Watch these 25 mins to FULLY Understand Color Management [Beginners Guide]

[@DarrenMostyn]

** In trying to keep my explanation simple in this beginners guide, my explanation of Display Referred grading in the first few minutes has not come across quite technically correct, however my intention was correct. Display referred grading means to grade AFTER the display profile has been assigned - in my explanation I use an example where you don't assign it and therefore just grade to the display. BOTH my way and the technical way mean that then switching to a different output space after grading is not going to work, so ultimately it's the same result - I just didn't explain very well here. Had I applied a LUT or CST to REC709 and then graded this would be display referred - I skipped that step. However grading with no colour management at all (as in this episode) is still Display referred grading as I demonstrate here. Grading UNDER a display CST, colour management or LUT is Scene referred as I demonstrate correctly here. Apologies for any confusion. Nothing I show in the video is incorrect technique. There is a balance in making beginners guides as to 'how deep to go' in explain something and I appreciate that its very hard to please everyone's level of understanding.. This is why I always clearly label my BEGINNERS episodes. This is from the DaVinci Resolve MANUAL... The default DaVinci YRGB color science setting, which is what DaVinci Resolve has always used, relies on what is called “Display Referred” color management. This means that Resolve has no information about how the source media used in the Timeline is supposed to look; you can only setup and judge color accuracy via the calibrated broadcast display you’re outputting to. Essentially, you are the color management, in conjunction with a trustworthy broadcast display that’s been calibrated to ensure accuracy. This is how I correctly demonstrated in this episode.

[@aroefilms]

Darren, since I can't think of a better place to ask for some clarity, I'll ask it here-- We simply tell DaVinci our output is a REC709 *2.4* space. However, when researching methodology for accurately calibrating a display, there's much chatter about REC709 computer displays being gamma *2.2* Where is this discrepancy coming from? Does this hold true within Display P3? Mole hills quickly turn into mountains within forums and the web, so I'm hoping you can provide insight. One fly in the color ointment seems to corrupt the chain when aiming for purity of process, you know? Bonus- I'm using the P3 display in my 2019 iMac for my safari into color grading.

[@DarrenMostyn]

@@aroefilms Hi. Its a great question. Broadcast TV specifies a REC709 Gamma 2.4 delivery. This is what you should set your output to in Resolve, however this also needs to match your display. No point setting Gamma 2.4 and viewing it on P3 setting monitor. They need to match! Gamma 2.2 is standard for web/youtube delivery, but if your monitor is calibrated to 2.4 there is no point in changing it. They need to match so recalibrate or switch your monitor to be Gamma 2.2. I hope that helps. Gamma 2.2 is sometimes call sRGB although this is not 100% accurate in some cases, but might be your closest match. All the best, Darren

[@BigFlavorFilms]

Best explanation of ACES & RCM used in Resolve on the planet. Full stop. Bravo!

[@DarrenMostyn]

I really appreciate that

[@MFILMS3000]

Best color grading teacher I've found on youtube or anywhere else. Thank you for the knowledge! 🙌🙌

[@DarrenMostyn]

Thank you.

[@andymcquade]

This was brilliant, Darren. The penny's finally dropped with CSTs here :) I've watched all your previous episodes too....I've no excuses other than an uncompliant small brain. That only took *cough* 12 months. Thank you, sir. I cannot wait for your next masterclass!

[@DarrenMostyn]

Pleased to hear that Andy. Next Masterclass should be early 2025. Sign up to the free email newsletter link at the bottom of the video description for updates. Wish you all the best with your new found colour management knowledge! Darren.

[@The.Rafi.Official]

You just solved a mystory that has been hunting my dreams ever since I started grading .. and I have to say I owe some people some money now because I used to build the grade from the ground up!! this would've saved me a lot of work if someone ever explained it this way .. now it all make sense and I can understand more when I research about this .. THANK YOU SO MUCH!!!

[@DarrenMostyn]

Glad it has helped! All the best

[@Yousef-Almhimid]

I wish I could give a thousand likes. Thank you for sharing your vast expertise with us

[@DarrenMostyn]

Thank you Yousef, so appreciated

[@suburbanimages]

Really amazing stuff you're putting out there. You've literally saved me (and others I dare say...) quite a few hours working through various half baked truths and misunderstandings that are out there on the internet. Kudos to you sir, you are one hell of a teacher!

[@DarrenMostyn]

Thank you, appreciated.

