Simple Trick For Accurate Contrast With Color Space Transform

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[@LearnColorGrading]

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[@simonanthonytrudeau7898]

That’s why I like a Color Managed project. Resolve does that automatically, as long as the Color space/gamma is embedded in the clip’s metadata.

[@iAnilDua]

OMG! this is something I've never seen on KZbin except this video... thank you very much buddy for this really important and helpful tip. lot's of love and respect to you. you saved my life. I was almost about to quit this career.

[@iacopospreafico]

Could another solution be to apply the transform on the last node?

[@MarcSchreiberRealtor]

Yep.

[@joyoffilming9500]

Your video gave me the missing link, indeed: I was using ArriLog based workflow for my Panasonic S1H, but some nodes could easily lead to color banding if tweaked too far. Now I know that the internal engine of DR was still running in Rec709. So, rather than telling ever node about ArriLog I completely switch the timeline to it. Thanks for that extremely valuable hint!

[@eduard.amihai7545]

I'm glad I've purchase your course ..you really saved my life with this !!thank you

[@ginoamadori]

Great insight, as always!! Thanks!! What I’m doing for an HDR show in grading at the moment is setting up my timeline color space to DWG and I start off with a CST from Native camera footage to DWG and it works like a charm, giving me the whole range to use all the HDR Wheels. Whenever I ya e a LUT i want to apply, I change that specific node to 709 so that the lut looks more accurate and so far it’s working great. I then have a timeline level node with a CST that converts DWG to Rec.2020.

[@milquetoes]

Could someone explain why you would want to transform from one camera to another rather than the 709 output? Is this to better match the different cameras, before ending back in 709?

[@Supercon57]

My understanding is this can be useful for working with multiple camera types My workflow is to transform into Davinci wide and then rec709 at the end allowing to work in a larger space

[@petrub27]

But why would you use arri if this is a cannon file?

[@gomezcreativemedia]

YOU'RE AMAZING!!!!!! I LOVE YOUR INSTRUCTION!!!!

[@AlvynArt]

another good reason to set project timeline to DWG

[@mdsegara101]

It’s safer to put the CST node at the last..that way it will stay consistent…

[@Eigenbaardig]

Dude this is exactly what I needed thank you

[@vishalzparadize]

Should I do this if my project is color managed in Davinci wide gamut.

[@alexandreschaal1381]

No, resolve does it automatically

[@DarrenMcPhee]

If I set the main project timeline to Alexa colour/gamma, would still need to tell the node after CST to expect Alexa footage?

[@DavidGriffin]

Is that a Canon C70 and a Sony on the shelf behind you?

[@tcibeatrecords4707]

Question? What if I just use the first step and then use the Arri Lut to rec 709 provided by Davanci? Would this work?

[@ivanyang2022]

damn, I dont know the second node wont recognize the output color space from the previous node. thank you!

[@mpncreates]

Hi! This is super informative, thank you. I have a question - I am a beginner colourist and just starting my colour grading journey, and am trying to understand Output Colour Space and Gamma. I know this depends on where the project is to be displayed, but if I was using Resolve to colour grade video for social media, so to be viewed on a smartphone for example, would Rec709 be my correct output colour space/gamma? I'm pretty confused by this generally at the moment, so any help is so appreciated!! Cheers, Marcus

[@SalyarAli]

Hi, Marcus! For social media and KZbin, you should go for output colour space and gamma Rec.709A (1-1-1). Because if you choose wider Rec.709 Gamma 2.4 (1-2-1) it will be automatically converted in Rec.709A (1-1-1) by social media and KZbin. So, it's better to do it by yourself. But you still can do your colour corrections in a wider colour space, for example in DaVinci Wide Gamut Intermediate.

[@TonysTravel]

This is a $1ML question: I am shooting most of the time with Panasonic G85 in CINED - straight of the box because has a good taste for me - now using color management in DVR 18 I found that ARRI LogC3 for input and timeline, plus output Rec-709A (for Mac you need that) making the footage very nice and not need any useless LUT pretending to make your footage like Hollywood :-) If my settings are wrong, what can I use instead?

[@uhuhno6441]

42. Now gimme that money

[@argusfest]

What are your thoughts on just using one color space transfer node at the end of the node structure?

