How To Color Grade in 2022

[@3str]

This makes a hell lot of sense. I come from the pro audio world and am used to working with groups. What you're presenting here is exactly what I had in mind as a workflow for Resolve. Down to the smallest details. So this video is immensely valuable for me. Thanks so much Casey!

[@raedslacklines]

SO much helpful knowledge and tips in so little time. No stupid stories, no endless talk without content. Just on point information on how to get things done. LOVE it!

[@JimRobinson-colors]

Casey, I think this might be your best color grading tutorial to date. I think that you might want to find middle grey and lock that down for that camera though. Then you can consistently match the contrast and exposure from shot to shot. Also a good habit when doing lighting on parallel nodes is to hide the power window when making the adjustment, so it is seamless - keystroke of Shift-tilda will turn the power window on and off. Without checking that sometimes you can see the power window. Really good info throughout this one though - Big thumbs up - happy new year.

[@rdstudios-production]

Agreed - with a lot of the wider gamut options and Color Space Transform. I'm having to not really "re-learn" but refine my workflow. And, I haven't touched a LUT in months!

[@DavidMacNeillphiladelphia]

Hey Jim, how would one find middle grey? Like whatever the camera manufacturer publishes? And what does that achieve? There anyone that's made a good YT video on that? Thanks!

[@JimRobinson-colors]

@@DavidMacNeillphiladelphia yes manufacturer publish middle grey - you just need a reference graphic and then plot a point on a curve where it should be - So Arri is 41 IRE - if the exposure is correct - drop a midpoint on the curve to lock on your middle grey the contrast then will use that as a pivot point and if your make an s-curve from there the highlights or shadows will change but the pivot point will be locked. This of course needs to be known beforehand from the DP as to what was used for exposure. Most productions will still work everything from middle grey exposure and either add lights to brighten or add flags to make things darker. Keeps a more consistent grade if you don't change the pivot points all over the place as well. Moving the pivot on a contrast curve might feel like a good idea, but you do that and over a 100 shots, things are going to look wonky. If the 18% gray is coherent with the exposure in the set, the DoP will have to just use the light meter and get a predictable result.

[@joyoffilming9500]

@@rdstudios-production Fully agree about LUTS. Never got the idea of going after higher dynamic range and bit depth when it comes to camera selection just to press high quality footage into a crappy rec709 LUT in post.

[@taikang]

You mean a Secondary Window with Power Window? Because by DaVinci's Definition Power Window means turning the Timeline Viewer in the Color Tab into a white framed window, that can display & compare different shots side by side. If you did indeed mean secondary mask window, then there is an easier way then Shift Tilt: You can just set DVR to only show the window outline in the Viewer but not on the External Grading monitor.

[@staticvideo]

The absolute best video on basic color correction and grading. Casey, you’re the best! Thank you!

[@stephajn]

As a current film school student just getting started with thinking about colour grading, this is definitely going to be the basis for how I approach colour grading going forward. They taught us to use Adobe Premiere's Lumetri scopes (gag!) but I'm firmly in the Resolve camp when it comes to my NLE and colour tool of choice. Thanks so much for this and your other tutorials!

[@DemoniacLL]

Reading Scopes is very useful. In my case, I am doing the main correction with Lumetri and will use Resolve for minor adjustments. Don't undermine tools just because they are not popular. Don't become dependent. Use your eyes and instinct. You are not your tools, you are what you can do with them!

[@newmillennials]

Casey Faris I am left to wonder what I would have done (or where I would be on the DaVinci curve) if you did not exist in this dimension. I really appreciate all the time you must have spent putting these very useful videos together. I have finally dived into the Log-footage rabbithole because not only is it no longer scary, it's bloody awesome!

[@jogoerner1302]

100%

[@digwillhachi]

the group tab is great. Never used that before but definitely will from now on. Great way to keep the edit tidy.

[@MrGieves]

This is SO important to know! Using this to normalize your LOG Footage changed the way I look and understand grading as well as recording formats and color Profiles.

[@geevz-j1l]

Great tutorial Casey. Can you expand on how to find the correct color transform for different cameras / color profiles? This is always the most challenging aspect of setting things up correctly if that information cannot be provided by the client or DOP, or for instance if it's stock footage without those details listed. Is there a failsafe way to determine which camera was used, and what settings? I'm hoping there's a tool that can provide that information by looking at the camera metadata for each shot (for example).

[@cassandramondnacht7225]

That's a really good question that I'd also be interested in. Have you found an answer yet?

