PRO Explains where you may be going wrong in just 10 minutes!

[@Solveiga555]

This is by far..BY FAR one of the best tutorials on this topic on KZbin. I am the biggest fan of this channel, thank you, Darren, so much for sharing

[@DarrenMostyn]

You're very welcome! Thank you so much, it is appreciated.

[@MammadAliyev]

Finally, someone explained this difficult topic in an understandable way. Thank you so much!

[@MachMa]

same here. finally , understand what is input,timeline & output mean.

[@studiothreecs]

@Solvegia Sure it is. Every Colorist has his own, unique way of Grading. Workflow to any colorist plays an important role when grading. I found the old, golden method of manually using the CST technique instead of relying on the Resolve alone to perform it's algorithm to convert to color spaces. Which one did you find promising? @Darren Mostyn First, I convert from Slog3.Cine Slog3 to Arri Gammut 3 ArriLogC3, perform exposure corrections using Curves, Balance the Image using Offset, Contrast, Primaries, Saturation, Color Cast, Basic Grade, then convert it from Arri Gammut 3 ArriLogC3 to DWG INTERMEDIATE, see if a LUT is working, convert to Rec.709 and start performing furthur global setting required beneath the last conversion which is Rec.709(after a LUT). My question is, irrespective of what color space you convert your footage into, if the timeline color space is set to DWG Intermediate and the output is set to Rec.709 Gamma 2.4, is there a need to convert to DWG during the workflow? I'm looking at a 100% Rec.709 BenQ SW270C monitor(Factory Calibrated) Also, does my workflow make any sense to you? Tell me if I'm wrong

[@BrettSimms]

Ditto for me. Thank you the great content. Just watched a few so far and they were game changers for my understanding of the colourspaces in Resolve. Thanks!

[@FarnhamTV]

Darren, you’re a complete and utter star. Your tutorials are so wonderfully simple. Plus, I love the fact that you don’t do the American-style 10 minute intros explaining what you’re about to do. You just jump right in. Thanks so much. John

[@DarrenMostyn]

Glad you like them John. Appreciated. New episide coming very soon!

[@aroefilms]

Those damn Yanks

[@JimRobinson-colors]

Really easy to follow and well explained Darren. For some that don't know what rec709 ( scene ) is: The rec709( Scene) is the color space that most cameras give to rec709 - which was developed before the standards of 2.4 gamma was established in BT1886 which is the recommended gamma for High Definition flat panel displays. Macs however still returns generic rec709 tags to gamma 1.96 which is the problem that many Mac users, that use their GUI for monitoring run into, where the preview in Quicktime doesn't match the GUI in Resolve. Should be noted that Mac users do have in Preferences to have Resolve automatically change input rec709 ( scene ) to rec709-a on input. Just thought I would note that for people that want to dig into this deeper. The mac colorsync gamma of non meta tagged or mistagged gamma issue is one of the most asked problems in the Resolve forums - almost daily. I feel like that could be an addendum to this video you have done here, because to understand the issue, you need to understand all these terms and how they relate. To which you have laid out a foundation to explain and attempt to fix that issue. ( spoiler alert - it can't totally be fixed, but can be tamed ) Anyway thanks for putting out another quality video regarding color and the tools we use to work with them. Although, I know the CST method is sound that you use ( and others ) I still wonder why we don't establish the correct color space at the front of the node tree and then add a CST at the end to send to display? I know that you are working with the tools under the display CST but can't understand how Resolve knows what space it is, without telling it what space? In almost every case in Resolve it doesn't process backwards - so logically if the colorspace hasn't yet been established, you are working under the CST, but in what space? I asked Cullen this and he does it the way you have illustrated here. Not sure I communicated the question properly though. Anyways glad to see another Mostyn tutorial. Made my Monday more interesting to say the least. Cheers.

[@DarrenMostyn]

Thanks Jim for your fine in depth and much welcomed synopsis....good reading! I guess that you could put a CST at the front and send its output to match the timeline settings and then at the end have the input be your timeline settings mapped to output ? I'll play with that. However I have different CST's set for each colour space on input - I dont use one generic, so Im telling Resolve what the input is on a clip by clip basis. You can also set NODES to behave in a color space just to throw another obstacle in the way. This hope fully explains the timeline color concept without confusing too many and of course CST workflow is the obstacle for me and you! We should, just work color manged really! Thanks for your support and I did promise a healthier episode this time than the last one I did!! All the best mate, Darren.