[@MusaonYT]

Great tip. But if your timeline is in Rec709 and your final render is going to be in Rec709, then shouldn't the nodes be in rec709 as well? What's the point of transforming it into Arri colors, for example?

[@TheRealBarkinMadd]

True, but if you are using a film LUT designed for Cineon Film Log Gamma then you would need to transform your timeline color space to Rec709 and gamma to Cineon Film Log, then apply the LUT in the next node and then apply a second color space transform to take you back from Rec709 / Cineon to your timeline color space and gamma (I may have some of the details wrong but the general idea of having to work in some other color space for a portion of your node pipeline holds). Although, in my tests, I do not tell the LUT node that its input color space is Rec709/Cineon Film Log. I'll have to give this some thought.

[@MusaonYT]

@@TheRealBarkinMadd You’re correct. The film LUTs do work better on a cineon film log or Arri log.

[@adrianrobison]

The point of it is not transforming it into ARRI colors. It transforming it to ARRI color space. Think of it as a bigger playground for the colors to play. Rec709 is like playing catch in your backyard and ARRI (or even better Davinci Wide Gamut) is like a playing professional sports in a stadium….. you are able to push the colors further because the range of colors is bigger. So the workflow is this: CST your footage to ARRI or Davinci Wide Gamut (with Davinci Intermediate Gamma), then do your grade in that big playground, then on your last node color space transform ARRI or Davinci back to rec709. Basically: your footage source, transform to big playground (ARRI/davinci), color correct, color grade (including luts if you want), then end with small backyard (rec709)

[@chelceegrimes]

THANKYOU!

[@richardrem]

When I do this, from Slog to Arri and give the second node the Information that it is Arri, the Black levels are getting crazy. The levels are far below zero. I wonder what I am doing wrong. Can anyone explain or has the same experience. Thank's and greetings

[@tech.inspector]

You have a video, where you changed a setting for the behavior of the waveform which gets squeezed to prevent from clipping. But I can't find that setting again. Where is it?

[@NaeimG]

Thank you for that great information. As a newbie I’d like to ask how the CST on t 1st node and adjustment on the 2nd node could be applied to all the clips. Is it a simple matter or coping the grade from the first clip to all the remaining clips in the color Timeline?

[@malidish]

Can you show how to properly convert Black Magic RAW into ARRI Log and than ARRI Log to REC 709 using CST in Resolve?

[@chadron44]

For Red footage, I just follow the IPP2 pipeline recommendations from Red....i still don't understand how it affects the nodes, before? after? no clue

[@shanjayaweera3036]

thank you

[@ScottGeorgeson]

Allways great stuff thanks.. I want to know why would I convert from one format to another, whats the advantage. I would have thought the native format would always be the best..

[@AlexeyShevchenko]

super helpful, thank you

[@zakariaabed3593]

What about apply the CST in the last node

[@darkechoproductionsllc9559]

Never knew this, fantastic 👏

[@Eestyx]

How do you find out input color space and gamma I have a Sony a6000

[@Eestyx]

I try to color grade and my videos just look grainy

[@fsdsdfsfdfds9598]

I shot 1.5 TB of Footage on the 6k pro in Full 6k Braw Film Gen 5. Its a client project and I need to deliver it in the best quality possible for uploading on a website through Vimeo. I would like to color grade the footage in DaVinci and export it to After Effects while maintaining all the quality in 6k resolution for editing. What would be the best project settings and color space transform from start to finish? Blackmagic Gen 5 Color Space and Blackmagic Film Gen 5 Gamma to Davinci Wide Gamut and Davinci Intermediate and then that to Rec 709 and Gamma 2.4 / Cineon Film Log? Should I put the CTS in the start, end or middle? Can I deliver in Rec 709 as color space and Cineon Film Log as Gamma and still have it displayed nicely on all displays even tho it’s Cineon and not Gamma 2.4? What would be the best render settings or way to export the footage 6k lossless to after effects? I would really appreciate your answer!

[@user-ox8wo5ws9h]

thank sir! For This Tip

[@ChristopherLehmann]

Nice Video!vSo everytime you add another node behind a converted node you need to change color space and gamma for every node?

[@MonstroInLA]

Looking to purchase the course was wondering i work a lot with cdng and would this process be the same in order to get in dwg? I use a sigma fp and komodo and I’d like to get a workflow down so they both can match better.