[@Longdancer]

Can't believe how much info you cram into such a short space of time! All coherent, and all informative. Amazing. Thanks for this. 👍

[@eddieblanquiz2542]

Very helpful video! I would love to see a in depth video dedicated to setting up your project color management settings. The various ways and why you would use one over another.

[@jamessimsiv]

Darren thank you so much! I was able to follow along and see instant results! Great, informative, and succint!

[@roydom5]

Really great! thanks for putting the time in to write a comprehensive guide. Very useful to refer to when you dip into some grading!

[@davidhany20]

i can't be thankful enough, awesome job, preparation effort shows in every part, thank you Darren it's fantastic

[@DarrenMostyn]

Glad you enjoyed it

[@robertelmouchi5018]

Hi Darren. I’m a retired scientist and an artist, and I can’t compliment you enough about the quality of your presentations and the value of the information that you provide. EXCELLENT! I currently use Premiere Pro and plan to learn Resolve before my Adobe subscription renews. Please correct me if I’m wrong, but it appears that Premiere Pro color grading tools are amateurish compared to Resolve. I’ve watched a few videos that compare color grading in each application, and it appears much more difficult to get acceptable results in Premiere Pro. You’ve demonstrated a broad knowledge of color science and the ability to broadcast stunningly delicious colors. I’m envious your skills. Thank you for the education. 😊

[@DarrenMostyn]

Thank you Robert, very kind. Yes Premiere is an awkward tool to grade with! Go with Resolve - you won't regret it!

[@IdealStandard2046]

Thanks a lot! Best color grading human teacher ever !!

[@SalmanQadri-o6n]

I love his style and simple techniques

[@DarrenMostyn]

Thank you very much - thats really kind and appreciated.

[@tsedatcan]

Every video I watch, I learn more and more... And my brain hurts more as well, but in a good way obviously :)

[@heymiranda512]

Perfect timing for this video as i am now trying to deepen my knowledge and understanding of various standards (eventually want to get into commercial and movie/feature work). But what I really came here to say is thank you. Because of you and a couple of others on youtube, I have been able to start a business in this career space and have my first 2 continual clients. This has given me an opportunity to get out of poverty while still managing my disabilities. Literally saving my life giving out information like this and i absolutely cannot wait to take your masterclass in the future. Thank you so much.

[@ObilloFitz]

Like a putting a face (practical) to a voice (theory) you've been hearing for ages This is a priceless primer to the world of ACES Much thanks!

[@rorymarsh]

Thanks for another excellent video Darren. I love the CST workflow you use throughout your other videos and it's great to see this can also be applied for ACES too!

[@DarrenMostyn]

Glad you like them! Thanks Rory.

[@mulungielijah1578]

wow, you are really educating the next generation of filmmakers. Bless your soul🙌

[@DarrenMostyn]

Appreciate this. Thanks

[@elliotoconnor]

Brilliant video! As an upcoming colorist, it's good to get such a clear and decisive explanation on what ACES encompasses

[@DarrenMostyn]

Many thanks! Elliot. Appreciated. Enjoy the channel.

[@cagriozdal8748]

Thank you. The techniques you told us could change my life. I send my best wishes.

[@DarrenMostyn]

best wishes from me to you too.

[@djvphotography]

Exactly what I expected, another great explanation of a color grading topic so I can understand it the first time I hear it instead of having to work hard to just try to make sense of what the presenter is saying. Keep up the great work, Darren.

[@DarrenMostyn]

Appreciate that comment. Thanks

[@AllThingsFilm1]

Fantastic walkthrough. I took notes and screenshots along the way. Thank you!

[@DarrenMostyn]

You're very welcome!

[@ChiJee]

I feel less hesitant now to give ACES a try after watching the entire video. Hmm I'll give it a try on an old project to get comfortable with it first! Amazing episode. Thank you so much for the beautifully explained overview, especially about ACES. Really appreciate it!☺

[@DarrenMostyn]

Hi Chi!! As long as you are aware of the differences its certainly worth playing with. The gamut mapping in ACES is usually nicer - I forgot to mention that in this episode, but we covered it in the masterclass.

[@ChiJee]

@@DarrenMostyn Got it! I’ll play around with it tomorrow. Might take some time until I’m comfortable enough to do a real job in ACES. But I’ll definitely keep you posted once I do🤗 GN

[@palmerstonpictures]

Fantastic video, Darren. You're so thorough yet succinct. Brilliant!