[@Resolve_This]

Regarding the CST method you mention in the end here, are you referring to a node based color management? With an IN node (from camera colorspace to working colorspace) in the very beginning, and then an OUT node (from working color space to display) at the very end? That’s the way I work and although it requires setting it up, that can be done very quickly, and then I’m in total control of the pipeline (which always feels good). Maybe I’m wrong, but I feel many colorists is doing it this way? And that’s another thing about CM. This is all fairly “new” grounds to even the most experienced digital colorists when you relate it to the fact that film is hundreds of years old but digital colorgrading is still in its infancy. Everybody is learning, new stuff comes out and that’s one of the reasons that tutorials like this one is so valuable.

[@lolerie]

No, Scene is linear light scene, not display linear light. It uses OETF to convert to linear, not EOTF. When you color manage you are supposed to operate on scene linear light and only change to display linear light in the end. In fact you can display using scene light but you will have to match conditions outside and remove all glare from the sun. For a long time 2.35 which is after round on Sony LCDs became 2.4 was the only standard there is for TVs. It all got confusing when EOTF of sRGB was introduced.

[@brendanclark.8059]

Thanks Jim! I was JUST going to ask about rec709 scene. Darren, excellent as always! See you next time!

[@BenniK88]

@@Resolve_This your workflow is done by many colorists to ensure that the wheels and other controls always behave the same.

[@artscopemedia]

Thank you Darren, this is currently the BEST video on KZbin to explain how to get the most gamma from multiple cameras within the timeline/deliver colour space. Nobody ever mentions non log (baked in) footage, and/or multiple camera formats. Don't know why it's never mentioned because in real world video editing tasking it happens more often than not. There are far too many videos about LOG footage grading and colour space set ups, so this video is very refreshing and certainly much needed. Thanks again. Great advice on a fantastic channel. Would love to also see a video dedicated ONLY to working with NON LOG (baked in) footage to get the most from the available gamma. Currently a video does not exist on KZbin. Crazy.

[@adamsterling4946]

I was in need of a refresher to solidify my understanding for a project, so came back to watch this for, I think, the fourth time. This is an exceptional tutorial about color spaces, what they are, their relationship to each other, and how to work with and in them. You get an amazing amount of information into eleven minutes -- all of it perfectly clear. Thank you.

[@DarrenMostyn]

Great to hear! Thanks Adam. Really appreciated. Hoping to get another one out this week before resolveCon.

[@CREATEBEYONDBOUNDARIES]

Thanks Darren As Always A Breeze of Great Information, Thanks For Your Continuous Support For All Of Us Here!

[@jmac2050]

Work with as much headroom(wide gamut) as possible, than compress(709) for broadcasting media. Like, making a Wave audio file to a MP3 for easier transmission and storage.

[@chaddonal4331]

Audio comparisons are helpful.

[@PenFriends]

To be honest this is the only source of information worth listening too. Clear explanations has really gone a long way to helping me!

[@ronalduzo]

this is the best color space tutorial i have seen. thank you for making it so easy and understandable

[@DarrenMostyn]

You're very welcome Ronald! Just pinned your comment -appreciated.

[@jamielej]

The video conflates gamut and transfer function - two totally separate attributes. The gamut differences shown using the CIE diagram are not at all the reason that his changing the timeline color space resulted in the brightness range difference of the image. What made the difference is the 100 nit max of SDR REC709 gamma 2.4 vs the 1000nit max to which he set it when using Davinci Intermediate/Davinci Wide Gamut.

[@DarrenMostyn]

That is a fair point however doesn't alter what the timeline colour space is for - I got unlucky I guess as was trying to show that the curves are color space aware only in RCM, had I adjusted temperature for eg you would see that the DWG makes a difference beyond the 100 - 1000 nits. A very hard episode to make this one. Thanks anyway James. The INPUT to TIMELINE does work in a larger colour space and not just nit level. All the best. Darren

[@jamielej]

​@@DarrenMostyn You do great work! Serious props to you for making these videos and sharing them. Yes, this was a tough one. I realize the gamut also makes a difference. It's just that difference wasn't what was being demonstrated in the brightness changes to the image on screen in your video. Resolve itself shouldn't be defaulting to conflating gamut and gamma, and instead should default to having them as separate attributes (and Resolve should also be using the correct term transfer function instead of persisting in labelling it gamma). Too many users never realize because the separation of those distinct attributes remains hidden behind a check box.