[@electronicfellows2113]

if i have BRAW footage and i want to apply a creative LUT, do i have to convert from BRAW to rec709 before applying the creative LUT or can i apply the creative LUT directly on the BRAW footage? thanks !!!

[@adeeboberoi5362]

What if you're using Camera Raw settings at the bottom left of your color page interface? and then with a last node CST to go to rec 709. Will resolve do it automatically as well?

[@my2cents198]

Fricking awesome 👌

[@patricex3095]

Do we have to tell every single node after the CST that it is receiving arri log footage or just do it once in the node immediately following the CST node?

[@redstoneranger1404]

You need to tell it to every node between after the CST until you go back to Rec709. Unfortunately, if you reset a node, the settings are gone.

[@umran89]

@@redstoneranger1404 So best bet is to do CST at the end then right?

[@redstoneranger1404]

@@umran89 Good question, this is exactly what I am about to experiment with. Try to use it before and after your main grading and see what works best. My current node tree does some primary basics before I go into CST then some basic prims before going back to Rec709 and then the main grading afterwards.

[@robertolopezfoto]

is it only the next node (2d node), or for all nodes created after that. ?

[@Meteotrance]

Is this also work to convert in ACES 0 color space ? I need to have this to import my footage in Blender and Natron to make my VFX, so i need a unified color space in ACES i can export Filmic render to Natron and bring back the ACES OpenEXR to do the final grading in Davinci, it works fine.

[@gomezcreativemedia]

Do you have in-person or Zoom classes?

[@j.nutzmann4363]

Thanks..!

[@oman4229]

THANK YOU!!!!!

[@Bo_Hazem]

Is it possible though to convert Rec.709 to BT.2020 and make an HDR out of it? I'm trying out at the moment as this video was intriguing.

[@ilyacosmonaut]

no

[@Bo_Hazem]

@@ilyacosmonaut Actually it is according to the Dolby Vision colorist Armando interviewed, but not optimal indeed. Like mastering old movies.

[@edenem]

yes! but it is not really the same if you don't have access to the original raw or log files of the video when it's ungraded

[@Bo_Hazem]

@@edenem Thanks! I, of course, would have access to the original files as they'll be shot by me. I hope I can a good HDR reference monitor and start exploring this. HDR content is the real deal when filming nature and such!

[@AlvynArt]

That would be lile saving an mp3 audio as uncompressed wave....

[@flo1creative854]

you are no joke!

[@besacvideos4694]

How come no one ever told us that

[@NimeshShresthaeditor]

Looks like it doesn't work on RED RAW clips :(

[@workgmail2375]

This might be a dumb question, but would i use a lut with using Color Space Transform or simply add the color with a node to get a certain look ex orange and teal? ... im sorry!

[@ArtGuglielmo]

CST takes the place of using LUTS. LUTS are less versatile as once you use one, they clamp everything down to whatever they did, where a Color Space Transform maintains the full Gamut

[@sireveman]

Shouldn't the first node have Canlon log-c selected then?

[@noahburt2722]

I believe that it pulls the color space from the metadata in the clip. I could be way off though.

[@RVKevin]

Is there a way to discover what log format to pick in DR for the cannon M50 camera ?

[@EdwardRaybould]

It appears that the M50 does not record in log; only rec.709.

[@RVKevin]

@@EdwardRaybould Thank you Edward ! I appreciate you finding that out.

[@edenem]

@@RVKevin you can record in a "log-like" style using cinestyle, it's definitely not ideal as it's an 8bit codec on the m50, but it's definitely useable if you're very careful

[@RVKevin]

@@edenem, thank you for that information.

[@misperlasfilming]

No graba en archivo de registro, es rec709.

[@EgorKlimenko-]

I always try to use professional color correction in my KZbin videos, but it takes so much time (8 hours per 153 scenes on average). Any tips on how I can speed up this process?🙃

[@gabrielh141]

are you rendering the whole scene or just after you cut it?

[@EgorKlimenko-]

@@gabrielh141 the whole

[@syedabu4269]

Thankuuuuuu sirrr

[@misperlasfilming]

EXCELENTEEEEEEEEEE

[@artdoneus]

WOW.

[@supriyaghosh7622]

Too much complexity... What's the benefit of CST?

[@JoATTech]

😮

[@hongkiekie]

Bang! Haha :)

[@haydendias]

I am so confused