[@flightographist]

You have to follow closely, as I have come to understand with Casey- he lays it all out.. You need to be in the color page (after you have imported your clips in media page, then edited them in edit page), the menus you see on your display on you tube will match what displays on your work machine/screens- depending on how deep your pockets are. A twin screen, or triple, helps immensely!

[@Janken_Pro]

@@flightographist ???

[@tskroyal9198]

@@Janken_Pro I don’t think he was answering a question to this video lol

[@voirkinshasapuismourir]

seriously man, i ve very recently started watching your videos. you're amazing

[@neail5466]

When you started, I was really intimidated, but it's a piece of cake, more like Lightroom I would say. Learned many a things. Cordial thanks. A request, could you please delve a little into the node editor and the shortcuts? Your teaching style is really impressive. ❤️+1

[@PyMike]

I just started using Davinci Resolve and your tutorials are just THE BEST. Thanks! :D

[@philemonjean-baptiste195]

I love it. I have been using Davinci Resolve for 4 years. This video will enhance my skills. Thank you so much bro.

[@davidmadisontheguardian]

Damn man! Every time I think, this guy is really sharp... knows his stuff... you blow me out of the water with your own growth in the following videos. You totally logically and emotionally and aesthetically sold me on this way of doing things. NOW... if I could just get a hold of a lap top that would allow me to download DaVinci Resolve on it.... and if I had these cameras you were talking about... we'd be golden. Well, YOU'RE golden... I'm uh... treading water at the moment. Feeling dull and flat. The other thing, is that when I realized that I couldn't have my favorite editing tool; I would try something else. There are two pieces of software that I'm training on at the moment... Inkscape and Blender. Lo and behold... Blender has a video editing section to it! Now... blender's like trying to explain black holes and time dialation in foreign language to a piece of fruitcake. (I'm the fruitcake in this scenario); but I'm determined, a PRETTY smart guy, and have a lot of time on my hands; so I figured, Why the hell knot! Not. Not the other not, this not. You've inspired me to become my own hero, my friend. Many thanks and salutations! ~ Dave M. ~

[@amazingsoundguy]

As a sound guy getting into film/corporate shoots and edits, this is by far the very best tutorial I have seen. Thank you

[@jessenelson]

Groups! That's a game changer! Love the workflow too

[@mattbertapelle2122]

Well done, Casey. I've struggled with this very topic, so having this to lay out the entire workflow is VERY helpful -- thanks. Quick question: What input color space/gamma do you recommend for GoPro footage? I always shoot with the flat profile so that I can color grade the traditional way, and like you said, it works pretty well. I've read from others that GoPro basically shoots in rec709, so applying it here doesn't really do anything - and to a large extent, I think I agree - when I apply rec709 to the input color space of some flat GoPro footage, it doesn't seem to do anything. I'm ok if the answer is, "eh, stick with the traditional color grading workflow, GoPro doesn't really play nice with the color space transform" - I guess I'm just looking for a sanity check. FWIW, I have no trouble with the Canon 90D Cine, or DJI drone footage. Again, many thanks for all you're doing, I'm plowing through your master class now -- great stuff!

[@superfastgame]

thanks matt for the query. I am also similar profile whom play with dji drone and GoPro camera. I would like to know what would be the answer to this question. let's wait for Casey's reply :D cheers

[@DronieBoy]

Following

[@ColindeSilva]

Following also. We need more GoPro coverage...especially for snow scenes..

[@pay2win762]

Still Waiting ;P

[@muerdelavida]

Looking also for this

[@joyoffilming9500]

Hi Jim, what a great tutorial. Using a quite similar approach, I now transform all footage after the basic adjustments into Arri Log-C gamut and gamma, allowing me to use pretty much the same grading and look procedure across different camera models. What I really did not know about is to group clips and do one post-group grading to grade the whole clip group at once. This is really a life saver when going for many clips in a project.

[@maddogrk1]

Great! I really enjoyed this. it was done clearly, concisely and quickly, but not too fast. I think I can really use this. Thank you

[@pianandrill]

Your videos are so stuffed with usefull tips and solutions. I watch some movie making tutorials but after watching Yours i have most tools and knowladge to improve my work. TY

[@oceangross]

I feel like this was the best intro to color grading I have seen! Thank you

[@milanjcater]

This has honestly saved my life. You are a great teacher Casey, thank you!

[@_eugenechia]

Thank you for sharing gold nuggets of information Casey! Wishing you and your family a very happy and safe 2022!

