Vectorscope // DaVinci Resolve scopes (for Beginners)

How to get the best out the Vectorscope in DaVinci Resolve 17. The first few minutes explains for Newbies how to read Resolve vectorscopes so start at 02:08 to skip the Vectorscope basics. This Episode is one of my many DaVinci Resolve Tutorials, helping you learn and improve your skills in Resolve editing and colour grading (color grading). ** Join my Exclusive email list for free download of my node tree, my top10 edit tips, my sky replacement items and other free items coming in the future bit.ly/2RrjvpN **
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00:00 Intro
00:31 A quick complete beginners guide to Vectorscopes
02:08 Settings
03:56 Analysing an image
05:50 Out of range check
06:55 Balancing shadows
08:55 Skin Tone indicator
09:39 Customising the scopes
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Darren Mostyn's Killer Tips DaVinci Resolve help you learn from a broadcast professional with nearly 25 years experience in post production. Darren is Senior Colourist and owner of a boutique post facility in UK, clients include BBC, ITV, SKY & C4 amongst many. Darren is a certified Master trainer for DaVinci Resolve.

[@drewpotter3395]

I can’t thank you enough for demystifying the vector scope. I have attended many one or two day seminars in the past for colour theory and correction and no single instructor was able to illuminate me with the super power of comprehension and confidence you just did in 11 minutes. 💯. A true pleasure learning on your channel,sir!!❤❤❤

[@DarrenMostyn]

Thank you for the kind words and glad it worked for you. The info in this video is good but old now so the scopes are far more feature rich now, but the principles here remain true. Thank you again! Wish you all the best, Darren

[@rohinani-lo2ti]

@@DarrenMostyn Please remake or ad extra info related to new features

[@mfe3038]

So glad I found your channel. This is pure gold for a self taught colorist like me. Thank you!

[@DarrenMostyn]

Welcome and glad to have you on board.

[@DTND]

This is fantastic content. Thank you so much for your videos! I'm finally starting to make some sense of the colour page thanks to you.

[@fullnerd7975]

These are fantastic videos Darren, cheers for that mate.

[@grumpyoutdoors]

Thank you so much for making these. So much depth, it really makes me appreciate how much goes into the process.

[@DarrenMostyn]

You are so welcome! Thank you for letting me know, just as important to know which videos are liked. I work hard on them, appreciate you letting me know its worth it. Join my live on Tuesday June1st 7pm BST.

[@DKiaulakis]

Amazing, thank you for sharing experience and knowledge!

[@a.z2972]

Great stuff again Darren. Love the break downs of the basics, they’re very helpful thank you

[@DarrenMostyn]

Glad you like them!

[@enjoythelittlethings3359]

Brilliant !! Thanks for this tutorial.

[@dcstudio309]

Thank you Darren for this amazing technical episode! Really enjoyed this one! Been a subscriber since you had 1.000 subscribers:) Really glad to see you grow, you are doing an amazing job! Thank you for all this knowledge!

[@DarrenMostyn]

Really appreciate your support! Glad you are enjoying my channel. All the best Darren.

[@adsmithtx]

excellent. I learned more about scopes and how to use them then I have in all the time I have uses DVR. thank you for sharing your time and talent!!!

[@adamsterling4946]

Super! Thank you so much. I'm beginning to grasp how different elements of the Color Page work together. You da man!

[@DarrenMostyn]

You are welcome - glad its working for you.

[@huggeebear]

That last one was the killer tip for me ✌🏿👍🏿🙏🏿

[@DarrenMostyn]

Excellent!

[@stevofoo]

This is gold!!! Thanks Darren!!!

[@DarrenMostyn]

Thank you Steve. Appreciated

[@conortychowski]

This was really helpful! I've always looked for a breakdown of the broadcast side of vectorscopes.

[@DarrenMostyn]

Thank you Conor, appreciate you taking time to comment too.

[@RusstafaB]

Great to re-visit the Vectorscope a very useful tool, thanks Darren

[@DarrenMostyn]

Glad it was helpful!

[@AllThingsFilm1]

Thanks for making the vectorscope even more understandable. I've never really known how to work with the vectorscope before. This video changed that completely. Thank you!

[@DarrenMostyn]

Glad to hear that worked for you.

[@chriswilliamson590]

Thank you Darren. I am a complete beginner and still baffled by this amazing program but I hope to learn as much as possible. Thank you for all of your videos.

[@DarrenMostyn]

Thank you Chris - Hope these help. Stick with it - its a fantastic software.

[@Giwari]

Love your tutorials, keep up the good work!

[@DarrenMostyn]

Thank you Mikko. Means a lot! Will do.

