Do THIS to Take Your GoPro Footage to the NEXT LEVEL in DaVinci Resolve! | Color Grading Tutorial

Today, I'll be showing you how you can take your GoPro footage to the next level with some special color grading techniques in Davinci Resolve!
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[@JoSortDehors-pl5jv]

I was struggling with colour to have a pro look. I don't use a pro camera yet, only insta 360, phone and drone. That's perfect, it gave me exactly the look i wanted. Thanks for that, i will steal for most of my video !

[@RynoRotorSports]

Dude this is seriously like exactly what I've been looking for as far as color grading gopro footage to maximize and maintain picture quality and colors. Thank you so much for creating this and walking us through this process. You're awesome man! Great video!

[@RoccoGermani]

Glad to hear that you enjoyed the video and found it helpful! Thanks for watching!

[@nikolakolencevic1091]

This is the only video which I could find with color transform infos for GoPro in Davinci resolve. And professional colour grade explanation step by step, this is gold! Great job Rocco!

[@RoccoGermani]

Thank you! I'm glad I could help!

[@drdrhelmut]

@@RoccoGermani Hey, I am wondering about some other action cams input color space. Does the Gopro actually record in Rec.709 or is it that because DR is setup to manage it to become that?

[@RoccoGermani]

All gopros prior to the new Hero 12 operate in some form of rec.709, which is simply put a SDR color space. The gamma setting will change based on what color profile you are using. Standard would be gamma 2.4, but for the flat profile, there isn't really one that actually corresponds correctly within the color space transform, so you have to play around with gamma settings until something works. I don't remember which gamma setting I used in this video, but it was the one I found to work best. Now GoPro has released a new color space with their 10-bit LOG format so I'll be interested to see if it will be added to the menu for color space transforms. Not all color spaces are on there.

[@drdrhelmut]

@@RoccoGermani Great thank you for the reply. I'll try some different gammas and I'm sure it will work out :)

[@EstebanvisualFPV]

Good Job bro, thanks!

[@VelosFilmworks]

You've got primary and secondary adjustments in sort of backwards order here, but props for the clear explanation and membership hustle my skinny legend

[@timothysylchuk]

I jyst picked up completely destroyed night footage and made it nice following your steps. The glow feature is really sauce and discovery for me 👍

[@RoccoGermani]

Glad to hear that this video was able to help you! Thanks for watching!

[@simerroo]

On Mac there is no option to type in the HTML on color Filter tab, why?

[@DebzLife]

4:05 Rec 709 Gamma 2.4 Rec 709 Cineon Film Log Will these exact settings work for applying the same lut to my Sony a6100? I'm shooting on a flt profile without any Log profile. My sony a6100 doesn't have slog or any other log profile

[@RoccoGermani]

I would assume so. Your camera likely defaults to Rec.709 or sRGB (both are nearly the same to each other, but one may work better than the other so it's worth checking) when in the standard profile. If you have a profile applied in camera it is probably just being applied to the video within Rec.709/sRGB. Hope this helps!

[@ByPepa_cz]

😍 wow super color grading, thanks for the tutorial. I will try to apply 😎

[@DebzLife]

Thank you buddy

[@DroneAcharya9]

From what I understand about CSTs, shouldn't the last node be converting the footage to Rec709? Afterall, thats the one to use (or preferred) for KZbin or most screens out there?

[@RoccoGermani]

You are right, but for this video I am doing it differently. The last node is converting the footage to rec.709 for color space, but not for gamma, to get the film look I put the gamma to cineon film log, and it is completed with one of Davinci's film print LUTs, which converts the gamma to rec.709 and adds the Kodak 2383 colors. If you want to use that LUT, you have to have the color space as rec.709 and the gamma as cineon film log, otherwise it won't apply correctly. If you don't want to use that LUT, you can simply just do rec.709 gamma 2.4 for the output settings.

[@DroneAcharya9]

@@RoccoGermani that totally makes sense... Thank you for the response... One more if you don't mind. How do I know by looking at an inbuilt LUT, what it's output is going to be?

[@RoccoGermani]

Typically it will say it in the title of the LUT, if it's one included with Davinci. The ones I use are titled Rec.709 Kodak 2383 D55, D60, D65, etc. There are also DCI-P3 versions of those luts for those who desire that as their delivery space.

[@dronmoarigato8488]

Thank you for this tutorial... Brilliant 👍🏼

[@horschti]

Very,very, nice...thanks 👍😊

[@pglparg]

Thanks so much, great explanation

[@eliasrolle8140]

thank you very much you helped me a lot !!

[@scottw6960]

Great video and tips, thanks

[@RoccoGermani]

Glad I could help! Thank you for watching!

[@monivibes1]

Hey! Great tutorial. Quick question: Why did you pick Gamma 2.4 for your GoPro's Color Space Transform? Is it related to GoPro specifics or personal preference? I've got the same setup and while I get the rec709 choice, I'm curious about the Gamma 2.4 decision when filming in flat or normal. Thanks

[@RoccoGermani]

I choose gamma 2.4 because it was the closest thing to match the flat profile for the gopro, as unfortunately there's no direct input for the gopro flat profile in the color space transform. It's just what I found works best given the options listed.

[@monivibes1]

@@RoccoGermani Ok thank you ;)

[@denidennoi]

Great tutorial! Noticed you opted for REC 709 and Cineon Film Log for your color space and output gamma. If integrating footage from GoPro or any other camera, would you recommend using the same color space and gamma (REC 709 and Cineon Film Log) across all clips to maintain a uniform look?

[@RoccoGermani]

If you're doing it with the gopro, I would recommend also sending your other footage to the same output gamma and matching the LUT for a consistent grade.

[@denidennoi]

@RoccoGermani, thank you for getting back to me. I'm primarily targeting platforms like KZbin and Instagram for displaying my footage. I assume most devices accessing these platforms operate in the Rec.709 color space. As for gamma, I'm leaning towards 2.2, given that viewers are likely to watch in well-lit environments rather than during prime TV hours. Does that seem reasonable

[@RoccoGermani]

Most people use gamma 2.4 but 2.2 isn't too much different. It's more about how you grade it.

[@PalmettoMoon]

Great vid and info RG 👍

[@RoccoGermani]

Thank you!

[@flavixa]

Hi Rocco why with gorpo 12 in davinci resolve at column FPS i have 29.970 DF? it is impossible editing !!!

[@RoccoGermani]

I don't understand what you're asking here, are you referring to the frame rate? If so, that's the correct frame rate. Most cameras don't record to the exact number, there's a long explanation for it but it was an old standard that had to do with electricity and televisions. If you're having troubles playing back the footage try turning on render cache or generating optimized media for the clips.

[@RoccoGermani]

I don't understand what you're asking here, are you referring to the frame rate? If so, that's the correct frame rate. Most cameras don't record to the exact number, there's a long explanation for it but it was an old standard that had to do with electricity and televisions. If you're having troubles playing back the footage try turning on render cache or generating optimized media for the clips.

[@HarryGileis]

You fucking legend, just have to say that. +1 sub btw

[@SFLfights]

Just by seeing the first minute of this video, I see that it won't be a tutorial to follow. Putting glow and halation that much everywhere destroy your images.

[@kllaskas810]

you clearly have no idea what you're doing lol