Why using temp & tint is terrible (even in HDR & Camera RAW)

[@camivipla]

You can actually solve this issue with Chromatic Adaptation in which going from 5500 to 3500 doesn't yield the same result visually as going from 6500 to 4500. The issue occurs because Kelvin is not a linear unit, but a logarithmic one. But you can convert Kelvin to Mired, which is a linear unit. All you have to do is divide 1 million over the Kelvin number. So, for example, 5500 Kelvin is equivalent to 182 mired, and 3500 Kelvin is equivalent to 286 mired. That'ts a difference of 104 mired. Now, if you run the same math with 6500 and 4500 Kelvin what you get is that they are equivalent to 154 and 222 mired respectively, which is a difference of only 68 mired. That explains why the change when you do the chromatic adaptation from 6500 to 4500 looks visually less significant that from 5500 to 3500. What this means is that, although Cullen is absolutely right and Chromatic Adaptation is not a very useful tool if you don't know the actual color temperatures of the illuminant on set, you would get the exact same visual results if you have the same delta in mired (i.e. 100 mired) regardless of what source and target color temperature you choose, as long as the difference between said color temperatures is the same once converted to mired. It's math and I doubt it would be very practical to do these divisions all the time, but maybe this info can be helpful to someone at some point.

[@NOIRGRADE]

Thank you very much. Will surely go down that rabbit whole. This sounds like a promising concept!

[@meanmarine24]

Would there be use for a resolve plugin that works with Mired instead?

[@drugmate9710]

Too much maff.

[@andersistbesser]

@@camivipla ja it would be complicatezt but it would be noce if blackmagic would implement a feature to.changemlfrom calvin to.the other one

[@JohnnoWaldmann]

@@camivipla thanks, I had developed that notion intuitively -adjusting lights, and when grading: but it’s very useful to now know the math.

[@mikeburesh9869]

As a beginning colorist, I don’t know what I don’t know. As always Cullen, you show us what we don’t know but explain the why or science behind why do it this particular way. I was just a knob turner when I first started but watching your videos has made me think About the overall process in a new way. Outstanding video Cullen, outstanding

[@Raecast]

I work at a post house alongside colorists and your videos really help me feel educated and up to speed when talking with them. The difference between your industry knowledge and dinky youtube grading tutorials can not be overstated. You're one of the rare ones who creates content which isn't just the blind leading the blind. Keep it up!!!

[@garethjones1]

The Gamma, linear and gain way of balancing wb has blown my mind. Just tried it out... this will be the way I do it going forward. Thank you.

[@custommadename]

It's one of my favorite ways to do it, too. I'm glad he showed it.

[@antonarap5393]

@@custommadename yeah welcome (back) to grading in rec709...

[@samvarma]

Man, tour de force. I can't believe you spoke so clearly, uninterrupted, for so long, without so much as a single stray "um" LOL Excellent perspective. 4yr FCP editor here. Thank you!

[@gingersmedia]

instant subscribe. This is the type of super granular vocabulary and deep dive peering into the way tools like this operate respective to their design, working space, etc. that im looking for. I'm no seasoned colorist, but I've been editing for ~12 years now, and I learned a lot just from this one video. Looking forward to going through your catalog!

[@jseamans]

I’m very happy Cullen continues to share his knowledge and experience. The information he shares has radically improved my skills as a colorist, and helped me have the confidence I need to do the work. Gratitude.

[@sambrandner]

Learning to use Gamma, offset, and following the vector scope to help me out is what really did it for me. Helped drastically

[@CullenKelly]

I learned the same way! Interestingly, once I started using linear gain, a lot of the need for bouncing between gamma, offset, lift, etc actually went away, because the first adjustment was finally pure and even up and down the tonescale.

[@byProvings]

I knew linear was the move the whole time, but couldn’t help but watch the entire video. You put extremely complex concepts into very neat thoughts that I just loved to hear put into words that I can never find 😂

[@mediaflmcreation]

My Favorite New Method: 9:11. My Second Favorite New Method: 14:02 I don't care about having two adjustments... save them as presets and it's just one. I noticed this also does not butcher the colors like the temp and tint sliders, this almost keeps the image perse' "non destructible" in terms of color temps and didn't produce weird circular color moire around the subject. The second method is just more detailed. If you know the (Dark-Shadow-Light_Highlight) wheels, you know what to look for, just image your curve left to right having 4 wheels from dark to light. Damn this guy is great and I never thought about none of these methods in more detail. NOW I see why my footages no longer suck now. Thanks bro!

