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Scopes are an essential tool for every colorist, and knowing when, and when not, to use them can truly elevate your grades. Join me live as I answer your questions based off of this week's video on properly using scopes inside of Resolve. (You can check out the official scopes video here: • Master Scopes Inside o... )
0:06 Introduction
2:17 How do you pinpoint a good standard saturation level for skin using scopes?
5:51 How should I use the histogram to understand the image and make the most out of it?
9:07 Should we be monitoring video scope levels or data scope levels?
11:33 When working in HDR the vectorscope targets can only reach 75% rather than 100% as in SDR. What is the reason for that?
15:25 What is the workflow for using scopes on another computer and why do people do that?
17:25 Cullen’s tip for using the histogram in a practical way
21:02 Can you compare the histogram and the RGB parade? How would you use the parade to balance a shot?
25:34 Where would be the appropriate spot to place a power window in your node tree to check the skintone on the vectorscope?
30:23 How would you approach a full white scene without making the image clip and look all digital?
37:07 Do scopes represent the out color space like REC709 or the timeline color space like ACEScct or DWG?
37:59 In the last video you increased saturation but didn’t show up as extra saturation on the vectorscope, can you show why?
41:48 Is there a way to visualize the scopes in P3 and output XYZ?
45:22 What is the difference between doing a gamma operation in the YRGB curve vs just using the RGB channels and not the Y?
47:51 Where should one look to start understanding the math for building custom LUTs?
51:31 When running false color on set, should my input to the monitor be LOG?
53:33 How beneficial would scopes be for someone working for CGI output?
57:16 Final thoughts and conclusion
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