Hi everyone.

Just landed in the monitor calibration rabbithole. I'm now wondering what is the best for me to do.

My reference monitor is BL2420PT, and I was wondering if it is better to calibrate it through DisplayCAL with Video output levels (TV RGB 16-235) or Full range (0-255). I've followed some guides on YouTube, but it is still not clear to me whenever i need to choose video or full data levels. What is the best practice? And what about Davinci Resolve master project settings, should the data levels that i set there always match with the one of my calibrated monitor? (For example, if I calibrate it through Full levels am I supposed to be only working with Full data levels in davinci or can I also set Video levels?)

My deliveries are mainly for YouTube, Vimeo (web basically), no broadcast or TV at the moment.

Thanks in advance.

Beginner learner here, from how I understood it, due to the log nature in DWG, it "behaves like our eyes" and compresses the blacks and whites so its harder to clip things, that's nice.

The issue I'm facing here is when I expect a linear behavior to adjust my offset properly (as in everything in the waveform moves up in unity) it doesn't act like that in DWG. Right off the bat when I increase offset, the toe in a greyscale ramp immediately kicks up into a J shape and mid point started bowing up like a rainbow.

I find it so hard to work with this behaviour and ended up with lots and lots of compensation just to fix simple things, to the point I ended up ditching the input > DWG > output sandwich altogether. But then by doing this I'm losing some flexibility given to me by the larger DWG space. Right clicking my exposure node and changing gamma to "linear" does not help, as long as I'm working in the sandwich this unpredictable behaviour always happens.

Is this SUPPOSED to be how it is intended? I don't even know how should I grade my colour anymore because they too act differently when sandwiched.

I need someone to convince me buying it or saving me from making a mistake. To keep it short, i work with SonyRAW and it’s 85% of my work (only so it half a week because the other i work at an ad agency). It’s for YT - pls don’t kill me but client insists on RAW…

I obviously grade the stuff and client gets more and more picky in recent times for color matching and looks. So i know thought it would be good time to invest in a panel since it will probably help me learn matching shots and at the same time bildung the muscle memory. But it’s 1.6k. Manageable but had a few heavier (then usual) expenses in the last few weeks, but i don’t/can’t really wait.

Hope to get some help here :)

EDIT: i’m not only coloring but also editing, mograph, etc. so it’s not really 85% of my time i do color grading more like each video 20% of the whole thing. But im looking for ways to speed up all my tasks and this would be one idea

We've struggled to get our minimum dataset this year, with the lowest response rate since 2017.
Please make sure you and your comrades in post have participated, before we start crunching data and releasing results...

https://forms.gle/cMCC9wztvqcyoRH17

www.postproductiondata.com

Hello. I wanna be a 50$ colorist on Fiverr. I already have been grading for quite a month in Davinci Resolve. And, what it takes to be worth that money?

I work with UHD footage on 1080p 25fps timeline resolution for creating content for social media. I bought LG 42" C4 TV to connect to my Macbook Pro M2 via UltraStudio monitor 3g using thunderbolt 3 cable.

As I plugged in for the very first time my 1920x1080p 25fps timeline shows full screen on 4k LG 42" TV, ideally it should show 1:1 pixel thus should have shown the output on center 1920x1080 area of a UHD TV screen.

LG C4 Tv has option to use it in PC mode & I enabled "Just Scan" option this scans the actual incoming signal & aspect ratio is set to "Original" in the settings which means that whatever the TV scans it will display it in original form so its expecting 1:1 signal at 1920x1080p which is what UltraStudio monitor 3g is sending out to the TV.

If I unplug the UltraStudio monitor 3g & connect directly using HDMI cable, Resolve scaling & output correctly show the video in the center area 1920x1080p on a 4k screen but unable to get UltraStudio monitor 3g display in 1:1 pixel ratio.

I spoke to LG & they told me that TV is indeed capable of 1:1 & its indeed displaying it correctly when not using the UltraStudio 3g, to confirm I further asked ChatGPT that also confirms the same,

Yes, if you send a 1920x1080p signal to the LG C4 through the Blackmagic UltraStudio Monitor 3G, it should indeed display the image centered in the middle of the 4K screen without scaling. The TV should recognize the 1080p signal as a 1:1 resolution and, rather than upscaling it to 4K, simply display it at its native 1080p resolution in the center, surrounded by black borders (letterboxing) on the sides to fill the remaining pixels on the 4K screen.

To achieve this, ensure:

Input Label: Set the input label to “PC” mode to avoid unnecessary processing.