[@arthurlucena4048]

Honestly this was something I didn’t know that I didn’t know, thank you for enlightening me. Great content, and I appreciate how to the point you explained everything. Great demonstrations as well!

[@DarrenMostyn]

Glad to hear it! Appreciated Arthur.

[@pedrosanchez4035]

exactly only Darren wishes us to understand, the others are protecting their jobs, whilst flattering their own egos.

[@billwatson4468]

Cheers Darren 🍺

[@DarrenMostyn]

Appreciated! Thank you

[@londonztoa6359]

Thanks Darren, a patient explanation of a tricky subject. Appreciated as always.

[@DarrenMostyn]

Thank you - was a tricky one to plan this one, Hope it worked!! All the best and thanks again. darren

[@inbloom9083]

I cant thank you enough for how helpful this is. I've been having issues for ages and following along with this video has helped solve all the problems I was having. Thank you so much for all your free content.

[@GabrielCatite]

I had to watch it maybe three times to stick with me since I'm still at exploring colour grading, but every video I watch of your channel I feel like I'm closer to becoming a great colourist such as yourself! Awesome video Darren, thank you so much for sharing all your knowledge about it!

[@skyko]

+1 Great teacher but this one vid needs a few rewinds.

[@WilliamHenryAlbert]

A life saver, I've been doing it all wrong for ages and been getting bogged down with lots of tutorials. Thanks so much.

[@DarrenMostyn]

Glad i could clarify it for you. It easy once you get the hang of it.

[@LifetimeMemoirs]

Clearly demonstrated and beautifully articulated tutorial. It makes sense that working in DaVinci WideGamut in the timeline would give you more leeway and room to work worth. Perhaps I am missing something... but if you're going to deliver in Rec709 Gamma 2.4, and clipping would occur on the delivered file, wouldn't it be better to just work in Rec709 in the timeline to know exactly what you are going to get on the final output? Is it not a choice between where the clipping will occur: the timeline or output? Thanks for clarifying, and for your excellent tutorials. They are a joy to watch.

[@markcinelast]

wow! great explanation!! Daryn, you made the colorgrading more fascinating! Im gonna go back to my past project and apply what i have leanrt in your turotials!

[@DarrenMostyn]

Glad it was helpful!

[@bgomz]

I've been doing a lot of research on this exact subject and have found it hard to keep up, but this video REALLY helped clear things up for me and I m so glad I've subscribed! Definitely will be referring back to this from time to time and thank you for making this and thank you for explaining this is a concise way!

[@DarrenMostyn]

Glad it was helpful. I work hard to give the best explanations I can based on real broadcast scenarios that I come across every day. Happy to share. Apprectiate your kind comments and of course your subscription shows appreciation the best for me.

[@MrB12B1]

Darren, thanks for bein existed man, you made everything easier and smooth to us. god bless your work

[@DarrenMostyn]

Thanks Baher

[@wyattcavanaugh7666]

Darren, I have worked in production for a long while now. Your videos are on an another level, especially here on YT. Well done.

[@jamie_connor]

Unbelievably helpful tutorial. I'm a beginner and you have broken this down really well. Very easy to follow along, thankyou Darren.

[@DarrenMostyn]

Glad it was helpful!

[@SimeonMihalkov]

Great Tutorial, could you please give a brief explanation of why there’s such a big difference when setting the output gammas when working natively on mac screens (macbooks), since the only colourspace that gives accurate results is rec.709-A and all the others are way off in contrast ?

[@josuegomez1274]

Same question

[@cutback443]

I'm an Adobe PP user trying to work up the motivation to move to Davinci -when Adobe "fixed" their HDR workflow, it threw me into a tailspin and ruined all of my projects for nearly 2 months while I wasted countless hours on the internet trying to figure out what I was doing "wrong"... while frustrating, it forced me to try and learn color spaces. This was a little over a year ago, and they've since made the SLOG3 workflow functional -but it still sucks really bad. This video has helped TREMENDOUSLY and has given me a bit moar motivation to finally make the big switch to Davinci. I'd be lying though, if I didn't say that I"m cautious of switching... The trend these days for companies is to sh.t on their customers after they've captured their intended marketshare, and further monetize (the already frustrating) interaction with their software.