[@temuerasamuel]

This one method has literally transformed my color correction method to the next level while still being simple.. thanks so much!!

[@HonzaShooter]

Hi, thanks for the awesome video! For grading my videos and adjusting WB I usually use HDR pallete and "Global" wheel. Your metod looks simply and well working. I will definitelly give it a try! You earned my subscription.

[@disco.jellyfish]

The way I learned it in the past was basically that I was told that Color Correction and Color Grading are two seperate things. Color Correction being the process of adjusting footage in a way that makes it "correct" from a technical standpoint such as adjusting the WB Temp to being 5000K in case it was shot at 3800K, if the light source lighting the scene is actually 5000K. This sounds very reasonable to me. Color Grading (as I was told) is the process of adjusting correct input color in a certain way to convey or emphasize a specific feeling even if that makes the image not exactly "correct" because it exaggerates certain colors or wipes them out or adjusts the brightness of a scene to intentionally become "too dark" because info gets lost in the blacks and skintones are well below the respective IRE amount they "should" usually be at.

[@ksanders308]

I appreciate the thorough video follow-up to my (and I’m sure others’) comments. I guess I’m not usually too worried about exact kelvin corrections when I work with temp sliders, and I was aware of the logarithmic nature of kelvin temperature, but I do see how your method applied to one wheel would be faster and more consistent in a full-time colorist environment. Thanks!

[@kietzi]

from a compositing artist perspective: we mostly move the gain on R, G and B until they are at the same level on neutral areas (black, grey, white)

[@bjornsahlin]

Thanks for a very well-made and informative video, but what I was missing is how you implement it, I mean where it goes in your node structure.

[@comet_drone_videos]

Thanks CK for another good video! Trying to implement your tips and tricks in my videos!

[@grahamf695]

Thanks Cullen, very helpful. On some of your previous videos, you have used Offset to correct colour balance. Please could you explain why you are using Linear Gain instead in this tutorial.

[@CullenKelly]

Great question! Adjusting gain in linear is essentially the same as adjusting offset in log, only better! Over the last few years I've switched to using linear gain as my preferred method.

[@grahamf695]

@@CullenKelly thanks. If it's good enough for you, then I'm sure it will be good enough for me!

[@filmmaker3851]

One of the great important video of all time, thank you sir

[@shueibdahir]

I can't believe what I'm seeing. I've been watching your last couple of videos that had to do with Linear Gain and my god I've never had this much color and exposure accuracy in my footage. These techniques alone have made my HDR grades accurate. I can't thank you enough!

[@alex.muntean]

Which ones are those videos? Thanks!

[@JoseWela]

This video was EXCELLENT. Thanks for sharing it.

[@thedouglasdutton]

Awesome video Cullen! I wish BMD would update some of these tools. It's been years since some of them are in that imperfect state....

[@HardIsEasy]

You have mentioned multiple times: "TLDR is that adjusting gain in linear is essentially the same as adjusting offset in log, only better." Could you make a video explaining The differences between the Color wheels - log vs linear Primaries vs HDR. What happens under the hood? I think this is a very complicated concept that most people incl me do not properly understand.

[@CullenKelly]

Yes, great idea, this is coming soon!

[@Corpocut]

you sir, are the GOAT! love watching your videos mate! thank you for the time and effort you put into that!

[@shebbe]

Nicely put together. Don't think you mentioned this but primaries temp/tint could still be used if preferred on a linear gamma node since their operation is the same as gain. But the gain wheel is obviously more intuitive and a single adjustment. Something that is missing here however, and I can't recall if you covered that in the other video about white balance, but you should be careful with linear gain if the working space is different from the camera space. If certain values in the image fall outside the working space you end up multiplying negative values which degrades your image. So in some cases it may actually be preferred to do balancing in the raw tab, or switch the node to the camera primaries as well as linear gamma.

