Linear Workflow in DaVinci Resolve and Fusion

[@PauliJuppi]

👌 Best explanation of linear/log workflow ever! Thanks again 😊

[@DavidAndersonDesign]

Excellent! Thank you for creating this and your other videos about Fusion. So very helpful!

[@christootell]

The clearest explanation I've seen. This is really helpful. Thank you.

[@knejmann]

A minor detail but I do believe that image sensors (not counting vacuum tube based ones) do actually have a linear response to light :)

[@funny1048youtube]

Thank you so much for this video it's very helpful, one thing I was curious about is how to composite blender renders properly with world camera footage. It seems like blender uses a filmic lut to convert from linear to srgb but if I apply this same filmic lut with the ocio node to linear video footage it washes out the video. I did try using a lut my camera came with and applying it just to the footage and also using filmic on the cgi from the exrs output from blender but when these outputs were combined I noticed highlights being clipped. I did the node operations before applying the luts except for the lut to convert log to linear for the video clip so that all node operations were done in linear before baking in the luts. I am curious if I am doing this correctly, I did hear about aces but unfortunately some things in blender don't work correctly with it so would like to see if there is a way to keep everything as a linear workflow.

[@VFXstudy]

In blender you can choose the color space, both gamut and gamma. Previously I used linear sRGB from Blender for the exr files meaning linear Gamma and sRGB gamut which is same as rec.709 gamut. Then I had no need to figure out the filmic lut etc. and could work with familiar spaces. Not sure what Blender has by default in case you need a wider gamut. Maybe p3 or rec.2020?

[@funny1048youtube]

@@VFXstudy I think blender uses rec.709 but problem is the srgb gamut doesn't work so well with blender since using scene referred data in srgb gets clipped, filmic lut fixes this by remapping higher values into srgb space in a way that's similar to film. I did try using a different lut on the video before feeding it into filmic and it seemed like it worked better although I had to brighten the footage before filmic was applied. I am not sure if this is the right way to combine everything or not. I hope blender integrates aces that is compatible with everything such as color wheels, it would make combining different footage sources much easier, Thank you for your fast reply.

[@melissafestinese_fotografie]

Hallo Bernd, erst einmal vielen Dank für all deine tollen Tutorials 🙏🏻 mit so viel Input! Ich habe dennoch eine Frage, vielleicht kannst du mir weiterhelfen. Wenn ich Nodebasiert in Aces arbeite, also erst in der Color Page meinen Clip nach Aces bringe und anschließend nach 709. Was muss ich dann in Fusion wählen, um bei einem Paint Effekt die selben Farben auch in der Color Page zu habe. Reicht es wenn ich nach dem Mediaout eine AcesTransform-Node einfüge? Vielen Dank schon mal! 🙏🏻 Viele Grüße vom Bodensee 😊

[@MMGKAUWU]

what if i convert like from srgb to linear, tweak color in linear and after that convert liner to srgb, it that will work better than only in srgb color space, and the premise is that with some png sequences already

[@VFXstudy]

You can do that, but honestly if color operations are all you do, I don't see the point of the conversion. Often using curves etc. get's somewhat more difficult with the condensed shadows in linear space.

[@MoreHace]

Hey man! thanks for your videos, I love the technical insight you put in them. I have a question for you, quite a begginer one but it think is a fair question. I've been using resolve to edit my videos and such, and now I want to start doing all my motion graphics with resolve/fusion. I've used after in the past. The question is the following, i know Fusion/resolve is resolution independent, which is great, but i think the implementation is at least kind of awkward. Specifically i can't seem to find a good way to work when you want to input values, o get things to be precise. This is because that proportion you type is base on two different values (height and width, eg 1080x1920). Example 1): how would you create a perfect square? you can try using a mask, but then when you type .5 on width and height you get some that matches the proportions of the BG node you're masking. Example 2) how would you position a square/rectangle leaving the same margin for top and bottom? example 3) how would you create a vertical and an horizontal line that have the same thickness? I've been trying to work around this using expressions to calculate the proportions, but this kinda get's in your way when you want to animate the parameter... i feel I'm missing something. What do u think?? Thank you very much!

[@VFXstudy]

One way is to work with backgrounds of specific dimensions and merge over later. Say create a bg with 1000x1000 pixels, work on this, then merge over final output. For the padding, simplest way is probably the boarder width setting that the rectangle and all the polygon-like tools have. It's not dependent on aspect ration, so just create a width=1 height=1 rectangle and then constant padding with the boarder width.