[@DarrenMostyn]

ive been on resolve for over 14 years. I unsubscribed from Adobe Cloud over a year ago. Im happy.

[@joyoffilming9500]

Hi Darren, what a great explanation on such a underrated topic. To be honest, it took me more than a year to get familiar with the concept of the 3 different color spaces and what those are about. In the meantime, I tend do prefer the non-managed color science DaVinci YRGB, timeline colors space ARRI-Log C (for it's lovely highlight rolloff) to deliver in Rec709 Gamma 2.4

[@AlexLefevreArt]

Thanks a lot for showing me doing it wrong for so long. I never had the pretention of being a colorist, but I was very frustrated to see my range so limited. This channel is a pure gift to the filmmakers community! I'll apply that right away into my next edit.

[@DarrenMostyn]

Thank you

[@BlackPantherElite]

For my thesis/research paper, I am still comparing color handling and approaches in different software and production environments. Its really frustrating to see many aspects are really only documented in terms of workflow steps and not in terms of exact technical nuance. (Critique is not geared towards you, but towards software/hardware manufacturers, including Blackmagic. You are working with what we got, I like your work.) In my current view of the analysis, multi-software color management needs more momentum towards open architectures and completely published profiles, better technical and theoretical agreements (keywords: relative and absolute scene-referred, color management systems vs workflows and color appearance models and the idea of what a "neutral digital image" is), as well as consistent use and implementation of labels describing any arbitrary operation that changes the appearance of color (directly and indirectly).

[@lolerie]

Well, Davinci follows standards very well.

[@BlackPantherElite]

@@lolerie I would suggest try using specific color appearance models or workflows in your color management approach (e.g. TCAM2), or try using BM camera profiles/transforms in software outside of Resolve. Or try using OCIO in Resolve. I can might agree many different standards are met, but its always a question what variable we are testing. And Davinci/BM, like many others, is definitely not a golden standard regarding documenting or publishing the exact math & algorithms applied.. especially regarding "color management"

[@lolerie]

@@BlackPantherElite well, ACES 1.3 should be very good, using CAMs in production is very dangerous though (latest big things is Oklab space, then CIECAM16 and IPT are all quite unstable, IPT of dolby vision maybe less so).

[@BlackPantherElite]

@@lolerie depends on your vantage point, but ACES, even 1.3, most definitely is not even being used in big productions but reversed, as Kevin demonstrated the working group in a meeting. I can also document this after numerous interviews with supes and tds on productions, but you are free to use what ever you want. My other points regarding OCIO implementation and publishing of profiles and other important info still stands. Our survey analyzed roughly 400 workflows in different production environments. But we are just analyzing and evaluating, not giving recommendations. And your point on not using CAMs - take a look at what ACES does and wants to do, their documentation, RRT, transform concept, and discussions on ACEScentral are quite telling.

[@lolerie]

@@BlackPantherElite ACES 1.3 is literally 20 or so standards of SMPTE, Davinci released 1.3 support first! It is used by MANY many people. In Hollywood too. In other countries too. In fact look it up on KZbin.

[@Temersson]

I'll just say this: un. real. You seem to be rushing things, but this is oh so important so, man, take all your time, please. This is gold gold gold. What I mean is that people have all this gear that is available to many of us and by just using it wrong, to begin with, and then not understanding the basics of post work... Well, you, Sir, make it so simple with your tutorials that it just blows my mind. I sincerely thank you for all your time and effort, Sir! ps. I personally do not work with color managed workflow but still found this video very informing.

[@theaterelevenpictures]

Thanks for this Darren! Great explanation. So, question: (for the sake of brevity, Rec 709 Gamma 2.4 = Rec while DaVinci Wide Gamut Intermediate = DWGI) Let's assume source is BRAW from a Pocket 4K. Timeline is set to Rec and my output is set to Rec. It makes sense that everything will look the same from timeline to display. Same color space. So I push the exposure on the clouds like you did and get clipping. Right. Now change the timeline like you did to DWGI and the clipping on the monitor changes. This makes sense with a larger color space. However, this is where it's not making sense: If my output is still Rec, how does the larger timeline color space back off on the clipping and then deliver this to a Rec output color space including more detail than the Rec timeline was able to do? Does my question make sense? It seems like the Rec output should reintroduce that clipping.