[@ImaginationUpgraded]

I've learned so much more from 2 of your videos than I have in all of my youtube searching years!

[@DarrenMostyn]

Good to hear! Enjoy the other 96!

[@petelyden8193]

Great stuff as always Darren, thank you.

[@DarrenMostyn]

Very welcome

[@antpruitt]

Beautiful video and explanation. Thanks

[@DarrenMostyn]

You are welcome!

[@lucamorazzano2409]

Thank you, Darren! You're a superb communicator and teacher. I'm finally understanding how to the scopes properly.

[@DarrenMostyn]

Great to hear Luca. Thanks for letting me know - it is appreciated.

[@petermclennan6781]

Superb, as usual, Darren. Me, DR17 and you are a heck of a team.

[@DarrenMostyn]

Thank you Peter. Glad it was useful.

[@Deep-Travel]

This was amazing! Thanks!

[@DarrenMostyn]

Glad it was helpful!

[@image7d]

Hi Darren. By far the best explanation I,ve seen EXCELLENT thanks again Darren

[@DarrenMostyn]

Glad it was helpful! Thanks again Andrew.

[@alexpeters4016]

Thanks for this Darren...I am setting up my first grading company and I found this really informative with great detail ...I'll be following your further videos avidly!

[@DarrenMostyn]

Glad to hear it - good luck with the set up. All the best.

[@londonztoa6359]

Thx Darren, a really good, clear explanation.

[@DarrenMostyn]

Glad it was helpful!

[@justrelaxx6665]

I really like the way you explain, it’s the first time that I am learning something the way I should, there are many more videos on KZbin titles as for beginners but those are as explained, thank you very much.

[@DarrenMostyn]

Glad it was helpful!

[@kf-photography2686]

Darren, you simply the best in the area of color. Thanks a lot!!

[@DarrenMostyn]

appreciated.

[@OzoneVibe]

Brilliant stuff! 👍

[@DarrenMostyn]

Thank you.

[@GabrielFFontes]

This is really cool content, thank you!

[@DarrenMostyn]

You're very welcome!

[@nicko5566]

This is above my pay grade but it helps me to learn and understand color much more. Thanks for the great info and technical detail!

[@DarrenMostyn]

Glad it was helpful! Doesn't matter what level you are working at...the scopes will still help you.

[@nashhall694]

Wow Darren, this was super helpful, I’ve just started doing commercial work & getting the grade right quickly will save me a lot of headache. Thanks so much for posting these tutorials without hype or unnecessary stuff.😀👍🙏🥰

[@DarrenMostyn]

you are welcome. Glad they are helping you.

[@Julio260375]

Awesome, thank you! 👍😊

[@DarrenMostyn]

You're welcome!

[@wildflowers30]

you're the best!!!!

[@Retinatronics]

Thank you Darren.

[@DarrenMostyn]

You are welcome

[@Kaprygunov]

Wow! Very informative!

[@DarrenMostyn]

Glad it was helpful!

[@skymakai]

Appreciate it!

[@kadragepictures]

this was really helpful!

[@DarrenMostyn]

Glad it was helpful!

[@tarjeibjerkedalene]

Learnd something new. Thanks :)

[@DarrenMostyn]

My pleasure!

[@aneelramanath]

Hi Darren, that's some neat explanation of the vector scope, some new info for me there. Thanks!

[@DarrenMostyn]

Glad it was helpful!

[@jmerrill08]

Genius per usual. Thanks.

[@DarrenMostyn]

appreciated John!

[@DarrenMostyn]

An extension to my original Scope episode made on V16 - see that episode here - kzbin.info/www/bejne/f6jUppaOpsdlsLs

[@alexsandunga]

Hello Darren, first of all thank you for your videos. Do you think is possible a video where you explain more about the skin tone indicator, where it really should be? What size should it be the line? Thanks

[@primenettv]

I appreciate your tutorial Darren. thanks

[@DarrenMostyn]

Glad it was helpful!

[@rongchn_]

thank you so much!

[@DarrenMostyn]

You are very welcome. Thanks for watching, darren

[@DirectedByGae]

Thanks! Interesting and helpful!

[@DarrenMostyn]

Glad it was helpful!

[@ikbalaydin80]

KING, Thank you so much ❤

[@DarrenMostyn]

OK, I'll take that! Thanks Ikbar.

[@ikbalaydin80]

@@DarrenMostyn Thank You Sir 🤗 i am always wonder can do smartphone videos color grading with no log footage? .. and i will be so happy if you would show us color grading a footage like justice league .. very dark black scenes !!!

[@RobytheFlorentine]

your video was amazing. Thanks a lot, I hope that the colors of mine will become a bit better. Your coloration is one of the MOST naturale I saw....