[@gabrielwolfcolor]

Is it possible to also apply a viewer LUT to an external monitor (behind the Ultra Studio Mini 4k...)? I couldn't figure that one out...Thank you very much! Awesome tutorial. 🙂

[@VFXstudy]

No, unfortunately not. You can however add the corresponding nodes (e.g., Color space transform) after the Media Out or wherever you want to view and just hook up that node to the 3rd Monitor. Just make sure that node isn't part of the render sequence.

[@gabrielwolfcolor]

@@VFXstudy Allright, Thank you!

[@blendertutorialdotnet]

If i convert some BMPCC footage to REC709 in Fusion, then pulling chromakey, then convert back to BMPCC colorspace, then i loose any data? Is REC709's gamut smaller and clips seomething before i convert it back?

[@marcusdingstad2129]

If I'm working on log footage do I have to use the cineon log tool in front of all the clips I bring in to the composite? If I where to guess I would think that's what I have to do. Just seems a bit tedious, doing it the manual way has more steps I guess. Great video, and channel in general! Thank you

[@juanat1661]

good job and very well tutorials u have i would like to edit videos VHS 4-3 to 16-9 in fusion is it possible regards

[@VFXstudy]

Yes it is. Not sure what you want to do. Resizing, deinterlacing, maybe denoise can all be done from the edit page as well. If you need to do more advanced fixes you have some addituonal optiins in Fusion - like for missing frame repair, clone, paint etc.

[@ameensabah2261]

if we add fusion generator like (text,background,etc...) should we changed to linear?

[@antonarap]

Sorry, another one. Image created by edit page generators (the greyscale for example), is in Timeline colorspace right? What about image created within fusion, via a background tool or a paint tool for example? Is it in timeline colorspace as well? In your "academic" example, the background tool seems to have gamma.

[@VFXstudy]

Re. Edit page, I would hope but haven't verified. In Fusion the creator nodes should come with linear Gamma by default, but in the settings tab you can actually specify the color space. The default should be rec.709 Gamut with linear Gamma. The white line was completely white (1,1,1) which is the same with or without Gamma transform. The rec.709 gamma doesn't impact black and white point. The gradient was linear as you saw in the waveform monitor.

[@antonarap]

@@VFXstudy OK so the "Auto" selection of color space in a background tool in fusion results in rec.709 Gamut with linear Gamma right? So if it is merged with a "linearised" P3 clip, the resulting image is rec 709 or P3? The reason I thought your "academic" line was being calculates as if it had Gamma is that when you transformed it, pixels were created around it. I suppose the correct behaviour would be to not create such pixels.

[@VFXstudy]

@@antonarap The pixels around come from the interpolation based on the rotation angle and depending on which interpolation algorithm you choose in the transform tool - I just used the default setting for the interpolation. Regarding the gamut, it would probably be safest to set it to P3 in the creator node to avoid any accidental mixes.I don't think fusion does any automatic conversions within any of the usual nodes, so it would just take the RGB values independent of the colorspace in any operation. However, it does keep track of the colorspace in the metadata, which is used by the managed view LUT for example in case of Resolve Color Management.

[@antonarap]

Thank man. My monitor calibration software (xrite) has no default REC709 with GAMMA 2.4. So I created a custom preset to calibrate my monitor this way, as, because Netflix requires it, it is becoming a standard. But I had no idea that GAMMA 2.4 implied that the linear part of the REC 709 function should be skipped. I see no option to do such a thing with my calibration software. Am I screwing up all this time?

[@VFXstudy]

Well, I'm not an expert on all things Monitor calibration, but I believe typically you can calibrate your reference monitor by connecting DaVinci Resolve to the calibration software - at least that works with DisplayCal and ultimately make sure that you have a Monitor View LUT In Resolve that matches. The monitor generally speaking should be calibrated as per the type of the monitor and your viewing conditions, which can be different from the final delivery to Netflix I think. So I think it's fine to have a Rec.709 or sRGB calibrated monitor if that is matching your own setup and then change before delivery. But frankly, I'm a bit out of my league here, since I am not working as a colorist... so you might better verify this with others ;)

[@mardman100]

kzbin.info/www/bejne/pWqxf56tZ9WHd5Y

[@blendertutorialdotnet]

Thank you!

[@Droneswayup]

I have a question that doesn't concern this video. Have you ever seen the Coors light freeze the world commercial? Do you know how that was created? And can you do that?

[@VFXstudy]

Just looked at it. Something similar you could get with card projections in 3d space from photos + some added particles. But the closeup 3d of the faces I think they might be using true 3d models from 3d scans of the actors. Or perhaps shot the actor with multiple cameras and transition from one to the other like the slomo stuff in Matrix

[@Droneswayup]

@@VFXstudy interesting thanks for the reply back. I've definitely wanted to learn how to do that.