[@sanderdelange4468]

The transforms that davinci uses to step down from a big colorspace and dynamic range to a smaller colorspace and dynamic range are rolling off highlights to preserve detail, which the curves or HDR wheels don't do on their own.

[@gdeltorto1]

Sos realmente un fenómeno, Darren! Te deseo la felicidad.

[@DarrenMostyn]

Thank you. And wish you happiness too.

[@jeremystuart8657]

Hi Darren. Love your stuff, but I have a bit of an issue with this one. Mainly what you did is really a demo of the HDR to SDR tone mapping, not anything to do with color gamut sizes. The highlight detail you see coming back is because switching over to Davinci WG/Intermediate automatically switches the default "Timeline working luminance" to "HDR 1000". Which is moving your luminance ceiling up, and tone mapping it back down to the 100 nit output. But if you set the working luma back to "SDR 100" it will look exactly the same in both Rec709 or Davinci WG working space. And alternatively, staying in a Rec709 working space and just switching the working luminance to HDR 1000 will give you identical tone mapping.

[@DarrenMostyn]

That is a fair point however doesn't alter what the timeline colour space is for - I got unlucky I guess as was trying to show that the cureves are color space aware only in RCM, had I adjusted temperature for eg you would see that the DWG makes a difference beyond the 100 - 1000 nits. A very hard episode to make this one. Thanks anyway Jeremy. The INPUT to TIMELINE does work in a larger space and not just nit level. All the best. Darren

[@davidpringuer3553]

I don't see the point if the final output is constrained to what it would be with a Rec709 timeline? What am I missing?

[@mjregan88]

@@davidpringuer3553 my thoughts exactly

[@bandwagonfilms1117]

Does the automatic working luminance at HDR 1000 affect the export - when uploading to KZbin the gamma has shifted and everything is a lot brighter/washed out and colour shift :(

[@colorgrading220]

I had to rewatch a couple time, but this video is GOLDEN, You just saved my life. Thank you so much

[@markwornom1050]

Thanks! You did a great job with this and I hope I understood correctly. So, can you please clarify that the view and corrections seen in a wide gamut timeline will correctly translate to a REC 709 output? Also, I think I've broken the code with the help of other videos I've watched but a common complaint is the difference in saturation seen in output files when compared to the timeline. I'm referring to using the Mac OS.

[@DarrenMostyn]

Yes, correct, but the MAC oSX thing is something else. see this video maybe to help kzbin.info/www/bejne/o5qwd3hvaqxjobc

[@markwornom1050]

@@DarrenMostyn Thanks, that was helpful and got right to the issue and fix!

[@picturepassionsmedia8833]

Been using DVR Studio for a 2/3 years now after stepping up from photography into also doing videography, and although I've been learning as I go, doing ok, colour grading to what looks ok, creating ok results, this video has just unlocked the true starting point with colour space and grading......and I've only just sought to seek this out since getting my first really good screen, a Benq monitor. Must have watched it 2 or 3 times till the penny absolutely dropped, my problem being that DVR doesn't want to recognise F-Log so have to choose it as an input colour space in the file.....but its easily done selecting all. Huge thanks for this, its really appreciated as it now feels like I'm doing things properly with colour and not just guessing and hoping.

[@matrixate]

Geez. This was great. I especially liked your subsequent tutorial on CST...that video is pure gold on a starting workflow. Thank you so much.

[@basementapefilms]

Amazing! This changed my world.

[@richardrem]

Just two words, Absolute fantastic, thank's Darren

[@sleepyanth996]

Absolutely brilliant. I've been under the impression that when not working in a managed environment one needed to set the timeline colour space to the input colour space and then use CSTs to set your work up. Thank you for opening my eyes. 🙏🏻

[@DarrenMostyn]

large subject - but hope this helped the basics! Timeline color space CAN match input colour space, especially good if one colour space only - so for eg. if you work Arri only - you can set timeline as Arri, but still need to set input colour space. Hope that makes sense. All the best Darren

[@skellam8010]

Fantastic! The Professor does it again. As another "Adobe Abandoner" I can't tell you how much your videos are easing my learning curve. This one super clear and well done. Your delivery kept me with you as you progressed. Thank you!

[@DarrenMostyn]

You're very welcome!thank you

[@1MinEpicMoment]

Great explanation, the most intuitive and easy-to-understand tutorial I have seen in five or six years, thank you very much!

[@TheGipsyJourney]

The best video I've seen on this topic! Thank you so much!