[@otoshithekid2957]

Question: Was your timeline Color Space set to the Log Color Space that the footage was in? Because you're operating before the transformation, right? So it would be a log image, and I noticed you didn't change the both color space of the HDR tab, nor from the Chromatic Adaptation effect. I've been using linear to balance my shots lately, it truly is faster and very good, thanks for the tips!

[@showsonvhs]

You keep blowing my mind 😭 these videos are so incredibly helpful.

[@LukeKroeker]

This was a great summary of those controls and their limitations. Cheers!

[@Dane_Casperson]

Phenomenal breakdown, thank you for such a thorough and thoughtful discussion on this subject :-)

[@FilipNadaski1]

I learn a lot from watching ur videoes, thank you for making them constantly and providing us valuable infromation!

[@richardkrall4409]

Great explanation of the limitations of these tools but, I usually work in a CST driven workflow. In the case of setting an empty node to 'Linear', can that be implemented in a CST environment? Or, does it only work in a color-managed environment which, I'm assuming you are doing?

[@cinestillsamurai]

you pack so much info that I need to watch your vids at 2x, thank you so much!

[@NICEEDITS]

Why not use offset in the HDR tool? With the color spaces set right, it does the best job I have seen at moving all the colors around accurately..

[@foxyvisionsvideographer]

Amazing video thank you, watched this because of your other video ;)

[@lee_pfalmer]

Interesting, Temp and Tint are like using Etch A Sketch knobs.

[@BadaSessions]

Great!!! but WWAAAAAYYYY too many adds!!!

[@elliottpowell975]

I think it's important to note that the HDR global wheel appers to use the same math as the HDR temp/tint. So while not as nice to use (IMO) you can actually easily use white balance with the same math. That said, that math seems a bit weird if you compare it to actual CAT02 etc. chromatic adaptation or RGB offset/linear gain, so I'd still rather use one of those. Also though, for the non-HDR temp/tint if your'e in ACEScc or ACEScct the white balance behaves differently, it is actaully color managed there. Again who knows what actual math is, but it definitely appears to be doing some kind of proper chromatic adapation, or at the very least linear gain.

[@AgedFights]

Thank you Cullen for tutorials, it really helps.

[@OwnerOfTheCosmos]

@CullenKelly Chapter mistake I think: '14:00 What to the 90% of the time you can't use "the best" tool' You probably meant "What if"

[@shueibdahir]

I want to redact my previous statement. Today I noticed something odd which I didn't notice a week before. When grading RAW footage in Davinci Wide Gamut for HDR delivery, the Linear Gain and HDR wheel exposure knob both don't have access to the entire dynamic range of the footage,only what the RAW tab feeds the node tree. The exposure might raise up linearly like the RAW tab, but the blacks are cut off and so raising the exposure will lift the blacks aswell but make them look oddly creamy as if there's a "rolloff" in the blacks and shadows. It happens with both linear gain and HDR wheels. I might have use for this in Rec.709 since it looks pleasing in SDR, but for HDR, the loss of dynamic range in the shadows is unacceptable So for now, to get mathematically accurate exposure changes that translate well into HDR , the RAW tab will suffice.

[@Tensor_7]

I like using RGB mixer for extreme color shift. It has a wider adjustment range and it won't mess up the footage even if the footage is 8 bit.

[@CullenKelly]

Good call, this can definitely work well!

[@ericjhaase]

You need MIRED SHIFT: I used to have a mechanical slide rule that had color temps on it and would tell you what the MIRED shift was for any color temp conversion. I used it to perfectly balance the negative throughout the day as the color temp shifted by using the right 81 or 82 series filter based on the required shift.....and also to maintain the right ratio of warm to cool in gelling lights. I think it was made by ROSCO. It was more critical with a photochemical finish before Digital Intermediates were a thing. It allowed me to set printer lights for printed dailies and maintain a very consistent look. Now the 81 and 82 filters sit collecting dust in the garage. Haha. BUT yeah a tool that would change the MIRED shift value would be cool and that number would have actual meaning although it's better to just grade by how it looks anyway....