[@DarrenMostyn]

Glad you liked it!

[@artofronan]

This was excellent as usual. I have been wanting to dive into Aces to broaden my knowledge. Now not as afraid as I was. Cheers!!!

[@DarrenMostyn]

Glad it was helpful!

[@maximilianyuen]

2:00 this is what i love about Darren. showing us how to do without all those hardware, really understanding what noob need to learn. cheers

[@DarrenMostyn]

I forget sometimes but try not to!! Im so used to using the panel!

[@adedoyinadebukolaadetayo1625]

Thank you Darren for making the complex terminology and process super easy to understand 😊😊😊

[@DarrenMostyn]

you are welcome.

[@gr8boydk]

Thank you Darren for these excellent videos. I'm watching from a purely hobbyist/recreational perspective, but your teaching and presentation skills are outstanding. Your content makes me spend my spare time productively rather than getting lost in random content. Keep up the great work!

[@DarrenMostyn]

Thank you very much, appreciated. I put a lot of work into the videos,

[@bruxy70]

Great overview Darren. I see you use macOS. Can you please shed some light on tackling the color space on Mac? The videos I found use Display grading, I think they set Timeline color space to Reg 709-A. But I'd like to work in Color Managed workflow with DaVinci WG/Intermediate. Shall I just set Output color space to Reg 709-A? I did not see you doing anything like that. I did set Use Mac display color profiles for viewers and Automatically tag Reg 709 clips as Reg 709-A - is that it? Do I need to set the tags on the export settings? Thanks so much!

[@tomaszboril]

This would be a great insight from the pro on how it should really be. 709-a or 2.4 in the final cst and export? +1

[@elementary8963]

What a great video! Thank you - I learnt tonnes! Quick question (if that's ok). You mentioned 2.2 is for Web and 2.4 is for broadcast- what technically would be wrong with uploading a 2.4 to, say, KZbin or Vimeo? Or another way of putting it - what is the difference between 2.2 and 2.4? Thank you - and more videos for 'dummies' please - it really helps 'join the dots' for a much better understanding. Bravo! :)

[@yveslutundula]

If you are working in a dark room and using gamma 2.4, your final output should look good on a gamma 2.2 display if viewed in a brighter environment, but adjustments may be needed to ensure the image translates well across different platforms. Conversely, if you grade with gamma 2.2 in a bright room, it may not translate well to a darker environment without some adjustments. In summary, the choice between gamma 2.2 and gamma 2.4 depends on your specific grading environment and the delivery medium of your content.

[@dronemitra]

Your videos are always a highlight in my learning journey. You have an incredible talent for breaking down complex topics like color management in DaVinci Resolve, making them accessible and understandable. It's clear that you put a lot of thought and effort into your content, and it truly shows. The depth of your explanations and the insights you provide are simply unmatched. I can't thank you enough for sharing your expertise and helping us unlock the full potential of this powerful software. Keep up the amazing work - we're eagerly awaiting your next video!

[@DarrenMostyn]

Thats such a nice messgae to read - thank you - it really means a lot to me. Always Learning! All the best, Darren

[@nashhall694]

I’ve just created my Aces workflow node tree now & along with your DWG workflow node tree, I’ve got a choice now without having to change my project settings. Thankyou Darren, great tutorial! 👍😝👌🙌

[@armondobbabone8556]

Awesome, as usual. Thanks and have a great and prosperous 2025.

[@difficsambalao]

The Best Teacher in Color Grading!

[@DarrenMostyn]

Appreciated. Thank you.

[@wittkacy]

Thank you for this one! The last bit was particularly useful for me. I am a total beginner in colour management, using footage that was recorded on a Canon EOS 7D back in 2014. So, that's all the info I had, with no connection to the person who filmed the footage, and no idea what Input Colour Space or Gamma was used. In any case, this helped me get a general idea of where to start with this kind of footage. Much appreciated!

[@DarrenMostyn]

Glad it was helpful! - I get asked that question a lot so it was nice to finally address it in a video!

[@Mark.A.Waller]

Great explanation Darren, I enjoyed watching it 😃 You have to do another Masterclass soon! The last one was fantastic and lots was learnt from it.

[@DarrenMostyn]

Glad you enjoyed it! Next Masterclass will be early 2025 due to my schedule. Thanks Mark.

[@83unstoppable]

As a slow learner. I love your explanation. Very very informative. Thank you.