[@DarrenMostyn]

Glad it was helpful!

[@afternoonpianojazz5372]

Tank you so much for this clarification. You are the best coloriste teacher ever!!!!!

[@DarrenMostyn]

You are very welcome. Glad you found my channel. darren.

[@aybee5908]

Oh, this was a great delightful content for colour management. Thanks a lot.

[@DarrenMostyn]

Glad you enjoyed it!

[@fabio_vaz]

DARREN, you're the boss! good job on this one!!!! Thank you so much!

[@DarrenMostyn]

You're very welcome! Glad it helped Fabio.

[@thecastle715]

Yes! Thank you! Best colorspace explanation ever! Coming from a print background, this finally makes more sense for the overall workflow! Thank you very much!

[@NoFate247]

rewatched this one - So helpful

[@stevenandreasmatter]

Great explanation. I'm still a little confused about this topic, but this explanation has already cleared up some confusion. Thank you.

[@Sudip_Sarkar_Charles_Edwards]

This a very well put together video, full of lessons, coming from an wise person, who have mastered in media creation.. Hats off.

[@DarrenMostyn]

Thank you, appreciated

[@ericbelluche9503]

This helped me to figure out why I was getting different export results from two different computers running Divinci Reslove. One had the timeline color space set to rec 709 Scene and the other was rec 709 2.4 gamma. Thanks for the well-thought-out and clear explanation. You're a lifesaver!!

[@chaddonal4331]

Having watched the video and not quite comprehending everything, I still don't understand the difference or when to use which one (2.4 gamma or Scene). Can you clarify when to use which, and for what purpose?

[@minho0o0o0o]

wow. im impressed with the quality of information, production and didatics! Thank you

[@DarrenMostyn]

Glad you liked it!

[@andy.underwater.videos]

Thanks!

[@DarrenMostyn]

appreciated Andy!! I work hard on these videos! Thank you!!

[@PeterEngelmann401]

Thank you so much. Very helpful. Helps a lot to understand what is what, because it's an area where I got easily confused as a beginner.

[@DarrenMostyn]

Glad it was helpful!

[@6minutemedia543]

Appreciate you taking the time to explain the alchemy of colour space. Once I've watched it through a couple of more times and tweaked my own settings I'll understand more. Thanks again. Ian

[@DarrenMostyn]

You are most welcome Ian. Hope it helps. This was always going to be a tough one to explain well...hope I've done that!

[@Eigenbaardig]

I have watched a lot of tutorials about this, your's is the best! Finally somebody who explains both the project settings and CST workflows in one video!!! thank you

[@DarrenMostyn]

Glad it was helpful!

[@chrispennarts4085]

Hi Darren, today spent more than 2 hours watching the explanation of the CST story input - timeline - output. Then did tests, rec709, slog3, etc etc . All in the same timeline. It works fine this way. If you add jpg pictures, srgb profile is embedded I do see a slight difference occurring. If I switch rec-709 to rec-709A then that problem is 99% solved. Thanks for sharing all this with the rest of the world. Gr v Chris.

[@DarrenMostyn]

Glad it helped!

[@jeetinj]

Brilliant... you are one of the best to teach Davinci Resolve...

[@DarrenMostyn]

Thank you Jeetin. Really appreciate that. Have you seen my free email link for some free stuff..? bit.ly/2RrjvpN

[@BradleyRyanStorrs]

Thank you! I have been so lost on this topic for a while until now!

[@Axxonal]

Right now I start understanding English ... Thanks for your explanation

[@DarrenMostyn]

You are welcome

[@fuyufx]

So if youre shooting with just 1 camera, shooting in the same color space, you could skip the CST step by setting up the color management section accordingly, neat!

[@DarrenMostyn]

correct

[@vladartiomav2473]

This is nuts 🌰. I scratched my head so much recently, working on CGI projects. Between ACES and Davinci color spaces and all this mystery I was going more and more down to the rabbit hole. But you just enlightened me!

[@DarrenMostyn]

glad it helped you.

[@jonathanschutz895]

Thanks for this - good that you showed the timeline colour space / input colour method first. You see so many people getting into tangles with CSTs unnecessarily.

[@rod.7077]

Thanks man, now this video is on my bookmark. Will watch this again and again until I understand it fully.