[@acoast84]

Great video! But why do you use Gain wheel? Why not or when to use Lift and/or Gamma? Thank you!

[@CullenKelly]

With gamma set to linear, gain is typically all I need to get a great balance. Sometimes with a particularly tricky shot with mixed lighting or a mis-rated camera, I'll create an additional node and tweak lift or gamma, but not often.

[@acoast84]

​@@CullenKelly Thank you for the reply. This could be a great follow-up video!

[@brunovillela8903]

Hi Cullen, I use a similar method, I color balance in linear but using temp and tint. It gives me the exactly same results as using only the gain Wheel. Have you tried that?

[@CullenKelly]

Are you talking about Primaries temp and tint or HDR temp and tint?

[@Kylelanceobrienfilm]

Yes curious if this works the same

[@Kylelanceobrienfilm]

@@CullenKelly Would The HDR temp and tint work if in linear?

[@Artisianmusic]

Great video bro, first one that I watched and already subbed. Don’t wanna sound like a jerk, but Kelvin is a type of measurement that has no degrees. I know that you still got your point across, and that specific thing didn’t interfere, I’m just saying thou.

[@andrewwoffinden8671]

In the video you only altered gain for white balance, do you alter lift or gamma ever? Thanks for another great video!

[@CullenKelly]

Great question! For refining balance I'll sometimes adjust lift or gamma, though not very often, and not in linear.

[@wvansluisveld3011]

Thanks for the video, I am happy to see I was already using the gain knob for adjusting the white balance. I just don’t trust my eyes. When something looks great on my OLED on my notebook it looks shit on my BenQ PD2706U, and vice versa. And then when I reset it it looks better than either one of my great grades and back to square one. I am happy it is not my job to colour videos.

[@leonardlevy8811]

Thanks for posting this Cullen as it answers a question I posed recently on another of your tutorials. To me as a few people have mentioned here Mired Shift seems the answer to the problem with the Chromatic Adaptation tool and it seems like it would be easy for Resolve to add that to the menu choices. Personally I would love that as a DP because I think in terms of the gels I have used all my life : 1/8 CTO, 1/2 CTO, 1/4 CTB etc and indeed those are calibrated in mired shift values though gel manufacturers all favor different interpretations of those values. However I have more questions about your tutorial. 1- If ultimately you' just using your eyes for these adjustments , why not still go back to primaries tint and temp. Are there specific problems that you think result? Rabbit holes you've fallen into? 2 - I always wonder what part of the image these tools are manipulating . Do temp and tint or the gain wheel in these various menus affect gain , gamma and shadow equally or is there a bigger change in just say the gain . What's the ratio? 3. Likewise how does that apply to your chosen method. Since you're just eyeballing anyway why bother to set the gain wheel to linear at all? Thanks , look forward to your thoughts as always, Lenny

[@pietroronzoni8869]

Even tho chromatic adaptation is a good tool to change WB on non RAW files temp and tint are the best tools resolve offer to make slight adjustments. I also noticed in the OFX tab of chromatic adaptation you didn’t specify the color space you are working in, this might be because you are using a timeline color managed workflow with a CST on the project level, but since this is a tutorial it should be specified in your explanation of the tool. Regarding how temp and tint work, from what I’m aware they work really similar to the offset, just in “two directions”. This makes them a really good tool to work on logarithmic images since multiplying a logarithmic function it’s similar to the power of the base. They certainly have a range which they work best cause it s not perfect math but even when you start seeing color cast in the shadows or highs it s really easy to pull it back with the log wheels. I would like to hear your thoughts on this, to me chromatic adaptation it s a clumsy way of adjusting WB and should be used only in specific cases when the WB it s really far off from what I needed to be and maybe I have a scene where offsets don’t work as well (ex. Night scene it’s a good use case).

[@johanwagner_sweden]

This content is both painful and well needed. Thanks.