[@DarrenMostyn]

Trying my best! Thanks

[@SoftNoxMedia]

Haha, you saying "logarithmic." Was a major break through for me in understanding a little bit more about t he math of color!

[@Peter-Dirks]

Thank you Darren, that was very helpful! My biggest thumbs up👍

[@DarrenMostyn]

Thanks Peter

[@movie-trailer19]

A great solution with the ACES color space. But, I'm still working in the DWG space However, ACES has a number of advantages when working with both a large dynamic range of colors and compatibility with other production facilities. I consider ACES to be the future, as it accurately interprets color with greater coverage and greater compatibility

[@JTechWP]

Great tutorial, good explanation of the difference between DWG and Aces 😎

[@startsrl7974]

great explanation Darren you are always very precise thanks

[@DarrenMostyn]

Thanks

[@ChristophJanetzko-gz3li]

Very well explained. Compressed and clear. 👌

[@DarrenMostyn]

Glad it was helpful!

[@frenchiecolorgrading]

Superb video and I am so relieved that my « guessing game technique » when the production is not knowing the camera log they shot with, is mentioned in this video 😂 I feel less alone, thank you Darren !

[@DarrenMostyn]

Hey Chloe!! Yes, Blackmagic cameras is always the 'guessing game' of which profile to use!! Look forward to seeing you in September!!

[@CoopMusic247]

This is great. Thank you. I'm already using this workflow that you talk about at the end, but it's good to know I'm working right.

[@DarrenMostyn]

reassusrance can often be as good as new advice! All the best, Darren

[@topicruben]

Thanks, Darren. That was priceless!

[@DarrenMostyn]

Thank you Ruben - good to hear from you again! Hope you are well my friend.

[@krdcountrytv]

Thank you for this incredibly informative and interesting explanation of ACES. I have played with ACES a little (I mostly use DWG) but this will help me in future projects when I decide to go down the ACES path. I can see some occasions where the higher contrast baseline of ACES might be useful. Thanks again, it was a great session.

[@DarrenMostyn]

You're very welcome!

[@Ruchalski]

Great tutorial, thank you! Appreciate your work!

[@DarrenMostyn]

You're very welcome!

[@ianreels]

Great insight, Darren! I’m looking forward to your future content! The biggest issue I’m facing is color matching scenes. They aren’t in LOG profile (REC709 Cinestyle) and I’m struggling to match the clips even though they all use the same camera sensor. Would love to know your technique color matching scenes🙈 Anyways, superb content as always! Keep rocking it!

[@rickclise6883]

Darren your tutorial videos are fantastic and I've learned so much about DaVinci Resolve and Color Correction and Grading watching them. This is a bit off the main track but have you ever done a video about how you set-up and use your pen tablet? I searched your channel but didn't find anything about tablets other than videos about the iPad. I assume you use a pen tablet with that stylus sometimes appearing in your right hand. I know several editors have switched from using a mouse to a pen tablet - I bought a Wacom Intuos Pro and for the past month have been struggling while trying to use it. Reluctantly going back to using my mouse until I can sort-out the tablet setup better. Advice about how you set-up your tablet/pen and how you use it would be very useful for me, and a few other subscribers as well I suspect. Keep up the great work! Thanks.

[@AxmihaMeuSaco]

Fantastic. A comment on color management in general. I'm a complete amateur (actually a musician) and started messing with image - CGI, After Effects, editing etc - until I learned DaVinci Resolve and did some experiments with color correcting, grading etc. Someone I was doing the music for liked what I did and asked me to work as the colorist for a job. (What??) It was all non-commercial stuff, so I said yes and the first thing I asked myself when I got the footage (all log) was "what do I do with this" - meaning BEFORE starting to grade or correct. No one knew. I asked some friends who work professionally (VFX, colorists etc) and none could even understand my problem. They just start correcting it (display referred grading?). Only after watching your video about color management, I understood the problem. So, strangely, even professional people (here in Brazil at least) don't seem to understand what color space is. They just learn the process without really understanding it, which can be confirmed by looking at some series and ads here, where you can see the look jumping all over the place. There used to be even a "style" here called "francesinha" - little french - which is a greenish log look, if you can believe that. An error turned into a style. So, thank you so much for explaining so well what should be obvious, ha ha. Cheers.

[@difficsambalao]

I had the same problem in my country. Just stay on this channel if you need learn more or how to build your look in the right way

[@AxmihaMeuSaco]

@@difficsambalao For sure.