[@TouchToneDSG]

This is by far the best video I have seen on KZbin explaining this then I went down a rabbit hole on your channel man. I’m so glad I found it. You have brought my skills up into da Vinci turn out pretty feasible level. I left final cut, because it got limited and buggy so this just made my transition even easier. Thank you.

[@javiergp2812]

Thank you, Darren. After searching a lot, I found several of your videos (this one and others) where you explain so cristal clear all the stuff related to the the color management and the CST. You have won another subscriber to your channel 🙂. Thanks a lot and I'll keep tunned to your upcomming videos.

[@DarrenMostyn]

Thank you for subscribing. Appreciated. Enjoy my curated playlists if you are stuck what to watch! I am running a 4 day LIVE masterclass (4 hours a day) starts in 10 days. link here if you want some information courses.darrenmostyn.com/aopcg-2023-nov/ . Aimed at beginners and covers steep by step all my techniques in a logical order including colour management and workflows and grading and balancing scenes in huge detail at a good pace. All the best, Darren

[@johnaryan2]

I have SO much to learn. Kinda got this and a couple others of yours on repeat.

[@maicolordonez]

Incredible video. I've taken several masterclasses on grading and none have tackled color space as eloquently and to the point as this video.Thanks, man!

[@RamasolaProductions]

Thank you for simplifying this Darren.

[@ISKLEMMI]

Thank you very much for sharing this video. My work doesn't involve video editing at all, but you've helped me recognize and solve a problem I had related to colour spaces.

[@AnJoek]

Absolutely brilliant and a very very clear explanation and demonstration of the timeline color space. Thank you so much Darren!!

[@RobsSZA]

nah dude, your tutorials are just next level. Congrats

[@benfolts5213]

This explanation is better than the manual. Thank you!

[@brocolistudio3393]

Thanks for your time creating this masterclass.

[@ChadAltDelete]

You have helped me take my video quality from good to amazing. Ty for all of your videos!

[@DarrenMostyn]

The comments that mean so much to me are these ones! Thanks for sharing! Good luck on your journey with colour! Darren

[@gunnar5266]

Thank you, by far the best youtube video on the subject!

[@DarrenMostyn]

Glad you think so!

[@forzafulvio]

Thank you so much Darren!! Explained with perfect simplicity!

[@DarrenMostyn]

Glad it was helpful!

[@lojane4education]

thank you, Darren....This was excellent

[@frankinblackpool]

It took me a long time ploughing through the internet and KZbin before I was able to put together all puzzle pieces of the Colour Management page. With your patient help, when you started this channel, I was able to understand what is probably the most fundamental first step in using Davinci Resolve, even for a hobbyist like me. My little KZbin projects may not be any more interesting, but the sure are a lot more visually interesting thanks to you. 😀

[@JimRobinson-colors]

Hey Frank, colour space management is one of those things that seems like it is simple at first and then gets confusing the further you go down the rabbit hole.

[@frankinblackpool]

@@JimRobinson-colors Why, ho why, didn't I take the Blue Pill?🤣😂

[@DarrenMostyn]

Thanks again as ever Frank. Dont get too bogged down in it. Its simple if you want it to be and if you are advanced you can go down a whole world of parameters...but its simple really. This with my beginners colour management kzbin.info/www/bejne/mWWkh6qMmbCHfsU should have you pretty much covered. All the best, Darren.

[@frankinblackpool]

@@DarrenMostyn Yep, I’ve come to the conclusion of keeping things simple. Since learning about colour management, I actually prefer the colours that come straight out of the can from my Panasonic GH6 log profile. I just fluff up the exposure plus balance and that’s me done. That’s provided I did not mess up the white balance filming. 🫣 I only experiment with grading on my sunset episodes which is so subtle, I doubt anybody would even notice. Resolve has given me so much pleasure and entertainment tinkering with my filming projects that I have never once regretted buying the Studio version. Hope it’s not too hot down your neck of the woods, especially over the next week.I’m not a fan of the heat.

[@racocrea]

Thank you darren for sharing your knowledge!, really helpful, im this is my first year as a colorist trying to become better and better everyday, and your channel help me a lot! god bless

[@rinusworldzm]

Wow. I really never did that before. I usually just jumped straight to cst without managing the colour space on the timeline nor did I ever add output colour space to my cst. I didn't know until just now. Thank you.

[@CreativeVideoTips]

the best! Such a great explanation - thank you Darren!

[@DarrenMostyn]

Thanks Chadwick, Really appreciate that.