[@DarrenMostyn]

appreciate the kind words

[@jaroslavasmacko9762]

The best Davinci Resolve teacher on the planet earth!! This is not a blogger, this is a master! Darren it would be very helpful if you could explain color management for Resolve, what settings to use, all these connections with color pipes, how to set everything properly in the right way. Thanks for your work 🙌

[@DarrenMostyn]

Hi Jaroslavas. Pleased to hear you are enjoying my channel. I've covered the Resolve colour management tools in my HDR episode and also Grading S-log3 and a few others. If you are looking for more detail then probably worth you signing up to my exclusive EMAIL list for free items and future updates and goodness eepurl.com/hob0oH (non-spammy guaranteed). All the best and thank you for the high praise - appreciated. Darren.

[@jaroslavasmacko9762]

@@DarrenMostyn Many Thanks! Sure thing i'm going to sign up 🙂 🙌

[@MIHAO]

Cheers, Darren

[@4kHDR.DAQUAN]

very good!

[@ahmadirfan8649]

AMAZING!🤯😭 this is so helpful! thank you so much😭

[@DarrenMostyn]

Glad it was helpful!

[@ahmadirfan8649]

@@DarrenMostyn would you make a video about the difference in grading 16bit footage over 8bit footage? Curious to see how much difference between them✨😄

[@Jyotirmayshuva]

I am new to Color grading and I understand the Scope but still, I was sure I am not aware of all of this. After watching your series now I can tell I am at least know all (perhaps) about Vectorscope

[@DarrenMostyn]

Good to know. Im glad its working for you.

[@th8132]

Well, I thought I knew the Vectorscope until I watched this video. Thanks for the information.

[@th8132]

I'd be interested in a workflow video on how you'd tackle a color matching different cameras task. Like matching toy cameras (GH5 etc) to Raw footage from a Ursa camera, for example.

[@DarrenMostyn]

You are welcome.

[@BruceMoyle]

Good tip on extents.

[@DarrenMostyn]

Thanks Bruce,

[@jeffnotti9932]

Not only is your lesson in depth but you discribe the workings in a way that is easliy understandable, great stuff... < J

[@JimRobinson-colors]

Great video Darren. A few observations of things that I do with them , just my own personal way that I use the vectorscopes, not necessarily the right way, just what I do. No big deal - just a few more tips. The aha moment I had with vectorscopes a while back was that you can zoom the trace by holding Alt/Option key and using the middle mouse scroll - the good thing about that is when you need to see precise positions of the saturation near the middle. The nice thing about it is "Normal" is the minimum zoom. So out of habit a lot of times it is quicker to zoom in, and zoom back out with that scroll. This works on all the scopes, by the way. The other thing that I find helps a bit is when setting up the 4 -up vectorscopes, like you did in the video, that the top left number one scope - is the default when the scopes are back locked at the bottom, so I make the first vectorscope to be set to "All" and then low,mid,high. Then when I just have it in the bottom - I know that the one that is showing is "All" without having to do anything. Lastly for new users, it might seem obvious but every color wheel in Resolve shows the same colors around the center - I just remember years ago realizing that. It made it easier. A few things that I hadn't considered or forgotten about in this one, Darren. So I appreciate the lessons here as well. Cheers

[@DarrenMostyn]

Hi Jim, Great extra tips from you - thanks for that. I completely forgot you can zoom in with the mouse. I think regarding the order of layouts....I set that out as a fixed second monitor idea. I forget that a lot of users don't have second screen option for scopes...Im so used to it...so the idea of making the 'ALL' one first screen is a really great point if you switch modes - nice one. However, I think that 1 screen view - probably waveform or RGB parade would be my choice - wow - actually...thinking out loud...I need all of them - second monitor for the scopes is really helpful if you can afford it (Jim - I know you have 2 monitors...meant for others reading this). Thank you as always - top advice. Darren.

[@Fr4nga]

Hey Darren, thanks for the video! I have been finding your tutorials very helpful lately and have learned a lot. If I may ask for a small piece of advice... When using say, an x-rite colour checker passport video, to get correct colour and exposure with the vectorscope I sometimes stumble upon a curved line when attempting to correct saturation and hue. It will often be the blue line and it curves quite far off from the blue box level and if I try to bring it back the blue will have artifacts and a magenta hue around the edges. What is the cause and fix of this? Looking forward to your reply! :)

[@keithdennis5085]

Wow. The last little bit of this video was phenomenal! I've never thought of using the multi-view to display four seperate vectorscope ranges. I can see how this would be very useful! (By the way, I think this whole tutorial was pretty darn good, not just the ending.)