[@TheAaronalden]

My Sony a7iii never looked good with the color space transform, but the slog3 with the a7iv looks so good! This is going to make things so much easier this year! Thanks for the tutorials!

[@liamhewitson417]

I had the same problem until i used the leaming luts for conversion

[@suhuy2008]

A7iii had only 8bit color. A7siii and A7iv both have 10bit 422 color.

[@liamhewitson417]

@@suhuy2008 yeah I know but he was talking about how the imagine looked concerting to rec709 not about bit rate

[@concettastellato3828]

this year? this way has been used by pros BY years.

[@DronieBoy]

What is the color input for the Sony A7iv? I just got mine and this would help me a lot. I just started to do color grading

[@TheFalaah]

There was a day that I gave you shit about your course and not giving updates. I apologize for that your teaching skills are far better than a lot of people on youtube . Your course combined with wekkly updates on youtube is more than enough. I will be purchasing that course and focusing the majority of my time to studying everything on this page. Thank you Casey for your commitment to excellence.

[@CaseyFaris]

Hey that’s cool. Thank you.

[@joseandresmiranda5721]

Damm, you learnt a lot from Cullen Kelly, I saw you in the live streamings Is so nice to see more people in KZbin teaching color grading in a good way 🙌🏽💯

[@CaseyFaris]

Yup that dude is a genius.

[@CrowingHen]

Wow, I think I just had a breakthrough with colour grading thanks to this video. I also realised just how limited the colour pallet on my mirrorless camera is.

[@ToTheSkiesProductions]

This was so helpful. I really appreciate your approach...and you humor keeps it from becoming dry. Thanks for this!

[@edwinlagmay6295]

Thank you so much for your tutorials It went from 'nice tutoet science' to simple logic! You have a new subscriber

[@jan-k7x1c]

At 07:27: Aces doesn't do any weird decisions, you need to have a a second node that converts from aces to Rec. 709 afterwards. Aces colorspace is just very very wide, everything that doesn't Fit get's cut probably. You use Aces to convert every cameras footage into the same wide color space, then work in the aces color space and converting it to the target output as the very last node (in this case rec. 709), the reason being consistency between different camera models, also some tools work better with the wide colorspace and gamut (as far as I understood that is)

[@billythecat]

That node at that timestamp transforms from Red to rec709 so you're already looking at rec709. And Casey's right when he says it looks different than CST because Resolve and Aces do things differently, he doesn't say Aces is doing anything weird. Since its already rec709, if you had a node that converts from Aces to rec709, that would be considering rec709 as Aces and compress it again, you'd break everything.

[@HUSHHUSH-]

This really makes things so much quicker . Absolutely brilliant video .

[@PositiveImagePro]

Thank you for producing this video. To be truthful, I quit watching the color grading demos a while back because of the lack of and information on color space and color management. I’ve invested a lot of time in learning color management and I always felt that the KZbin tutorials completely overlooked this very important part of grading. It’s really good to see you talking about color space and helping people learn grading the correct way. The way everyone teaches grading online works on the assumption that every camera is the same. And, it’s just not true. Hopefully people will make the investment in learning color management and color science.

[@historychicken7741]

can you share a great vid on colour space and management? thank you for sharing!

[@ichoter8163]

Dear Michael, it's you that make register for youtube, I follow your tutorial from bilibili to your channel here and I'll continue to support

[@FergVision]

I started working in passes and doing big major changes a few months ago and I just make so much more progress this way. I think of it as helping me stick to the 80/20 rule so I don’t hyper-focus on any one thing while trying to put together an edit. Or I do it less now at least. Love the video!

[@ChristopherGuillou]

Just pure concentrated awesomeness Casey ! Merci beaucoup :)

[@Praxiszooms]

absolutely. that is the future and makes a lot more sense. color grading was always the risk of fiddling around. but this keeps it fast clean and modern THANK YOU!

[@richardcliff3510]

This a really informative video and well taught. Your approach makes a lot of sense given the capabilities of modern tools. I am currently struggling though to find a Protune flat to rec709 color transformation for my GoPro Hero 8 in Davinci Resolve which surprises me given the ubiquity of GoPro users. Can you please point me to either a plug in or an existing proxy setting within DV that is good enough. A video walking through how one would install something would be absolutely awesome and am sure would be popular. Keep the videos coming!!

[@bernardubrich4587]

Since a long time I follow your channel....always a pleasure while learning is combining humour and knowledge! Best regards from France....👍🏽👍🏽👍🏽

[@HighwaterEntertainment]

Thanks! I have been searching for this simple method for years!