[@MojoPapiFPV]

After countless hours, this finally demystifies the whole thing.

[@sonidojamon]

Best video on Color Management workflow! I do have one question, though: Once you set your Timeline Color Space to Davinci Wide Gamut Intermediate 10:12 to get the best, let's say, "headroom" for color correction tools... shouldn't you modify the input settings on the CST node? Or is it independent from the input/output settings? Let's say I want to output (that is, visualise in my Rec.709 monitor AND deliver/render) in SDR 709, but I want to work on my footage in the widest color space (and dynamic range) possible to avoid clipping and use the color tools comfortably. Should I set: - Unmanaged (Davinci YRGB) - Timeline Color Space to Davinci Wide Gamut Intermediate - Output Color Space to Rec.709 Gamma 2.4 (or Scene, what's the difference?)😂 - CST node (last) to every clip with correspondent camera Input Color Space and Gamma (E.G. Sony Cine + Sony Slog3), Rec.709 2.4 Output AND Davinci Tone Mapping (to correlate to the DV Wide Gamut Intermediate setting in Timeline Color Space)??? I'm hoping this makes any sense 😂

[@torjusaanderaa3749]

wooow! Much appreciate this video! :D I understand that it's a very difficult subject to explain as well, but it's really difficult to get a good grasp on, both in form of understanding, and actual workflow and where to find end how to set all settings. most "color grading" videos i've seen are never able to explain the actual "science" behind all this, and all just regurgitate some very basic rules of how the scopes "should" look while grading a clip, and i come to doubt if they actually have much understanding them selves... So looking forward to learn more from someone who actually know what they are doing! ^^

[@wildersworkshop]

So helpful, brilliant explanation. thanks Darren.

[@EvanSchneider]

“This will all make sense in a minute” - gave me a chuckle 😂 great explanation, thanks Darren

[@ProducerMode]

thank you so much Darren. i appreciate your hard work.

[@noli_ganda]

Yep finally made sense! Thanks Mate, this is really valuable information!

[@justindingle]

Darren, thank you kindly for this video and your logical explanation. Your videos are helping me a lot.

[@sadforteardrups]

I really appreciate this video, thanks so much! I feel like other channels who make videos about this topic try to keep it super simple but as a result lack depth. Now I actually understand what I am doing!

[@DarrenMostyn]

Glad it was helpful!

[@brandonrude]

This was excellent, definitely going to try this approach.

[@EzyTiger123]

Well done! Very intuitive... I'm loving your tutorials. Thank you!

[@gllry4449]

You are a true blessing

[@abdulrahman_abel]

Thank you so much, Darren - I love how ellaborative this is! I can’t wait to create greatness!

[@julienpierb]

Wow! I just learned a TON. Thanks so much!

[@DarrenMostyn]

You are so welcome Juilen-Pier

[@grahamcohen3850]

Wonderful video Darren. Really well explained. Thanks for this.

[@DarrenMostyn]

Very welcome Graham. thank you.,

[@acoast84]

Darren, you should seriously consider making a masterclass or a course. The way you explain things is so simple to understand yet comprehensive simultaneously. There is no need to watch any other videos. Keep up the excellent work! Few questions though. 1. You mentioned that clipping can potentially occur from larger timeline CS to smaller output CS. So how can you prevent that? What to look for? Should I just keep some extra room for highlights and shadows and not push them to the limit? 2. As you said, ideally you would match the input CS to the timeline CS if the footage is shot in one CS but if DWG color space is the largest, wouldn't it be logical to always change the timeline CS to DWG? Thank you!

[@DarrenMostyn]

Thank you. Yes, you should sign up to my free email list to be kept up to date if I offer courses in the future. The link is in the description of every video I make. Yes, go from CS to DWG at the begging works in a CST workflow. See this video. kzbin.info/www/bejne/eaW2c4mBoq2eoLc

[@ThomasMilesMedia]

Great video Darren! Also, thanks in advance for making a video about CST's, really appreciate you getting to that!

[@DarrenMostyn]

Tbanks Thomas. Appreciated.

[@darkpowerxo]

Me searching the internet for answers. Right when I give up at midnight. I see this. All of my questions are answered! 🙏

[@cellule66]

You are a king sir. Thank you very much for all

[@thmallik]

Its a very compact one, packed with detail guideline. Once again thanks.

[@DarrenMostyn]

WElcome