[@DarrenMostyn]

Im so pleased to read your detailed comment and the fact you understand where i'm coming from means a lot! Good luck in your career path - sounds like you'll go far! All the best, Darren

[@AxmihaMeuSaco]

@@DarrenMostyn Thanks, Darren. Not much of a career, only one job, and I'm old already (60) but it's all good. Here the VFX mafias won't let you in. Tried for years and nothing, but this one job is good enough. I do the music and the color correction, chroma key etc. It's already a lot. All the best to you, sir.

[@krimataco]

If I'm allowed to put something on the wishlist - I would love to see an in-depth video about the color warper :)

[@ianharper6015]

Thank you for another very useful video.

[@rodrigodearcayne]

Very clear explanation, thank you!

[@DarrenMostyn]

Glad it was helpful!

[@MrMuralikrishna1982]

Brilliant session! Much appreciated!

[@DarrenMostyn]

thanks

[@RicoDerks]

What an absolutely stellar video. 👌

[@DarrenMostyn]

Glad you enjoyed it!

[@sergiollag1]

fantastic explanation! would love to see how to grade and deliver for youtube in hdr. im already doing it with nikon nraw nlog footage but im pretty sure im not doing it correctly.

[@maxmeyer6395]

What a phenomenal guide! Could you also make a video on how to grade and export (without color shift (rec.2020/DCI-P3)) in aces/DWG as the tools behave quite differently compared to display referred grading.

[@wolfen69]

That was a lot, gotta rewatch a few times. Thanks.

[@DarrenMostyn]

Hope it was helpful!

[@wolfen69]

@@DarrenMostyn Very!!!!

[@diegochak]

Very good episode! very well explained. Thanks for this video. If you allow me, I would love to see how HDR works, I think it would be a good episode to watch. Thank you so much

[@Bo_Hazem]

Pretty dense and takes time to absorb but I always enjoy your videos.

[@DarrenMostyn]

Glad you like them!

[@GuinnessFL]

as always a very understandable explanation .

[@DarrenMostyn]

Many thanks!

[@CDA3DLive]

This is awesome, thanks for this Episode, learned a lot

[@DarrenMostyn]

Glad you enjoyed it!

[@tomsheppard]

Great video mate. Really helped!

[@DarrenMostyn]

Glad it helped

[@CharalamposKontopanagos-xkont]

Great stuff as always. Thank you very much!

[@DarrenMostyn]

My pleasure!

[@submariner1348]

Brilliant content as always!

[@DarrenMostyn]

Glad you enjoyed it

[@ArkadyVolovik]

Thanks Darren, that was very informative. I understand color spaces better now. I consider myself an advanced freelance colorist, but most of my experience is with student films and music videos shot in RAW or Prores 422 and delivered in Rec.709, even for theatrical releases. I'm concerned about future projects that require Rec.2020, P3, or HDR delivery. I've learned so much from your videos and they've significantly improved my color grading skills. I would really appreciate it if you could make a video explaining these color spaces and the technical considerations for working with them. This would help me prepare for such projects.

[@DarrenMostyn]

All noted. Thanks, Darren

[@AndyThirtover]

Hi - this is the right content!

[@Poseforernie]

Great Video!... How would you add a Davinci Resolve Lut to the ACES color space workflow?

[@imiy]

11:01 why you go to "color space conversion" for canon, but for red you choose it from the main list?

[@DarrenMostyn]

because canon list is simpler in the menu I chose. I could have selecetd Canon section...have a look at it and you'll see what I mean. Thanks, and well spotted!

[@Djangounframed]

Thanks D. Great insight as always.

[@Coatsey007]

As always a great video Darren, you always manage that fine line of including beginnings and taking us to quite an advance position in an easy to follow style. One question, no worries if it’s missed, Timelines, are they always Rec.709? Can it be changed?

[@DarrenMostyn]

you cant change TIMELINE colour space after youve started grading without potentially changing your grades.

[@_carsonjones]

Great video - thanks Darren!

[@DarrenMostyn]

Glad you enjoyed it

[@Mc_beats_x]

Waiting from Mumbai, India ❤

[@Mc_beats_x]

I didn't speak English and do not understand properly but i you help me very well in grading ❤

[@Joshua_S]

25:00 wouldnt I set already graded Stockfootage to rec709 2.4 or 2.2 and NOT to 709 scene? Because its not direct file from a camera but already exported to a display space?