[@toastbrot97]

Interestingly enough, i was always a fan when software allows for RGB whitebalancing, because i know how to work my way around tinting the image with RGB and CMY respectively. I always found it a little less intuitive to use temperature and tint. So when i started using resolve, i immidiately gravitated towards the offset or the linear gamma gain to do whitebalancing instead of temperature tint. For me in the video realm, working with RGB adjustments just seems more natural. But when i'm editing RAW photos in raw therapee, i do prefer to use the temperature tint sliders, perhaps they work better for RAW as you have described, but i couldn't say for sure.

[@stu9000]

Love this. Very helpful. How would you compare linear gain to using the HDR global ball? I'm teaching this to students and the linear gain thing is probably too technical for them. Would love to know also how you do your gamma adjustments these days.

[@CullenKelly]

I definitely prefer linear gain to the HDR global ball, but depending on how big an adjustment you're making, you'll often get pretty similar results.

[@gomezcreativemedia]

Cullen Sensei; that episode with VERY GOOD!!!

[@EthanHart-gu5rg]

Why not the offset wheel when working in linear mode? What difference does gain do? I thought offset was all wheels combined.

[@serge_stauffer]

I have the same question.

[@thornnorton5953]

Offset is addition. Gain is multiplication. In log (DWG), addition is a form of multiplication in linear changing exposure of colors in a photometric way. 2^(log2(x)+1)= 2x. In DWG, there’s a toe at the bottom (to fit all the values) causing it to be inaccurate at the fringes. Linear doesn’t have this problem.

[@CullenKelly]

Great question! Adjusting gain in lienar produces essentially the same results as adjusting offset in log, only better.

[@moazelgabry9784]

Balancing using offset in linear will have most of the response in the blacks and shadows which can be useful for shots that have heavy tints from ND filters or other reasons.

[@CollinShook]

Great stuff! Love this viewpoint

[@Mechrank]

Hi Kelly, how are you? Do you have any video tutorials where you're working on an S-Log 3 profile? A7SIII

[@frankinblackpool]

I've heard of you talking about Linear Gamma Gain. I'll be honest I don't really understand. Could you please point me towards one of your Tutorials that explains this process please? At the moment my preferred weapon of choice is the HDR Global wheel. In fact the HDR tools are becoming my fave "go-to" tools for balancing my projects. When running and gunning, I mostly set my camera to 5600k unless I remember to change things when in the field. Back in front of my computer, then, I worry about the consequences in post production. I also question my decision to fall down the rabbit hole of colour correction and grading.

[@shueibdahir]

You might want to learn about how camera sensors capture light in the analog domain before being digitized. And you also want to learn about the how the human perception works. Otherwise you won't understand at all.

[@frankinblackpool]

@@shueibdahir I understand how a camera captures light, and its limitations compared to what my eye can see which is why I shoot with a non-linear log colour space to capture as much information as possible within those limitations.

[@shueibdahir]

@@frankinblackpool Well the HDR wheels and the linear gain work In the same way, manipulating brightness linearly instead of logarithmically. I like shooting linear raw for the exact reason that it perfectly replicates the light values of the scene which in very awesome when grading for HDR delivery (Rec.2020 ST2084). Once you shoot linear, you'll have a hard time going back. Log compresses the highlights and the deep shadows too much for my liking

[@frankinblackpool]

@@shueibdahir You are welcome to shoot RAW and have all that data which takes up massive amounts of space, along with the extra hurdles required during post production. I am a happy amateur that makes you-tube episodes for a handful of people to watch. I used to shoot Pro-Res HQ 4:2:2 until I discovered that H.265 produces 4:2:2 footage that is of comparable quality for my wants and needs. My computer can handle H.265 flawlessly and the file sizes are considerably smaller than Pro-Res and far more manageable than RAW footage file sizes. There really isn't enough of a difference for me to pixel peep or work with RAW footage or even Pro-Res footage to worry about what lurk's in the shadows of my footage. If I was a professional then I would consider other codecs however I am sufficiently aware of the different codecs and their intended purposes to know the difference between acquisition and deliverable codecs. Today's computers with their number crunching power has now allowed H.265 to become both an acquisition and deliverable codec for amateurs such as me. In fact, many pro's are moving away from Pro-Res for H.265 because of the convenience and virtually no loss of quality compared to Pro-Res LT/HQ. I know quite a bit about my camera and how it captures light, and I know that Logarithmic codecs are tried and tested and proven their worth. Initially I only asked about where I could learn about Linear Gamma Gain within Cullen's library of Tutorials. You are more than welcome to weigh in and point me towards a suitable episode. BTW, I can shoot RAW. Its just that I just choose not to because there is no upside, just extra steps to take along with extra expense of storage to capture RAW footage.

