Use Resolve Like a Pro: DaVinci Wide Gamut Workflow, pt. 3

[@TylerHansenVideo]

Hands down the best Resolve education content on KZbin. Thanks so much for keeping it simple.

[@siliconjones]

@CullenKelly The clip from "The Laundromat off Malibu" I've been a big fan of Joe Simon for years. I saw that you were the colorist. Great Work!!!!

[@shinyshirt]

Man, i just went through this series and it helped me tremendously. out of all the colorists on KZbin, your video stand out both technically and practically. your workflow is incredibly simple but has so much meat to it at the same time. you explain things perfectly and I honestly love the broad strokes until necessary workflow. good stuff dude, keep it up!

[@markdickson1868]

As a VFX artist & Photographer- I've been keen to learn Resolve/Fusion & colour grading. Your explanations have been superb- what really great is your almost photographic 'purist' approach & preference for simplicity. These techniques remind me so much of processing images in say Capture One or Lightroom. Congrats.

[@videoyoplait]

Excellent series. I've taken a course on Udemy that although detailed was not as concise and easy to understand as this series. You've covered a whole lot more in just a 3 short videos than several hours of watching a course on Udemy.

[@kiranraval]

thank you, thank you. now the content in the book making it more clearer to understand little by little.

[@frankwalsh3027]

Thank you for sharing your knowledge , best i have seen online!

[@shannster10000]

Thank you for making these tutorials - I love your work and your keep-it-simple approach❤️

[@rhewes100]

Very helpful, I come from a music production background, and this approach is very similar to the way that I like to approach mastering. Thank you

[@koushikbhattacharya832]

Thank u sir for putting ur time and effort♥️

[@mazefaer]

Your video is very helpful for me.

[@kareemsoliman9390]

really MR Cullen ! simply you are one of the best colorist for me , just little simple details but it make a huge different, simplicity is just wow ! I can't get enough from your channel .... thank you for your time & efforts 🤍🤍🤍

[@BlueSlateFilms]

This was super helpful! Thank you. Would love to see a similar video, but for a docustyle piece. It would be great to see your process for matching different cameras and shots that don’t necessarily have the same environment.

[@BlueSlateFilms]

@@CullenKelly Awesome! Thank you!

[@hunter8980]

Always Impressive! Thanks again!

[@a.s.6623]

Excellent advices and techniques as always!

[@bnostudios2683]

Great work. Still learning

[@RichsBrainless]

Awesome as always ❤️

[@chrisyung655]

Amazing series! Tried you workflow and really helped me to understand how to use Resolve properly to grade my footage. I’m about buying your element LUT pack and only then saw a pro pack there too. What are the key differences between them? And if I bought the element pack for now, is there any upgrade path / discount or whatever for the pro pack should I see fit in my future editing journey?

[@CullenKelly]

Hey Chris! The pro pack is designed to be modular, giving you even more look design tools and combinations to create the perfect look for your project. Hope that helps!

[@chrisyung655]

@@CullenKelly thanks for your reply Cullen. Think it’ll be too daunting for beginner like myself to dive straight into the pro pack and I’ll settle for the element pack and see how it goes for now.

[@dominicpanico2682]

Not sure if this has been asked yet, but when working with log footage, is this workflow, when changing the color space over to color manager, supposed to remove the need to use a color space transform node or log to rec.709 lut? Thanks again!

[@Der_4xel]

I am very new to this DR and colorgrading- so completly nooby here. I was wondering whether it was possible to adjust clips on a global/ makro level. Since I am a diver I am confronted with shooting my footage in different exposure/ luminance levels, like on surface, different depth levels or inside wrecks e.g. So basically what I take out of this is to adjust the clips for the various scenarios and create a dedicated timeline for these clips. But the question that comes into my mind is: how can I merge the timelines and keep the makro levels applied to the scenarios?

[@peturthor5140]

Great as always. What is the benefit of using a circular power window with the aspect set to 100 instead of just using a gradient?

[@yashmistri17]

I believe (from my personal experience), the circular window provides feather in more disciplined manner. So you get inside and outside feather values same which results in gradually feather expansion. With gradient, you will have to either stretch it or compress it to get it on right feather value. Its a bit tedious and harsh.

[@peturthor5140]

@@yashmistri17 - Ahh - makes sense then - will def give it a good test and experiment with the difference.

[@peturthor5140]

@@CullenKelly I sure did - Made perfect sense - Should give myself time to read the book again ;)

[@johnmeric492]

You are the best!

[@scottgoding3115]

Amazing video Cullen! I’m learning SO much from your videos! I do have a question: is there a reason you did your secondary adjustments directly after your primaries in a serial node rather than a parallel node? I’ve seen you do them in a parallel node before and I’m just curious if DaVinci WG changes your workflow.

[@KogakuKing]

I know this is a real noobie uestion. But. . . It seems like the preview on your color page is nice and large and it still shows the node tree. How do I make my preview larger? I know I can zoom into the window but that doesn't allow me to see the whole clip. Can't seem to drag the window very large and don't see any dropdowns or toggles. Can ya give me a clue? Many thanks for all the great tutorials you produce. They are professional, detailed and clear.

[@corgam]

I missed these installments! Hope you get to do more, they provide great insights :)

[@brendanclark.8059]

Excellent as always. I would love to see a situation where you're forced to use qualifiers and how you handle them.

[@ChampagneRhubarb]

Cullen does that in one of the grade schools. He only used two of the three qualifiers at any one time eg. just hue and sat, or just sat and lum. And his selections were really broad and really soft. Nothing fancy. In that example, you could pretty much have made the same adjustment with just HSL curves.

[@brendanclark.8059]

@@ChampagneRhubarb Ah! Yes, I do remember seeing that. Thank you!

[@mannydrives]

Thanks Cullen. Not sure if you have been asked but what computer equipment do you use?

[@mannydrives]

@@CullenKelly thanks for the reply. Any preference to monitor?

[@darlingtonjonesimagery9247]

This is very good series - quick question: do you know where to find some good luts that will stay in Alexa Log C3/4 color space for timeline?

[@darlingtonjonesimagery9247]

@@CullenKelly found them! perfect. Now my plann is to use a color managed workflow using Arri LogC4 color space and their look library LUTs to stay in that space, then output to whatever I desire on the end - whether 2020 or 709. What you think?

[@darlingtonjonesimagery9247]

@@CullenKelly Yes I actually foundn a C4 library

[@hrlostsanity]

You are the best. Especially the principles you are applying through out the process is priceless knowledge for the beginners in this field like me… Huge thanks from Korea. I have a question. I’ve started working on grading a short film and I want to try out RCM workflow. I assume final deliverables might be both Rec.709 and DCI-P3. In this case, what options do I have to change at final export? Output Colorspace in Project Setting? I’m working on REC.709 environment.

[@titusrivers5059]

💰💰💰

[@mazefaer]

tku

[@thegeniusdirector]

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