[@DarrenMostyn]

You're very welcome! Glad ALL of it was good for you.

[@keithdennis5085]

@@DarrenMostyn I've learned so much from watch your tutorials!

[@badboujee]

Darren you're a Rockstar! Very much enjoying all of your videos! I learn so much, and it's fun to watch! Not too fast, not too slow, a nice voice and brilliant tips! If you would make a paid course i'd absolutely buy it. Cheers

[@DarrenMostyn]

Thank you - very kind. Good to have you here. You should subscribe but also consider joining my Exclusive email list for free download of my node tree featured in my Slog3 episode, my sky replacement items and other free items coming in the future bit.ly/2RrjvpN - this email list will have an announcement in the next few months that WILL be of interest to you. Glad you are enjoying the content - I work hard to make each episode tight and full of goodness!

[@badboujee]

@@DarrenMostyn i joined the mailing list right away yesterday :) thanks for putting so much effort in your videos. Even though there is already so much resolve content on KZbin - yours are the first truly „pro“ tips which are actually helpful in the workflow of a busy professional. Thank you!

[@bazinbali]

Hi Darren, I took your helpful color profile and calibration answer to my question, and I have since calibrated my LG Ultrafine 5k using a Datacolor SpyderX Elite in normal evening lighting conditions, my main working time, following their instructions. I've noticed the new colours are very similar, and match my macbook screen after I calibrated that too, which is reassuring. However I would say the contrast has decreased. I haven't found much on this online other than blacks should now show better information (not all crushed) and some tests online appear to validate that. I suspect monitors come shipped with purposely vibrant displays to look attractive, contrast (and maybe saturation) up a notch. And if using a calibrated monitor shows true colours, my query is if you colour grade using these calibrated profiles with less contrast, should you be mindful that consumers watching it on their phones and computers will likely view it with more contrast? And have you experienced what I have just mentioned? Thank you

[@normanmailerr5475]

Thanks Darren, just found your channel. Any chance of continuing this video into neutralizing blacks greys and whites? I have a very wide white circle when my color checker white-black chips are highlighted in Davinci on the low vector scale. I can't seem to get it down to a dot without reducing the lum to black. Cheers.

[@MikeUCV]

Thank you very much Darren. There is alway something to learn, no matter how "beginner" the video is. I do have a suggestion for a video, if I may: I'm very interested in knowing your workflow when working with an editor, I keep having trouble importing the timelines from Premier, especially when effects have been applied to some clips. Could you share your procedures?

[@DarrenMostyn]

Hi Mike. Glad to hear that you are picking up tips. You should sign up to my exclusive email list - might be good for you. See link in description. All the best.

[@kevinwoodham5365]

Excellent, excellent tutorial again , thank you. Would love to see more, if you have the time or interest one day, on using the full capabilities of this tool to assist you when making skin corrections / adjustments.

[@DarrenMostyn]

Hi Kevin. I didn't want to get into skin correction as I have done that on other episodes and it makes the video longer. I think that skin line is well covered in many tutorials on YT. Happy to elaborate if enough comments. Thanks for the kind words. Darren.

[@kevinwoodham5365]

@@DarrenMostyn Yes that would be a long discussion/film. I'll go back and revisit your Scopes film on skin/vectorscope, but I'm finding skin, as a newbie colorist, quite a beast of a thing to get right sometimes, especially if there is a color cast floating around in the mix. Were there any other of your episodes ( I've watched quite a few and owe you a few 'digital' coffees when I get out of furlough!) that I may have missed that look at the subject of skin correction? All the best

[@bazinbali]

@@kevinwoodham5365 seen his Resolve Face Refine video? I watched that today

[@nigelmull]

Very useful thank you. Could you please do something on the different types of nodes available in the colour page and when you should use them?

[@DarrenMostyn]

Sounds like a good idea. It has been on my list for a while TBH.

[@benjaminmaxant]

Thanks a lot! About the 75% of legal saturation on REC709 broadcast, what is the problem if we don't correct the over saturated parts of a sequence?

[@duszam]

HI Darren, I have watched both scope videos - super informative, very much appreciated! Does it mean then that you never deliver videos crossing 64 and 940 levels? Does switching 'make broadcast safe' protect us then? Same curiosity about saturation limits on vectroscope really. Looking forward to see next videos! Great channel!

[@DarrenMostyn]

The broadcast safe in daVinci Resolve is not that great as it is hard clipping. New video early this week all being well. Thank you.