[@WakeMeInTheSun]

Hi, I am new to the channel and beginner in color grading. Question. Have you any video about Skin Line/Magenta Line method of color balancing? If yes could you please drop link, if not could you go deeper in this aspect. Thanking in advance.

[@pawel_stocki]

I've heard that linear gain behaves like global wheel in HDR pallete. Is it true? Can I balance shots using this HDR wheels, because I really like this photometric control over exposition, and changing WB in the same tool would be more comfortable.

[@foaly8]

brilliant mate, as always.

[@hinnerk_ha]

I think you are wrong on this one. I wanted to understand the difference for myself and set up a quick test. I recorded clog3 footage, purposely set to wrong White Balance and loaded it into a Davinci Wide Gamut Intermediate colormanaged timeline. When you set up two layer nodes and set the mixers composite mode to "difference", you can check whether they perfectly match. It is easily possible to match the HDR Temp and Tint method with your preferred gain in linear method. Only addition is that you have to raise the exposure a tiny bit (0.16) on the second one. When compared visually they look absolutely identical. No color shifts in blacks or whites or in between. I can´t get the waveforms to be 100% the same, but close to 99.9%. The rest I would attribute to lacking accuracy in matching by hand. To me this looks like there is the same thing happening under the hood. Am I making any dumb mistakes here? To be clear I am not a professional in this field and I actually am quite new to resolve , so I dont claim to have found a definitive answer. But i think it is an interesting test. I dont see a visual benefit yet, so I think I will stick to HDR Temp and Tint for now, since that is the way I think about white balance anyways coming from a photography background. I love your videos and learn a lot from them, but I would wish for more side by side comparisons and in depth tests when claims are made that A is better than B. Cheers

[@CullenKelly]

Thanks for sharing this! Your results are what I'd expect, and I think they actually make a great case for using linear gain. By doing so, you can get the same results as an HDR temp/tint adjustment, but without the upper and lower boundaries, or the false confidence that you're truly adjusting temperature.

[@avx111]

So as long as I'm grading only with Raw using the Raw Control tab yields the best results?

[@CullenKelly]

My preference is still to avoid doing any grading in the Camera RAW tab and instead use either Chromatic Adaptation or gain in linear.

[@CiprianTrip]

Great video, as always! Just curious - when working on a linear node, why is Gain the go-to tool, and not the other wheels?

[@outdoorsinontario3037]

He just did a video on that! Check out his last few videos on this, it’s great!

[@christian-schubert]

Just rewatched it. His question is warranted. Yes, Cullen has recently talked about using the Gain wheel in Linear Color Space. He didn't elaborate on his motivation though.

[@MattShafter]

Starts at 13:58

[@CullenKelly]

Starts at 0:00 😂

[@kangrobi07]

Thanks for the informative video! Just a question though, why not use the HDR offset wheel (mapped to the color science of the camera) to make the necessary adjustments?

[@CullenKelly]

Sure thing! And great question: I prefer to adjust balance using linear gain rather than the HDR Global trackball, as the latter can produce some odd results and is conceptually more complicated than it needs to be.

[@schnittmagier5515]

I dislike the premise of a tool beeing terrible and to declare it a No No. It depends on workflow and scenario and discouraging students not to use a tool seems strange. I work with both tools. Gain for primary color correction( just like your advice). But then i like to do adjustments with tint and temp in the grading phase. Another example. I have shots of open air theatre where clouds cover the sun and eventually the sun is slowly decending during the performance. So the Kelvin Number is changeing ever so slightly from minute to minute So shots need conatantly adjusting, So instead of trying to move the Gain only along a imaginary temp axis I rather use the temp dial since it keeps me from introducing any tint.

