crammed with nuggets. There are no reviews, no refund policy that I could find. I would like some idea on what to expect as I could spend $17 to find out it’s a 10 page pamphlet. Thanks for the great content, I agree with the other viewers that your content and training is the best I have found on KZbin. Barry from the UK.

[@barrywallisable]

Hi again Cullen, I have more questions regarding your training and products if you are able to answer them or perhaps my questions could be added to your next grade school stream. Being new to grading and colour management I am making like a sponge and soaking up buckets of information thanks to your training. But as normal I have as many questions as I have answers at the moment. Questions: 1. I probably won’t have the funds available to sign up for your next LUT training course starting on the 14th of March. Do you know when your next course will be? 2. Reading the Color.Training website this course is completely online with live sessions and pre-recorded modules that I need to complete within the two week period, is this correct? What time zone will the live sessions be in? I’m London GMT 0 so if these sessions are west coast based that will be early morning for me. 3. To clarify your product you have the ebook, the LUT packs, the online training courses and then your colloid subscription services, is that correct? 4. Can you explain the colloid subscription services in more detail. It is a lot of money per year at $899 and due to my inexperience I am trying to understand and analyse the benefits to me over using the included tools in Davinci Resolve. I am working my way back through your videos so please forgive me if you have already explained this in a vid. 5. How can I confirm or find out the output colour display space for any given monitor or tv or others when using a output cst at the end of the pipeline? For instance I have an OLED tv, an Apple monitor and an LED tv I can view and monitor out too. Will they all be rec709 and how do I find out?

[@IrfanIntekhab]

Hey Cullen thanks for this video and for the LUTs you provided. was having a look at both the 2383 LUT provided by you and the one that comes with Davinci, that takes in Cineon i believe. I see that your and the davinci LUT is quite different. not so much in the tone curve but alot in the palette. Hence my question, which LUT then is a more appropriate representation of 2838? and why is there such a difference in the palette?

[@IrfanIntekhab]

@@CullenKelly thank you so much! And thank you for providing the same.

[@_gabrielln.dop_]

Now that you are using DR Color Management, are you doing away with your previous technique of doing the CST transforms? ie: Arri Log C -> DWG-int. (in) and then DWG-int. -> Rec709 (out)?

[@_gabrielln.dop_]

@@CullenKelly I think it's a great subject. I personally have been working in node based transforms for a couple of years and find you get a bit more control that way, even though as you said, results are ultimately the same.

[@KenFlanagan]

I am a huge fan of the attitude and demeanour of this channel and particularly you as a person. You seem measured, calm genuine and an all around lovely person and it seems petty to mention it but I feel I should at least ask why when the content in resolve is so professionally driven, is the lighting and set when you are in camera so “amateur” looking. It seems like a strange disconnect as cinematographers and colourist imo go hand in hand so I would expect that at the very least your own talking head would be an exemplar of lighting and grading. Even within the darkened room set up of most editors but that’s obviously not necessary as you use on screen cut always almost exclusively. I guess it really jars when I see people talking about content in any way where they themselves do not apply the same rules of thumb to their own set ups when surely they could. Just a thought as I really think these talking heads and the way they look do you a huge disservice given how fantastic you are as a teacher and professional. Just a thought. Meanwhile thank you so much for all your excellent work.

[@Cooking_with_grandmaYT]

Thank you, Cullen. A nagging question re RCM/DaVinci Intermediate. In my usual Arri Log C way of working, I apply Neat (using their recommended transform to and out of Linear) as first node at timeline level, even before I convert my log footage to Arri Log C. How do you recommend to work w Neat in RCM/DVI? Seems maybe I will want to do a RCM/DVI to linear, apply Neat, then back to RCM/DVI as my first node at timeline level? Any insight appreciated. Thanks

[@Cooking_with_grandmaYT]

@@CullenKelly thank you, Cullen. Yes, indeed, I mis-wrote. I meant pre-clip and it actually is a three node construct in front of everything else (to linear, neat, then back to DWG or Arri Log C….)

[@randyrundio7156]

Thank you for the great content. I've enjoyed your book so far as well. I have a very newb question for you that I haven't found an answer to elsewhere. Is there a benefit to using RCM and Wide Gamut if you're working with footage that wasn't shot on a camera that has an input color space option included in Resolve? For example drone footage mixed with GoPro, mixed with Fuji. Only the fuji has a defined input color space in Resolve. Is it worth working with RCM if I just assign Rec 709 as the input color space for the footage shot on the drone or GoPro. I realize you're working on professional footage as opposed to GoPro stuff so I hope I'm not offending you by asking this. Thank you again. I look forward to watching the rest of the series.

[@randyrundio7156]

@@CullenKelly Thank you Cullen. I’ve learned more in the last 2 weeks watching your videos than I had before. As someone new to this, it’s really helpful to see your workflow versus just having someone explain what a slider in Resolve does. Thanks again.

[@Elchupanibria]

Love your content but why are you clearly underexposed in most of your home shots?