[@RomanDeGiuli]

Thanks for this great video Darren. One thing I am struggling with: I do more and more HDR and use the Chromaticity instead of the vecotrscope. Am I right, that the vectorscope is intentionally for Rec709 only ? I don't get readings on it which make sense when working in Rec2020. I am also having a hard time with the chromaticity display as I lack knowledge on how to properly use it. I would be super thankful if you could do an HDR workflow video some day. Anyway, thanks for your great work!

[@DarrenMostyn]

Hi Roman. HDR has much wider gamut but the vectorscope is still relevant as it still shows casts and tints.

[@roehaus1]

Hey Darren... love your videos. Do you have one dedicated to skin tones? It's the one thing that I'm having trouble mastering in Resolve.

[@DarrenMostyn]

Not specifically although I do grade skin tones in the A7Siii one and a couple of others. All the best.

[@stehume]

Learned so much from this one, Can't believe that there is a legal limit to the colours, am i right in thinking this would be due to being dangerous to the eyes? many thanks for an awesome vid

[@brucesharp712]

Fantastic. I start to get it now. Is it possible to go through these windows one by one as I now understand (a bit) how to read the vector scope. Lum vs Sat which I sort of get but how on earth do you apply them and when? Also things like de-noise? P.S. like the beer in fridge highlight as I watched your 30th Dec stream last night.

[@DarrenMostyn]

Hi Bruce. Glad you starting to understand the scopes - they are crucial in getting good shots, but more so for balancing shots. I forgot my live stream was still on! was going to switch it off as it went on for ages - did you find it interesting enough to leave on..? The 19" rack mount beer fridge is always commented on when clients come in - one of the first things I bought when I got that AKA Design desk! Thanks, have a good weekend.

[@benmcphee4401]

Absolute Best Resolve Training I've found. Thankyou. :) Just wondering if you'd ever consider putting together an entire training series? Just like this, but perhaps separated into beginners, intermediate, advanced, and expert level, in the correct order someone should learn the tools and techniques?

[@DarrenMostyn]

Hi Ben. Thank you so much for your kind words. The channel has grown quick in just 7 months. It would be worth you signing up to my email list for sure. eepurl.com/hob0oH I have been getting a lot of requests to do a masterclass. It is in very advanced planning stage put it that way - hope to release asap - but want to get it right and it be the best one available! You heard it first! All the best, Darren.

[@benmcphee4401]

@@DarrenMostyn Can't wait. :)

[@badboujee]

@@DarrenMostyn take my money already!

[@karthikvenkatesh2456]

Thank you so much for this video. Taught many things. Also, I adore your setup. Can you please make a video on that telling what all equipment you are using? This will inspire young colorists like me

[@DarrenMostyn]

Hi Karthik. Thank you very much, glad you are enjoying the channel. I did a full studio tour with EVERY bit of kit in detail as my first ever live stream in December. kzbin.info/www/bejne/kJzWgIF6pNRsf8k Enjoy! Skip the first 20 minutes or so.

[@karthikvenkatesh2456]

@@DarrenMostyn Thank you so much!

[@MrTegid]

Hi Darren, great channel. I have a tutorial request - how to grade a project. I've been following yours and Qasi's lessons and they're great for detailed work on clips. But I struggle with understanding how to apply that to a whole scene, or a whole show? Pragmatic advice, like do you use groups or compound or stills? But also philosophy; how do you choose how much to do to a shot, how do you choose where to start? I think its quite a big subject but it'd be really useful. Thanks for your work - really wonderful videos.

[@DarrenMostyn]

Thank you. Yes it is a big topic. Will be starting to cover that sort of topic more and more. Maybe sign up to my email list - might be good for you in the future....eepurl.com/hob0oH

[@paul-travels]

Very helpful. Didn't realize how helpful the Vectorscope is. Where in your color grading workflow does this sort of range checking & shadow balancing fit? Is it at the initial stage, middle or toward the end? Probably not the end. Do you use the method described for all shots or just some problematic shots? How about matching across different cameras using the methods described in this video? TIA

[@DarrenMostyn]

Definitely all the way through, but important at the early balancing stage. This is why scopes need to be on a second monitor ideally - I look at the scopes as much as I look at the image.

[@free-radicalmedia4699]

Awe, over already? You were just getting going! Thanks, Darren. Excellent, as always.

[@DarrenMostyn]

was it too short ? Im always happy to do longer videos just feel that people want short concise info. My lives go on long enough so maybe catch one of them! All the best

[@bazinbali]

@@DarrenMostyn I find they are perfect length. I view topics I think I either already know, or are less interested in, and learn so much more. And the knowledge grows so much with all your videos, they are content packed. Just my opinion

[@DarrenMostyn]

@@bazinbali Thanks. I have to please everyone - no one fix for all on youtube Im afraid. Trying my best for you.