[@CullenKelly]

Thanks for your POV! In theory I agree with you, but as I show in the video, none of Resolve's temp/tint knobs can consistently perform adjustments that actually model temp/tint change in an accurate way, so using them is really just a way of eyeballing your way to a good result, which is easier and less restrictive to do by using a trackball.

[@gravitycam]

Great Concept and understanding...Thanks..

[@nebukadnezzar3578]

Sounds great, I am just a little confused about where to put that white balance node (which has been switched to linear gamma) inside my node tree. I often work with CSTs and Arri Log-C gammas…

[@CullenKelly]

New video coming soon on my latest template node tree and where I place the balance node!

[@nebukadnezzar3578]

@@CullenKelly Great, thanks a lot 👊😃

[@LLikzy]

Recently stumbled upon your channel and found it very interesting. Could anyone one help me undrstand what the linear gamma adjustement would be in softwares designed for photography (either LR/Photoshop/Capture One etc) ? I would love to properly grade my images using this but I'm unsure of what the equivalent of this would be in other softwares evironements, thanks !

[@ianharper6015]

Thank you for another very interesting video.

[@mohamadali2066]

Amazing thinking way of it

[@brenplay2553]

Hi , do I understand correctly that gamma 2.2 is used in youtube, tiktok , Instagram, and gamma 2.4 for TV?

[@KenFlanagan]

Appreciated but this is why people make content 9x16 on an iPhone. Who has the time for this? We expect a tool in any software to be designed to do its job. The job is to recognise what reality should look like by adjusting for digitalisation of what we see and then reproducing it so white is white and black is black with no casts or tints so we have a benchmark reference to make other perhaps more creative adjustments. Camera controls is obvious from a simple practical point of view. We want to be able to see the node to cut and paste. But the reason we set a white balance when shooting is simply because we want white to be white as a reference point for accuracy. If we don’t want that and want to match the temp and tint of an ambient light or daylight then we measure it at the time. Set a white balance to let the sensor record optimally and then adjust the raw file accordingly either to accurate or as we choose the look to be. The point about working on a basic well exposed colour corrected image is to account for unwanted variations from shot to shot as ambient light may have changed if we want consistency across shots.

[@J.K.productionsDE]

14:10 Question. Why the Gain? Isn't "gain" the highlights of the image? Why not the offset?

[@cjmedson]

9:06 is where the magic happens!!!

[@danielwylie-eggert2041]

great info. unfortunately still felt long winded at 2x speed

[@majcyy]

Thanks for great video, I have one question - why gain and not offset? I’m balancing with offset ball and if someone had asked me I’d say it’s because I saw it in your videos :) or did I see something wrong in other videos

[@CullenKelly]

Great question! Adjusting gain in linear is essentially the same thing as adjusting offset in log, only better!

[@williechieukam]

Wow. Great Content. Thank you so much

[@BryceKoebel]

You lost me at "Spectral Locus" 😂 Just kidding, this was super helpful!

[@DoublewideCinema]

This method is so cool, nice and concise… You showed this method in a previous video I think as part of resolve con if I remember correctly. In that video, you suggested as I remember, turning off channels one and three along with converting the node to linear. Should we do that?

[@CullenKelly]

Hmm, the turning off channels 1 and 3 was likely related to making a saturation adjustment in HSV...turning those off in this scenario would essentially set you up so that you're only balancing your green channel (which actually could be an interesting way of getting your own tint adjustment).

[@DoublewideCinema]

@@CullenKelly thanks for clearing that up really appreciate how you share your knowledge

[@Mahdi-ahmadzade]

Awesome video Cullen, thank you for sharing my question is irrelevant but, could you tell us when is the grade school? i remember first it was Friday and then turns out to Monday. and these days i always check community note and channel but no news about grade school :(

[@ReggieABrown]

If you're in properly setup color space, is the temperature slider still color space aware, or did something change with resolve after version 17? You mentioned that the temp slider is color space aware Resolve 17 in your video "Davinci Resolve: Create Better Contrast, Part 2" (around the 2:05 mark), but you also said it's NOT color space aware in Resolve 16. Did Resolve versions 18 or 19 change the behavior of the temp slider? Thanks in advance!