[@DarrenMostyn]

no because it is likely already graded to 2.2 or 2.4 (no way of really knowing). 2.2 or 2.4 is for the display output profile, not source.

[@JerzyCarranza]

Can you please do a video explaining export settings? I use Node based CSTs but my Mac always exports by red raw with a color shift

[@JerzyCarranza]

Sometimes it works, but then when posting on KZbin it looks weird and sometimes Instagram looks weird too

[@yveslutundula]

Firstly, thank you on such a great video that goes into understanding why this does that or this works like that. A lot of people struggle with understanding. Why does ACES have a much more contrasty starting point? Is it because the Output transform is REC 709 and not REC 709 gamma 2.4? and secondly, are there any practical or visual benefits from inputting a CST IDT-CST ACES AP0 then CST ACES AP0-CST ACES AP1 then CST ACES AP1-CST ACES AP0 then CST ACES AP0-CST REC 709?

[@wilismatrix9847]

Thank you for this tutorial ! I am wondering if it is possible to use an OLED TV like the LG C2 as a monitor reference since it is 10bit and the end results would be viewed on a TV or mobile phone because the pro monitors are too expensive ?

[@DarrenMostyn]

Yes its very good when calibrated and turn off all the enhance features

[@stas.sultanov]

Daren, thank you for excellent lesson. Would love to see a lesson from you which explains the end-to-end flow for HDR videos. Especially case where we start from S-Log3/S-Gammut3 and end up having HDR video uploaded on KZbin.

[@DarrenMostyn]

noted. Thanks

[@chrisjenkins9978]

If your output is REC709 and your monitor is also REC709, how do you visualize and color-grade accurately anything outside of the REC709 color space?

[@DarrenMostyn]

You grade under the node or colour management so you SEE REC709 but grade in larger colour space. Think of it like a 'filter' on the output.

[@soraaoixxthebluesky]

The simple visualization I can think of is, if I’m grading on ACES or DWG there’s already math applied properly at the end for my monitor to display it correctly on a much smaller color space So if a turn the knob +10 for exposure I will expect +1 move on my display end. So if I wanted to adjust the exposure by +3, I need to turn the knob by +30. Everything are precisely and gracefully compressed for a proper viewing.

[@DarrenMostyn]

@@soraaoixxthebluesky I cant comprehend your analogy. The maths is very scientific and precise. Grade to what you see and let the maths do its stuff in the background. Hope that helps. If it looks good to you an client, it IS good.

[@soraaoixxthebluesky]

@@DarrenMostyn I use simple math simply for visualization. I don’t take logarithmic conversion into account. Let say on SDR most broadcasting standard limited to 100 nits for 709 primaries due to CRT TV limitations (things get noisy at 120 nits hence the 20 nits headroom). We all know that intermediate color space can read well above that but resolve limit those to REC2020 peak brightness of 10,000 nits. We can safely use 100:1 conversion ratio on Y component of any colorspace if we ignore their chrominance. So if we ignore any intermediary algebra that is involved on Y component, it is safe to assume for any 100 nits of your scene referred adjustments, we’ll get an exact 1 nits pickup on a display. If a deliverable content are set to 100 nits, and your modern LCD display on SDR mode can handle 800 nits of peak brightness, just multiplied them by a factor of 8 which in this case 1 nits pickup * 8 = 8 nits output.

[@user-xo8lx8rm3w]

What is the effect of timeline color space to the end product? So what is the difference by using rec709 or Davinci wide gamut as timeline color space?

[@JaymesMedia]

Definitely enjoyed this one

[@DetlevObst]

New to DR and color correction/grading ... while you lose me at times (enunciation, cadence and terminology) as I have no experience with any of these color profiles, I did get the fundamentals for setting the input color space and consider what the output color space should be and even how to set up a workflow among color spaces. I'm nowhere near fully understanding color management, but this start was really good, thank you, Darren! PS: Feel a bit overwhelmed at present as there's a whole science behind optics and color and sound, not to mention multiple programs to learn. But it's fascinating esp at the right pace!