[@gschiavon]

Man, thank you so much for this free resource channel; your videos are excellent!

[@pedropillot2387]

Best color tutorial, very nice for beginner ! Insane workflow

[@mathkaory1229]

Most efficient and simple grading workflow ! 👊👊👊

[@KaurH]

I'd like to point out that changing the timeline color space only affects how the different grading tools work and doesn't change the color space itself. It makes sure that for example +1 Exp in the HDR global section always has the same effect no matter what camera and color space you are using. It's also best to make as broad adjustments as possible, for example use the RGB curves Y channel or Hi/Light to pull down overblown highlights instead of reaching straight for a power window. Last but not least, for balancing blacks and shadows in general, the Luminance Vs Saturation curve can help to get clean blacks. Just bring down saturation in the shadows and especially blacks.

[@CaseyFaris]

Yep, the timeline solar space affects the color space aware tools, tagging of the output file, and anything set to “use timeline.” But doesn’t change the space. The other tips are good too! Thanks!

[@SebastianFriedrichVisuals]

Totally agree with what you said, but I disagree with your last point! Reducing the saturation in the Lum vs Sat curve could possibly do more harm than good to your shot! I would rather go to the LOG Wheels, turn down the Low-Range slider so I am only affecting the darkest parts of the image and then use the shadow control to add in the complementary color of the color that was in the shadows. Doing it this way is a little more work but as a result, you don't "damage" your shot!

[@GrayOlson]

@@SebastianFriedrichVisuals In what way is your method doing any less "damage" than lum vs sat? Both methods are equally so changing the color values to an objectively quite similar degree and with no physically-based motivation. It could be argued that adding the compliment might result in a less "digitally processed" look since you'll end up with some chroma still left over in the blacks, but there's no objective *best way* between these two: it's a subjective preference.

[@SebastianFriedrichVisuals]

@@GrayOlson That's true and you're totally right with what you said. I believe I missed out on mentioning that I was talking about standayrd consumer 8bit footage. When you desaturate the shadows over a specific point, it looks like (at least that's what I noticed on some personal tests with a Lumix G85) that there's banding in the shadows and the image seems to fall apart. Again, that's my personal thoughts and what I experienced doing it this method! But thanks for pointing that out! :)

[@richardkrall4409]

@@GrayOlson I would rather adjust the color to what it should be than just render it 'color-less'.

[@isensmith]

i've been looking for yt training that was thorough, professional, and accurate and i think i've found it! thank you for the terrific tutorial!!

[@over-devz]

OMG, Awesome Sir... You're the magic one, The best video color grading that I have been seen..👍

[@shanebakerstudios]

Best color grading video I've seen yet. Good enough for me to look at your resolve paid course. Thank you.

[@pscmimagery_YT]

Truthfully this has been the best explanation of color grading for me. I have several projects due right now so they’ll all be catching the Color Space Transformation and that’ll be that. LOL!!

[@Gemuesesuppen]

That was just brilliant. I've already split changes to multiple notes but I like how you went further. Thanks a lot. Subbed.

[@svyatoslavpavlov5764]

Dude, thank you so much! Following your tutorials I have learnt so much and have already earned some money applying my new knowledge! Keep it up, cheers from Russia!

[@funkytradition]

Working smart is the goal of 2022. Thanks Casey!

[@JamesPero]

"This is the way." Thank you for what you do Casey, this was a great walk through!

[@CaseyFaris]

This is the way.

[@Motionphile]

Great lesson! 🙌🤩 This one really put to another level of grading. Love your tutorials 🔥

[@CDReimer]

This is fantastic! I used to do auto color grade and make a few tweaks for my iPhone video. Setting the color space for my iPhone in the node and make a few tweaks is much better than before.

[@HolywellFilms]

I've learnt new things everyday. I'm not a colourist but this helps a lot. Thanks again Casey. 👌

[@TroyMunson]

fan fucking tastic tutorial!! I just learned about color management and color spaces but could not find a single video explaining them or how to effectively use them. This video answered every single question I had! Truly a lifesaver!!

[@TheFriedIndustry]

Why am I watching this immediately after updating my logo? Just want to say thanks for your work! I have kind of developed a hybrid method with Davinci and Gimp, but I'm almost exclusively using Fusion and the Color page now, thanks to your tutorials.

[@hdemetri]

Wow. This works great for drone landscape footage too. I used these settings for my Air 2s: Color Space: DJI-Gamut and Input Gamma: DJI D-Log. The results showed better detail in the shadows compared to manual color correction. The footage also looks more realistic and less like a painting. I then add some stylistic grading and I'm good to go.

