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.

[@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.

[@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.

[@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.

[@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.

[@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!

[@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.

[@JustFilmVibes]

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

[@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.

[@EvanSchneider]

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

[@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.

[@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.

[@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

[@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

[@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.

[@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.

[@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.

[@MojoPapiFPV]

After countless hours, this finally demystifies the whole thing.

[@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 :(

[@aybee5908]

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

[@DarrenMostyn]

Glad you enjoyed it!

[@pedrosanchez4035]

I know I have commented on other videos. Thank you so much I concur with your other subscribers, you are without doubt the best teacher / explainer on youtube in this area. Your lack of pretension and pseudo-elitism is very refreshing, it is a complicated business. You however make it accessible to anyone who wants to know and cares to pay attention. Other very well known and respected in their field colourists and editors, would lead one to believe that this area is akin to a religious cult. The only way to become proficient requires the sacrifice of the first born and giving tithes of all one's worldly wealth for a few crumbs of information handed over in such a way to demonstrate their skills yet actually teach obscurely. A whacked out hyperbolic rant you may think, but no. A simple illustration of what I mean is that YOU Darren actually explain very well opaque concepts and methods that are clearly understood by the end. One of the key factors is, that along with your clear verbal and visual tutorial ... YOU USE A MAGNIFIER SO WE CAN SEE THE INTERFACE AND READ THE MENUS ETC. Other leaders in this field on youtube do not, and I don't care how big one''s monitor may be, no matter how much one may pause and rewind, they are illegible, rendering the tutorial virtually useless. While the golden boy of colour upsells the viewer to their course on the subject, sneering at those who may not want to shell out the cash as not dedicated enough to get good at the skills. And of course don't forget to buy their professional exclusive LUTs, which when bought and paid for are reminiscent of the Emperor's new clothes, obviously you can't see the difference as you're not using a calibrated reference monitor like the author, there maybe a grain of truth in that, but I call shenanigans. It is in their interest not to give away too much for free, and to maintain an elitist position. Basically thank you very much mate, you are truly appreciated. As a small bonus it is refreshing to hear an accent that is not from the USA to go with it, just for a change 🙂

[@DarrenMostyn]

Appreciate the kind words and glad to hear you are enjoying my content. Wish you all the best, Darren

[@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!

[@OliverBeck1]

Best Davinci Tutorials, thank you very much!

[@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

[@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.

[@darkpowerxo]

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

[@mg-ci9gc]

thank you i finally after lot of tutorial understoud the logic of that

[@stevenandreasmatter]

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

[@cellule66]

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

[@levidaragiu]

Your British accent makes the video soothing and very easy to follow.

[@DarrenMostyn]

Its the only one I have so glad it works for you!

[@levidaragiu]

@@DarrenMostyn it reminds me of Philip Bloom.

[@LuminoStudioOfficial]

Thanks Darren!

[@DarrenMostyn]

My pleasure!

[@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

[@Mawwed]

🤯 mind blown, thanks!

[@gunnar5266]

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

[@DarrenMostyn]

Glad you think so!

[@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.

[@gdeltorto1]

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

[@DarrenMostyn]

Thank you. And wish you happiness too.

[@benfolts5213]

This explanation is better than the manual. Thank you!

[@rod.7077]

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

[@MatthewTaylor3]

I like how this one was explained. I just need to watch it again while editing on my PC

[@DarrenMostyn]

Glad you liked it.

[@meliorstudios]

explained so clearly, thank you

[@DarrenMostyn]

Glad it was helpful!

[@BradleyRyanStorrs]

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

[@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!

[@tommymejiaES]

Wonderful, brilliant, thanks

[@zbeimish]

That Really Does Make Sense! Thank you!

[@richardrem]

Just two words, Absolute fantastic, thank's Darren

[@johnaryan2]

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

[@mailjabber]

Awesome explanation. Tx!!!!

[@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!

[@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

[@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.

[@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?

[@RamasolaProductions]

Thank you for simplifying this Darren.

[@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!

[@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!

[@brandonrude]

This was excellent, definitely going to try this approach.