[@DarrenMostyn]

take it one step at a time. Its a huge program. Try my beginners playlist out too. All the best. kzbin.info/aero/PL6VNHhfsVYJawp385IIyLemQL_ZBzgN_5

[@DetlevObst]

@@DarrenMostyn .. thank you for the playlist, that's very thoughtful. I'm pacing my learning so that I can enjoy the journey! 😎

[@theowlfromduolingo7982]

Excellent video

[@DarrenMostyn]

Glad you liked it

[@sibtainmushtaqfilms]

i love aces output just the gamma compression wont work in extreme wedding par lights even with the Compression DCTL

[@j.miskovic7224]

Hi darren, I have a problem that is starting to be a real obstacle in my workflow. Davinci often does not save or does not see the changes I have made during work and when I think I have done everything and that the next day or a few hours later I return to export the project I see the colors darker and perhaps even a little more intense, not exactly how I had saved the project. It happened to me during work that the color on the editing page was different from that on the color page. I can not understand why, it is frustrating. I work with the Mac and I have set Re.209-A to be able to export the work exactly with the colors I see when I work in davinci. I have the automatic saving enabled by the way. Do you have any suggestions? Thanks 🙏

[@AngelGarcess]

Could you explain something about Rec 709-A? I have used it for works for social media and it works, but I don't really know if I am losing some info in my color space. Thank you!!

[@harshal_oo7islive]

how to work with iphone hdr videos in davinchi for best youtube output , what should be my input color space and output color space . can you make video about this

[@PascalPayantfilms]

how can i match my footage on my lg c3 as my main calibrated monitor and iPhone 15 cause when I do they completely look different. iPhone looks paler and less contrasty. is there a way to make it uniform?

[@trancepriest]

I prefer resolve color management over ACES... do not like it more contrasty as a starting point. Glad you said the same... spent some time this morning analyzing the difference before I found your video.

[@antonioefisioscanu]

Masterfully explained as always! I’ve only worked in aces years ago and had no idea about the AP0->AP1->AP0 background process 😮 Can you recommend some article to nerd further on the subject?

[@DarrenMostyn]

ACES Central has everything you'll ever need.

[@8KHDRVideoBySittipong]

Very nice video. Thank you for sharing.

[@DarrenMostyn]

Thank you very much!

[@YakShoreOutdoors]

When you say use gamma 2.2 for web, is that including KZbin Videos?

[@DarrenMostyn]

yes, anything viewed on a computer phone etc.

[@jamesepiclight]

Darren, a little late to comment but, we use Davinci Resolve Color Managed (VS CST nodes). We are usually grading our own footage (usually shot in raw) so it pretty automatic and quick starting point. If footage is not raw, we change the input color space as you specify here. Great workflow and "simple". However I feel that so many color grading "experts" suggest or encourage the use of CST nodes for color management (CST in, GRADE nodes in middle, CST out at the end). My opinion has been, why do the extra work of adding CST nodes if I understand resolve color management, and is properly doing it for me? Sometimes I feel like Im not "pro" if I use a "color management workflow" vs CST nodes. Other than spending more time adding CST nodes, what am I missing out on by using DRCM? .... BTW really appreciate your videos and sharing of this information!!

[@philippscheithauer]

Hi Darren, got a question: In the section where you grade in a CST workflow, you set your timeline color space to DWG. Yet you go into a ACES color space with the transforms. Wouldn't that mean that your tools are now assuming DWG and not the ACES that you transformed to? You do set the color space correctly in the film look creator, but you would have to map every node between the IDT and ODT like that manually? Shouldn't the timeline color space then be ACES and not DWG?

[@KaurH]

Correct - even when doing color management manually with CSTs, one should set their working color space correctly in the project/timeline settings as it affects what color space aware tools expect.

[@DarrenMostyn]

because the first CST and the last CST are ACES then the tools behave like DWG however it wont affect the ACES workflow. You could of course set the timeline to anything you like. I like how the tools behave in DWG but your way would also work. and yes probably a better workflow. However if Im doing that I might aswell jsut set colour mamangement to ACES globally. I like the DWG baehaviour of the tools more than ACERS. Hope that helps.

[@MarbleMtFilmsLLC]

Hi Darren, love the channel. Have you ever considered doing one on working with Canon Cinema Raw Light? Thank you

[@izd7398]

Hello, thank you very much for your explanations. At the 19min24 you put your timeline in DaVinci Wide Gamut, but work after it, between your CSTs, on Aces CCt. Do you do this, to keep the commands of your panel reacting has usual? Thanks for your answer

[@ozzmanzz]

Thanks yet again for another great video. You said Gamma 2.4 is for broadcast and 2.2 is for the web so when do you use 2.6?

[@DarrenMostyn]

P3/DCI projection

[@ozzmanzz]

Thank you for replying!