[@CullenKelly]

The temp slider in the HDR palette is color space aware, but the temp slider in Primaries is not.

[@ReggieBrown-os5uw]

@@CullenKelly Oh ok, thanks for replying man!! Keep up all the good work, I've learned a TON from you!!

[@thereeljohnsteele]

Cullen, do you think BMD will eventually update Resolve to where the temp/tint knobs will behave differently giving users a better experience? I am a mini panel user and never have used temp/tint as I always found it unpleasing. So it just feels like those knobs are a waste now.

[@CullenKelly]

It's possible, but I doubt it. They'd essentially need to add a FOURTH set of temp/tint knobs in order to keep things back-compatible, and there's also the fundamental limitation/inaccuracy of trying to reduce temp to a single knob as I discuss in the video.

[@Fabianvolf]

I think Chomratic Adaptation is the best tool here. You should always know the cameras WB and from there the slider will work like the Temp slider was intended to work, no?

[@CullenKelly]

It's a great tool in terms of accuracy, but it's slower, and the camera white balance and temperature of key light are often unknowns.

[@TheL1nkin]

What about just HDR offset since it s a color managed tool?

[@mattbukovski92]

Is there any similar tool to Chromatic Adaptation but in Photoshop? I'd love to be able to use this technique on photos

[@Fuffuloo]

Would you put this linear color balance node upstream or downstream of your exposure node? (Or if parallel, top or bottom node input?) I know Resolve processes temp/tint upstream of exposure/contrast in its node-internal order-of-operations, so I'm tempted to put my balance node upstream of exposure for that reason alone. But is there a reason why I should put it downstream instead?

[@akcivan]

Thank you Cullen, im using input CST node and output CST node to use davinci wide gamut. And im using that Lift-Gamma-Gain method to get constant white-balance. But not choosing Linear on Node Gamma. Is it bad or not ?

[@chicobraz4335]

Cool ! Whats best way to de saturate images ?

[@gabrielebradley]

Not relevant question to the video, how do you calibrate your display? (the reference monitor)

[@NONE2NONE]

Kind of off topic but Cullen is really professional with his voice and presentation. How do you not botch some lines here and there?

[@Deatarus51]

My man here never heard of editing

[@CullenKelly]

Thanks! I I don't script these videos out, so there's not much pressure to nail anything as long as I can get the point across.

[@madsonit]

Amazing tutorial. Thank you! But how to I steal your perfect posture though?

[@CullenKelly]

😂

[@arielshpitzer]

You are my KZbin bestie !!! just saying...

[@rodprod8522]

amazing info! thank you!

[@BenjaminMcClain]

So what is your approach when the cinematographer intentionally shot mismatched temps? Say they wanted a cooler moonlight, and used 5600K lights with a 3200K WB. Do you balance the image in your grading first and then reapply the color and tone you want or do you use the cinematographers intention as the starting point for manipulation?

[@CullenKelly]

Great question! This can vary from project to project, but unless an intentional mismatch between key light and camera rating doesn't look right, I'll use that as the foundation rather than trying to balance it out.

[@BenjaminMcClain]

@@CullenKelly thanks for the reply. Very helpful.

[@NOIRGRADE]

Hi Cullen, there is a slight gamma shift going on, when you switch into full screen mode ~11:27. I have seen this with some other creators as well. Maybe you can have a look at that and find out how to fix this? My first guess would be Apple color management. Maybe it's related to your screen-capturing software. Let's see. Anyway thanks for the tutorial :)

[@CullenKelly]

Good catch, that one's on me, comes down to a geeky detail I didn't set up properly when recording this video.

[@NOIRGRADE]

@@CullenKelly can you talk about this in a future video or a live stream, so we don't run into the same problem? thanks Cullen

[@aydendankworth]

what is the technical difference between the gain set to linear, and the global offset in the HDR tab?

[@CullenKelly]

TLDR: global balance in HDR uses its own internal color space, while my linear gain method keeps you in whatever your grading space is, but decoded to linear.

[@eddyjuillerat835]

Very intersting man. Thanks.

great explanation, thx

[@alex.muntean]

Great video, Cullen!