[@free-radicalmedia4699]

@@DarrenMostyn I'm one of those people who always want to know more. Always. The episodes are probably just right in length; it's just me.

[@DarrenMostyn]

@@free-radicalmedia4699 make sure you sign up to my exclusive email list then. I'll be adding some free stuff in there in the future. Link is in the description.

[@filmreif3941]

Great video again Darren! I still try to find a way to jump between the views (Parade, Vectorscope, Waveform) with keyboard shortcuts but it doesn`t work. I think I found it in the shortcut menu under color viewer but it doesn`t seem to do anything. Do you got any experience with that?

[@DarrenMostyn]

I use omniscope on separate monitor so doesn't affect my workflow. recommend.

[@haroldmorganTulsa]

I really appreciate this. I now know what this is for. I was mystified. One question: At 3:03, I see G and M are both on the circle, but no other 100% marker is. Can you tell me why that is?

[@DarrenMostyn]

Hi Harold. Great question - no idea!! :))

[@bazinbali]

Amazing video as usual, learning so much from all your videos. Quick question on zooming and image quality I thought from another video of yours - BMPCC shoots in 6K, the file says 6144 x 3456. Editing it in 4K - 3840 x 2160, I learnt Davinci reduces the resolution of the 6K clip down to 4K automatically if that is your timeline - can you then zoom in without destroying the quality (above 6K) - by 160%? I suspect so but would kick myself if I didn't quick check with an expert. I often shoot more in the frame to ensure I get the subject in when they are moving quickly, and crop in after. Thanks

[@DarrenMostyn]

32 bit floating point always referring to original image unless you change that (render in place etc).

[@bazinbali]

@@DarrenMostyn ok that makes sense thanks for the prompt reply. but one last follow up question - I'm on a 2017 macbook pro - say I optimise my media, I have a timeline of reduced resolution at 1080, and now I'm colour grading - your explanation is stating that I should avoid render in place because it isn't referring to the original anymore?

[@joaopacifer]

Hey Darren, super useful video! Thanks for all the information you shared. Quick question, do you know where this information about 75% amplitude being the legal range can be found? I myself always follow that as well, but I recently found out that some colleagues work with 100% and never been hit with QC issues. So I'm trying to find documentation to understand that a bit better and maybe review my workflow. Let m know if you have info that could help further. Much appreciated. Keep up with the good work!

[@DarrenMostyn]

its not a legal requirement to stay within, just a guide.

[@joaopacifer]

@@DarrenMostyn Mega! Thanks for the super quick response. You rock! Even still do you know of any website or anything that mentions that as well? When I first started working in the industry I also got thought that. But it’s driving me nuts the fact I can’t seem to find any documentation to substantiate that. 😝🤣. Once again, thanks for your strong contribution to the community!

[@richardjordan3798]

Fantastic tutorial (as ever!), but just one query, at 05:33 and regarding the vectorscope's All, Low and High settings, you refer to these as the low saturation range, mid saturation range and high saturation range, but aren't these: Low (shadows), Mid (midtones) and High (highlights)?

[@DarrenMostyn]

yes they are. Its the sat in the shadows mids and highs separated

[@frankinblackpool]

With the scopes and my x rite passport, should I try to get the colors to fit inside the vector scope 75% boxes, or just be content that the colours point towards their coresponding boxes?

[@DarrenMostyn]

Hello Franck. Use the passport checker to balance your cameras. Then start grading and keeping an eye on the scopes. The x rite wont be in the film so it doesn't matter where that sits on the scopes. use the davinci colour chart tool to match.

[@anthonymiles2302]

Great video. How do you get it to allow multiple scopes. When I click on the additional windows button for scopes to get 2 up or 4 up doesn't do anything.

[@DarrenMostyn]

you need to expand the window big enough...just make the window bigger and it will work.

[@anthonymiles2302]

@@DarrenMostyn Thanks very much. I actually had to reset the resolve layout and then it worked. Maybe I had some left over junk going on from a previous version.

[@fredstork]

Interesting but broadcasting constraints is way over my current level and I’m not sure how to apply this to what I do (YT) or if it is at all applicable...

[@DarrenMostyn]

no need to worry for YT. But good to try and keep quality as best as possible and legal levels will help that. Dont worry too much on it. All the best

[@healingforlife808]

Thanks for this Darren. A question. When I place the SMTP bars into my timeline the saturation falls short of 75% in the Red and Blue channel. Why is this? When I run my cursor over various generators the scopes represents them correctly but this alters once I place them in the Timeline - only on the Red and Blue channel.

[@DarrenMostyn]

what is your colour management settings..?