[@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

[@Panther-]

When I irate got into davinci a few weeks ago,I loved it and I watched this video but coming from Final Cut Pro,it didn't make too much sense, now I have been learning more about davinci I came back to this video and realised a few or many things I had no idea about that definitely was hindering my gradet lol,thanks.

[@gllry4449]

You are a true blessing

[@davon2623]

The education I’ve been waiting for!! 😮

[@brocolistudio3393]

Thanks for your time creating this masterclass.

[@Teemzsaerialmedia]

Makes sense thank you ! 👍🏼

[@benediktseifert3699]

Thanks Darren! That helps a lot.

[@DarrenMostyn]

Glad to help!

[@ElectricLoft]

This was great. I now have a introductory awareness of how Davinci is handling colorspace across the input, timeline and output. It helped me solve a problem where I could not get a render to match Blender output. It turned out that I had set a LUT on the clip itself and forgotten about it. This seems to be a place which is separate to the node LUT settings, aarrrgh!

[@DarrenMostyn]

Glad you sorted it. Glad you enjoyed the video too!

[@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!

[@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

[@charliedont]

thank you! great explanation

[@MrRemiggio]

Great tutorial!

[@The_Idea_of_Dream_Vision]

great tip kinda makes sense why things were clliping fast

[@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.

[@uwewrobel8576]

Thank you so much for your tutorials!!!

[@DarrenMostyn]

Thanks Uwe. Glad you like them

[@SACC_]

Incredibly useful and well explained for a novice like me.

[@tobiaskaspar]

OMFG.. Luckily i found your channel Darren. I am a hobbyfilmer and just switched from FCPx to DR. AMAZING work man! ❤

[@DarrenMostyn]

Glad u found my channel too. Enjoy!

[@1MinWarEpic]

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

[@davidlivett7420]

This is a super explainer. Thank you

[@DarrenMostyn]

You're very welcome David.

[@wildersworkshop]

So helpful, brilliant explanation. thanks Darren.

[@wilfredijsveld5062]

Wow Darren, after seeing too complicated tutorials/trainings/lessons/masterclasses about colorspaces etc. Your explanation makes it so much easier to understand, finally.

[@DarrenMostyn]

Glad it was helpful Wilfred! I work hard to make my tutorials easy to understand but have to admit .. this was one of my more challenging, so I really REALLY appreciate the comment! All the best, Darren

[@noli_ganda]

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

[@eswar9255]

Thankyou so much sir. Gaining a lot from your videos

[@Kradukman]

Thank you! This is super well explained :)

[@DarrenMostyn]

Glad it was helpful!

[@forzafulvio]

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

[@DarrenMostyn]

Glad it was helpful!

[@GeorgeAtanassov]

Fantastic explanation. Don’t hold back on going deeper into these techy topics from time to time. With Resolve the devil is in the detail

[@CreativeVideoTips]

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

[@DarrenMostyn]

Thanks Chadwick, Really appreciate that.

[@carrollgodro9780]

Very good. Thanks !

[@moisesjimenez3468]

Jesus!!!, amazing tutorial.

[@DarrenMostyn]

Glad you liked it!

[@renosnicolaou8417]

thanks Darren. You are the best

[@xodius80]

thia is gold man, thank you

[@LPedro81]

Best tutorial ever. Keep up the great work!

[@Datu001]

Omg thank you sooo much sirrr we love you

[@DarrenMostyn]

very welcome! thank YOU.

[@ProducerMode]

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

[@ryanbrowning9671]

Great tutorial. Thanks a ton. Cheers.

[@DarrenMostyn]

You're welcome Ryan.

[@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.

[@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!

[@yp118]

Super helpful Darren! Again!

[@aljoscha.merlin]

Amazing!

[@DarrenMostyn]

Thanks!

[@my2cents198]

This is fantastic information, clearly explained...congratulations on this fantastic tutorial...learnt alot.

[@DarrenMostyn]

Glad it was helpful!

[@TerenceKearns]

You are a legend

[@DarrenMostyn]

Appreciate the kind words.

[@glch3488]

Thank you so much!