[@MikoajSzczepka]

Actually the DJI-Gamut in color space transform is not made for air2s log curve. It's for higher end dji cameras like X5/X7. Results using mavic 2 pro are really bad

[@hdemetri]

@@MikoajSzczepka Thanks. Now that I've experimented a bit more with it, it tends to blow out the sky and add a bit too much contrast in the foreground.

[@HunterWadeMusic]

JFC if it looks better, use it. After as much time as I've just spent pulling my hair out over figuring this out and questioning the extra contrast in my air2s footage, I'm not about to go unlearn it now. If I ever encounter a situation where it doesn't look better or I can't get a better look, then I'll do something different. The current project I am working on there are two air2s clips that the group CST doesn't work/look good on so I just removed them from the group. All of the rest are exactly as the original commenter said. It all looks less like a painting and more like real life.

[@gorri012]

hey Casey, Perfect - helps a lot and brings the focus to the right workflow with group grading. Great content and very helpful

[@dzyanw]

Nice vid Casey! I found out about color management a few months ago and now I can never go back 😝👌🏼 Also cool too see the rest of your workflow 👍🏼

[@fabiomorich]

Quick, useful and well explained. Thank you Casey

[@jackberry]

Love discovering new efficient workflows for color in DaVinci! Thanks Casey! Gonna give some of these methods a shot on my next projects.

[@robertwmoore]

Thank you for taking the time to show this !

[@พิพัฒน์พรหมสุข]

I’ve watched hours of videos and tNice tutorials one is the first that explains it in a way a complete beginner could understand! Great video

[@alexeykisilier]

Genius. I see only one tiny issue in my workflow: Nikon Z 30 doesn't provide a log file, thus, I have to basically create my own inside the camera adjusting the saturation, sharpness, contrast, etc. So I don't see a better solution right now to work with this method, although it's pretty damn good and very straightforward.

[@yannberte8291]

Thanks Casey Faris Bueller ;-) Watching your tutos is really better than going to school !!! Happy new year dude ;-)

[@djilaliachour1578]

Very helpful tips/knowledge in short time... Big Thanks Casey

[@carboomtv1479]

This is just a superb workflow. What a great tutorial.Thanks Casey.

[@0gravitydroneservices]

Hell of a tutorial Casey! Thank you so much

[@HunterWadeMusic]

Okay. This is super. I'm a bit challenged though. This has worked splendidly with my Mavic Air 2 d-cinelike footage. Input color: DJI d-gamut, input gamma: 2.4, output color: 709, output gamma: 2.4. That seems to work perfectly. On the other hand, with my DJI Air 2s d-log footage, I get massive, excessive, super dark contrast. Input color: d-gamut, input gamma: d-log, output color: 709, output gamma: 2.4. What is also curious to me is the fact that if I set the appropriate input color space and input gamma but leave the output color space and output gamma as, "use timeline" it looks quite different from when I set the output color space and output gamma separately even though I'm putting in the same settings as I have in my timeline settings. 🤷 I've been working on projects from my air 2 until today. When I started working with the d-log today I was very excited anticipating the ease of process flow this method provides. Instead, I find myself pondering and trouble shooting.

[@frankinblackpool]

I really really liked this episode. It joined a few more dots on my rabbit hole journey to colour correct my KZbin projects with their massive viewing figures to justify all the effort I put in. My latest project got 50 views. Big Time baby, big time. I understand that people like yourself, Jay Lippman and Darren Mostyn prefer a CST node however I only have one prosumer camera and I prefer the Davinci Wide Colour Space Colour Management. All roads lead to Rome. I will definitely follow up on the nodes that do global adjustments in matching my shots. Happy new year sir.

[@satyamdograreallife]

I've Watched the Video till the End & it's really Packed With Solid Info !!!! Like I'll have to watch it 3-4 times more & then Implement it Countless Number of times in order to Really Start Grading My Shots in a Good Way for my Channel. Overall Loved it & I still request you to help me out on this Problem !!! HOW DO I FIGURE OUT INPUT COLOR SPACE & INPUT COLOR GAMMA WHEN I'M FILMING MY GALAXY S20 FE ??? Like what are the Setting to go for. Please do tell me about it !!!

[@grzesiekenczyk4696]

Wow, this is very inspiring! Thank you Casey!