[@j2only007]

What about Resolve color management? We may also use transformations and blur type of filters in Resolve. Please reply it will be helpful. Thanks!

[@VFXstudy]

What is your question? Yes you can use Resolve color management or aces and I have additional tutorials on that in this series. At least in Fusion, ResolveFX are also applied in linear if you are working in Linear. On the color page they are probably applied in the timeline color space, though not sure if they compensate for that in the color page ..

[@j2only007]

@@VFXstudy thanks a lot!!

[@Ditispeter]

I use smartphone footage that was recorded with Filmic Pro and their own Log V3. What's the best way to use this in Fusion? Because there is no Intput Color Space available for this in Resolve. Or what do you do if you don't know the color space of the footage?

[@VFXstudy]

Well I'm not directly familiar with that one but the camera manufacturer should specify somewhere what that LogV3 is. It's possible that it's equivalent to some other existing option or that they offer a conversion LUT to/from something more common...

[@card-joker5301]

Hallo Bernd, leider verstehe ich das ganze Thema nicht so recht. U der Berufsschullehrer könnte es leider nicht rüber bringen. Ich habe mitgenommen, dass manche Fusion Effekte, mathematisch korrekt nur im linearen Bereich arbeiten. Wenn ich ein log Clip z. B. Canon clog mit einem clog - lut versehe, ist es dann wieder linear? Ein rec 709 footage ist von der Kamera mit einem bestimmten Gamawert (2.2 - 2.4) besetzt und ist daher auch nicht linear? Betrifft dieses Problem wirklich nur die Fusion Page? Es gibt ja in der edit Page wie z. B. Weichzeichnen oder? Ist es beim color grading ebenfalls problematisch? Im Video erwähnst du, dass es dort anders abläuft. Ich habe Sorge, dass ich alle Filme falsch behandle... Ist dies in Premiere pro und after effects ähnlich? Wie sieht es da mit lumetri Farbe etc aus? Ich danke jedem für eine Antwort auf meinen langen Text.

[@tensefx4655]

Hi Bernd, do you do your planer tracking etc. in linear too?

[@VFXstudy]

It shouldn't be critical for the tracking itself but I think it should also not hurt the tracking either.. For the compositing it is the preferred way.

[@tensefx4655]

@@VFXstudy Thank you!

[@TheFeanor74]

Ok, so I get how you set up "linear workflow" by subtracting the gamma or log curve before manipulation and adding it to the result within the fusion tab. But doesn't that automatically mean that you should absolutely never use any manipulation directly in the edit tab via the inspector?

[@VFXstudy]

Well, I'm not sure how the Edit Page effects are set up, but I assume they should be optimized to work in the timeline space, and I'm not 100% sure at what point they are actually being processed in the Resolve Image Pipeline for final delivery. I assume that if Resolve color Management is enabled, it's hopefully processed correctly - even Fusion effects controlled from the edit should then not be an issue. I'm not sure what happens with say log footage on which you only apply a viewer LUT and do final grade in the Color Page. In that case I assume the Edit page cannot know what the gamma of the Footage is and there could possibly be mistakes if Resolve actually processes the effects before the color page.... Would be an interesting thing to test actually, I have never thought about it that way. To be fair, when you only do some transforms and scales and not much else, your errors are extremely small and you would probably never notice the difference - but still an interesting question how it's mathematically handled by Resolve...

[@TheFeanor74]

@@VFXstudy tnx for the quick answer.

[@mardman100]

kzbin.info/www/bejne/pWqxf56tZ9WHd5Y

[@TheFeanor74]

@@mardman100 Was that really necessary? C'mon guy!

[@AleZakko]

Hi my friend! I've found this big issue on a graphic title generated in fusion on a davinci wide gamut timeline. My colors and my white text aren't correct and also the white text it's a little bit grey. If I edit a gamut curve as srgb inside the image menu on my graphic color node, I can see on fusion view the right color and luminance, but when I come back to my timeline, everything comes more brilliant with fake colors. Does this workflow correct this issue? Should i only put a gamut node before the media out node? Many thanks!!!

[@VFXstudy]

Don't really have a complete workaround for the new wide gamut thing I'm afraid. The media out conversion is probably correct but choosing a color in linear space in Fusion that matches the wide Gamut is tricky. Might need to go for out of range values. See my response on the other post you posted. BMD forum for bug report/feature request might also be an idea - hoping they do some development in this area...

[@AleZakko]

@@VFXstudy yep... Exactly :(

[@harrykowalsky8952]

danke!

[@mardman100]

kzbin.info/www/bejne/pWqxf56tZ9WHd5Y