[@healingforlife808]

@@DarrenMostyn Worked it out eventually. I had 'make broadcast safe' checked in Color Management. Did not realise it would have this effect on SMTP bars since I thought the bars were broadcast safe! If you make a video about this it would be great :)

[@derekjcooper]

Maybe it's my still background, but why doesn't the Colour Picker / Show Picker RGB Value dynamically update as we make adjustments? For example, if we use the picker on a white / neutral surface as a reference, we can adjust temp but have to move the picker to see the new values. Seems counter-intuitive. Am I missing something?

[@DarrenMostyn]

No it doesn't update, never has. Would be nice.

[@etei4120]

Darren you are a legend!!! Any chance you can link me where you got those colour checkers from?

[@DarrenMostyn]

The colour checkers are in the edit page. Go to effects library and generators...you'll find them all in there, Place in edit page...right click and "create compound clip` to be seen in color page. Hope that helps. All the best. Thanks BTW.

[@etei4120]

@@DarrenMostyn Thank you so much! Be safe

[@DarrenMostyn]

@@etei4120 no problem. be safe too!

[@meetingavaudiovisual5364]

Is there a way to compare two different clips on the same vectorscope?

[@DarrenMostyn]

yes, grab one as a still. Its hard to analyse on vectorscope - i suggest you just switch/cut between the two as opposed to wipe. hope that helps

[@iComplainer]

Wish I won the hour call, would love to pick your brain. Question: Color correction and grading fascinate me to me end. I want to learn and to excel at it! Should an editor be able to color, and a colorist know to edit or can one focus on just one? Is it a shared discipline?? (Professionally)

[@DarrenMostyn]

I will do another 1 hour give away on my next live - which I plan to do soon. You can get in touch with me via links on my channel banner, I offer 1-1 training via zoom in as little as 1 hour sessions.

[@schmollywood]

Great video once again Darren. Since you talk about broadcast safe there's something I find confusing in Davinci 17. Theres the option to "Display broadcast safe exceptions" under View. Using the Vectorscope as demonstrated by you so well in this video a clip may be totally fine in low, high, mid and ALL settings even with Extends view switched on. Now if I toggle the "Display broadcast safe exceptions" view suddenly the vectorscope may still show some colors out of the legal range. Can you please elaborate on that? I mean what is actually relevant? If the Vectorscope(s) show everything in legal range, even with Extends view switched on, but "Display broadcast safe exceptions"" shows errors what do you think is actually valid?

[@MrFullshot]

if you are delivering to a broadcastor. Thing's get serious in a hurry. If your only on the web. Don't worry. Broadcast safe is relevant for anything that is broadcasted. Super whites and super blacks are the first things that cause artifacts. Colors and levels that exceed bandwidth restrictions are clipped "hard" when they pass through a digital broadcast system. This means your picture quality will suffer a lot if your levels are too high or too low. Furthermore crushed blacks and whites may cause compression artifacts when your signal is converted to MPEG-2 TS for broadcasting. So why is the sky blue? Because it is. Why are things so dark right now? Its Midnight.

[@schmollywood]

@@MrFullshot Hi Paul, the thing is I actually deliver mostly for television and so I have to take care of these broadcast safe levels. Since I edited in Premiere for a long time I knew what settings to use to be broadcast safe and in Davinci I basically do too, but that's what my actual question is regarding. If I can see that all my color levels are within legal range on my Vectorscopes WHY would Davinci still show me broadcast safe exceptions as soon as I turn on this view option? Darrens video even shows that switching on the Extends view in the Vectorscopes it should show anything that is outside of the legal range.

[@MrFullshot]

@@schmollywood My answer to that is over the expansion of the depth of colour and the changes of film to be broadcast NTSC then to HD to SDR merging and now to HDR. It’s like at first we saw film it was like hey we can see the sun. Then as our universe expanded other stars, galaxies and so on. Our colour pallets are changing with every change in the technology. SMPTE standards have expanded and adapted. Some studios will need to see the Exceptions. Referring to Engineers and technologist. So DaVinci is saying here’s what you need to follow. Your okay. But there is more. I come from a telecine background. When we colour and transfer film it is changed say down graded to get to digital. HD / SDR / HDR. If your working in HDR that is the outer limit. In 5 years at 16k we will expand our universe once again.

[@marinrealestatephotography]

I have an "artistic choice" question: Why would one want to neutralize the blacks and the highlights in a shot where it was obviously done outdoors during the golden hour (or close to the golden hour)? I very much appreciate the simple instructions on HOW to neutralize them and the ways to adjust the scopes to facilitate adjusting them quickly. It's just that after they are neutralized, the shot looks "strange" to me. The other questions is more technical. What happens if the saturation is out of range? Does it just appear clipped when the final is rendered? I remember when I was a kid we had this small black and white tv and when certain shows would come on and the highlights were too bright, the TV audio would start to buzz and the screen would freak out. And BTW: Thanks Darren for the video.