[@KhenCinema]

Hi Casey On the HDR tab, you can press on the 3 dots option and choose the camera you shot in, then it's more accurate

[@5tipforlife258]

Thank u for ur tutorials simple just two words Clear and concise also great lut with a simple way

[@surftim9106]

Casey, thank you for all of your great tutorial videos. Just getting into Video, and using Resolve Studio 18. The segment on Color Management will work great for what I need. Sports photographer mostly, but wanted to add Video clips of some of the contests to my galleries. Shooting in C-Log3 on Canon R5 for the video. Stills with Canon 1Dx and Canon R5. I find your videos very useful and straight-forward. I like that you show different methods to accomplish similar/same tasks. Thanks again!

[@gqn2]

I saw the video where 4 colorists vs ungradable footage then here Casey is teaching some of that stuff. Casey is like a mind reader.

[@ShavonSmith]

This video was super helpful I have better understanding of color grading in Resolve now

[@adamschaafsma5839]

Thank you this was great, and over my head a little bit. I will have to watch this again when I gain some more experience. I like your style!

[@Milan____]

I am not sure if I understood you correctly, but one thing to note is that internally, Resolve always calculates color in "32 bit per color"-space. So having the project set to Rec.709 doesn't make the quality of added effects worse. (Source: Resolve Manual but I haven't read it all so idk)

[@CaseyFaris]

Yeah that’s correct. I kind of said this in a weird way as I was trying to simplify a bit. The advantages of setting the timeline color space is that it makes color space aware tools like the hdr palette more accurate, it lets any utility know what color space you’re working in so it can make any adjustments or transforms that needs that kind of information, and it sets anything that says (use timeline) to be the right working space.

[@Milan____]

@@CaseyFaris Thanks for clarifying!

[@ishanseefromthesky4662]

the only guy on KZbin who knows Davinci Resolve better than anyone else.

[@W0KNI]

Casey, I really enjoy everything you do for the users of Davinci Resolve, thank you! I shoot with an M50, iPhone 12 Pro and GoPro 8. None of which shoot in LOG. What I would love to hear from you are your thoughts on Cinestyle for Canon, if you think it is worth it? I currently shoot in Standard picture profile because of the minor color adjustments required to get to my final output vs a pseudo LOG profile. Happy New years!

[@ilgnir]

Valuable insights! Thank you. It would be great to expand on working with multiple differing camera colour spaces.

[@liamhewitson417]

Very nice tutorial Casey, your best one yet

[@NikHem343]

Seriously appreciate your videos and you as a person

[@Nextsession271]

Yo, just found your video tutorial, your a feakin' genius. 👊🏿🔥🔥🔥

[@davehall3446]

Casey this tutorial is incredibly helpful. Thanks so much!

[@josearce225]

Nice One Casey! great to end the year👍

[@TriggeredLimey]

Hi Casey. Love your tutorials! I've learnt a lot! Quick question: Is there a good way to colour efficiently when I am filming with a regular HD Webcam? I've been searching and searching for a guide, but have found nothing. Any help is greatly appreciated! If it helps, I'm using a Logitech 1080p webcam and am creating videos for KZbin. Thank you so much!

[@daidolife]

Now I want to play around with HDR sections. Thanks a lot, so helpful.

[@lukeamsterdam]

Great invitation to step back and think about how we approach things. Fantastic, easy to follow video with a tonne of useful information.

[@meridian13_live]

Thank you very much for sharing this idea! I was surprised and happy with to see that there is a also an option for DJI Cameras in the CST. This makes it much easier for me to deal with color grading.

[@ЭтоДрючинский]

Well, I watched a ton of grading videos, and I didn't expect anything worthy from such a "clickbaity" named tutorial, but... You know, actually this is one of the best I've stumbled upon! Like all the things layed out on their shelfs finally! Thanks, that's what was so needed actually!

[@CaseyFaris]

Glad to hear!

[@woodycarr]

That was really useful! Thank you for showing us your workflow. I learned a lot in 23 minutes!

[@TABonTV]

Love your vids - so very informative and easy to watch - keep it up!

[@RenatsMC1]

I'm new to video editing and this explained a lot.

[@stacygibsonyoga]

Wow! I learned so much from this video! Thank you so much

[@nielskokholmnielsen7172]

Amazing! Outstanding tutorial. Thanks a million, it was immensely helpful!

[@johngormley1920]

Thank you, Casey. I’ll ask questions next year. Happy new year.

[@philippwelsing5233]

Very very good one, especially the colour management part. Thank you!

[@techwitheds]

Thanks for making this video. If you happen to see that question or if someone else know the answer, where would you add LUT in that workflow?