[@DarrenMostyn]

Artistically does not apply to this episode. I am showing how a vectorscope works. Vectorscopes are useful for black and white balance...I am showing here that process. This is a beginners episode. There would be a few more nodes to go to get this shot right for me - I was keeping it simple. Technically you need to use the "broadcast safe" option to clip the saturation legal but my personal recommendation is to catch it before the broadcast safe unless you have one that works much better than the one in DaVinci Resolve - and even then...catch it! Thanks for your question - appreciated - Hope that helps.

[@roehaus1]

Hi Darren, I've been following your videos for quite a while and have found them quite instructive. I have run into a problem with some footage of a certain scene where my vector scope is showing a huge Red spike and don't know how to correct it. I have a screenshot for your reference if you have time to take a look. I you could... can you tell me where to send it? Thanks in advance.

[@DarrenMostyn]

Hi Jerry. You can send it to my Facebook page. Link in description of that scopes episode. I'll try and help

[@roehaus1]

@@DarrenMostyn I PM'ed a message to you on FB with the image attached. Actually I think I solved the problem. I had the scope zoomed in. Have a look anyway... if you have time.

[@roehaus1]

Hey Darren- I just watched your video on Vector Scopes and answered my own question. I was unaware that I was on 2X zoom and that the legal boxes stayed in the 1X position. Great video on Vector Scopes. Thanks again for your help and brilliant videos.

[@stephan4932]

Where could I find the footage you used, to try along?

[@DarrenMostyn]

I got this footage from Blackmagic Design. Not sure if its in public domain or not. I'll check.

[@domonkoskui2302]

Nice video! Aren't you planning to make a masterclass? I would definitely join it!

[@DarrenMostyn]

Yes, it is something I'm working on. Sign up to my email list if you want updates on that. eepurl.com/hob0oH

[@domonkoskui2302]

@@DarrenMostyn Cool! Thank you!

[@andrewmccarty]

Just for clarification, do the "Low, Mid and High" settings on the vectorscope correspond to Saturation or Luma levels? I got confused when you used the "High" setting to adjust the whites.

[@DarrenMostyn]

Hi. Luma levels. The vector scope measures Saturation, and the low, mid, high is separating the saturation readings into the respective luma levels. Hope that helps.

[@andrewmccarty]

@@DarrenMostyn Perfect thanks so much

[@SpectrumpicturesLK]

Darren Ur amazing because you share the knowledge cost around thousand dollars our there for free ..

[@DarrenMostyn]

I appreciate that! Thank you.

[@osirisfilmproductions]

The bit that confuses me is do you have to put a Colour Space Transform on before or after these adjustments as I find I make a clip perfect, giving the broadest range on info from Log but then CST ( node after these so I'm not adjusting a compressed 709 log version) throws all the limits out the window. And is it nessecary to always CST to Rec709 and where should it go in the node tree, feels like middle is best, i.e expand and correct LOG, adjust colours to legal limits, apply CST, do skin corrections + effects and then apply a look or is that wrong?

[@DarrenMostyn]

apply the CST later in the node tree, then grade UNDER it...so adjust the nodes prior to that node. That way you are seeing the result of the CST and grading in LOG. All special effects and style nodes can be after the CST. This is just my workflow...no rules...if it looks good, its good!

[@osirisfilmproductions]

@@DarrenMostyn right that makes sense. Glad to know I'm doing it right. Only been doing it 2 months so all a bit confusing at first. Thanks for your help.

[@Roz-Inspire-Video]

Thank you! Question please; would DaVinci work “well enough” to *Colour - Grade *only on my iMac 3.2 GHz Quad Core i5 with 16 GB Memory, and 2 GB Graphics. I’ve seen some reports that i5 may work???

[@DarrenMostyn]

Roz, Hello. This is below recommended spec for the graphics card really. I would think it would work, but "well enough" - only you can decide that. Hope it runs for you.

[@Roz-Inspire-Video]

@@DarrenMostyn Totally understand - Thank you for answering my question.

[@PeperonidiSenise]

what kind of pen do you use, wacom?

[@DarrenMostyn]

Yes, a Wacom.

[@13TeK11]

if this was a teaser trailer for your 20+ hours course on Davinci I would have already smashed my wallet on my monitor 2 minutes in xD

[@DarrenMostyn]

Watch this space! Signing up to my free email list would be a good start for you. eepurl.com/hob0oH Thank you for the words of encouragement.