Aspect Ratio: Set the aspect ratio to "Original" or "Just Scan," which will maintain the native resolution without scaling.

Output Settings on the UltraStudio: Make sure it’s outputting a true 1080p signal without any upscaling.

These settings will allow the TV to display the 1080p image at its native resolution, which is often preferred for accurate monitoring, especially for video work like color grading or editing where you need a clear, unaltered 1080p preview.

Since I am new to BMD hardware & bought new LG TV I think I may be missing something but unable to figure it out hence seeking help from experienced users.

Hi. I got an Eizo CS2740 set up with a KabelDirekt 8K@60hz HDMI cable connected to a DeckLink Mini Monitor 4K in a pcie gen 4 x4 slot.

If I play a UHD monitor output on my Davinci Resolve timeline, it turns black, till I pause the video, then it goes back to the static frame. If I put my output monitor to 1080p, it does the playback smoothly, but then (on a UHD timeline that is), it is cropped in of course, which I don't want.

What is the best way to tackle this?

I don't mind a 1080p output, but I just don't want it cropped in! And I really do want smooth video playback!

I'm trying to wrap my head around Eizo's definition of an HDR monitor here.

The CG2420 has a contrast ratio of 1:1500 and a peak brightness of 400 cd/m2

The CG2700x has a contrast ratio of 1:1450 and a peak brightness of 400 cd/m2

The CG2700s has a contrast ratio of 1:1600 and a peak brightness of 400 cd/m2

Even the CG319X has a contrast ratio of 1:1500 and a peak brightness of just 350 cd/m2

The bottom three are classed as "HDR monitors" by Eizo. And although the CG2700s does not come with PQ & HLG curves loaded, you can request an upgrade to get these profiles loaded on there. So I looked at the spec sheets for all of these and after seeing the peak brightness and contrast ratios I thought there seemed like not good reason not to allow these HDR curves to be loaded into the smaller CG2420. All the other screen technology listed in their spec sheet appears to be the same. Eizo said, "no", it's only available for the "HDR monitors". And to me, this just doesn't add up.

I was happy with the 1080p res. I don't want to get a 2k monitor. And I'm interested in future proofing my set up for potential HDR grading in the future. So the next option would be the CG2700x (as the cheapest HDR option). But I was under the impression that the contrast ratio for HDR needed to be 1:20,000 and a peak brightness of 1000 nit. So is the 2700x just doing HDR emulation, and not actually a true HDR Monitor?

I've been using DaVinci Resolve on my MacBook Air (M1) and primarily export videos for web platforms like YouTube and Instagram. For a while, I’ve been using Rec. 709-A, as it gives the most accurate colors on my setup and looks good after uploading. However, I’ve heard that Rec. 709-A might only display correctly on other Mac devices, so I’ve been experimenting with Rec. 709 Gamma 2.2. Unfortunately, Gamma 2.2 looks more washed out and desaturated.

So, to keep it simple:

1. Should I stick with Rec. 709-A or switch to Gamma 2.2 for web exports?
2. What’s the best media player for accurate color reference? I’ve tried VLC (looks oversaturated) and QuickTime, but I’m open to other suggestions.

Obviously I'm very much an amateur and only grade smaller projects.

Any advice would be much appreciated! Thanks.

Okay this may seem like a stupid question from someone who doesn't know much.

Will tagging HDR phone footage and converting it to REC709 get you the same/very similar colours you that you see on (say an iPhone) when you're playing back HDR footage

The reason why I'm asking is because in future I'll be getting Davinci Resolve to automatically convert iphone HDR footage into REC709 (if any HDR footage is used). I know that this footage will look "wrong" because by default iPhones shoot with HDR video turned on. This will look wrong in a standard Rec. 709 project in DaVinci Resolve unless you adjust it with with a color space transform on the color page/ or input the colour space in RCM.

Settings to correct on the color page of Resolve 18.6:

1. Input color space to Rec 2020
2. Input Gamma to Rec 2100 HLG (Scene)

My logic is if iPhone HDR footage is REC2020, then surely tagging it as REC2020 and converting it to REC709 make it look as the same as within the iPhone, or is that not how it works (does an iPhone not also playback footage in REC709)?

I’ve been studying color grading over the past few months (since the beginning of the year, actually), trying to prepare myself as best as possible for the industry. I’ve done my homework: I read the Color Grading Handbook, looked for recommended teachers on YouTube (to avoid material that might hinder more than help), and practiced with RAW files I downloaded, along with some from an Udemy course that included real client projects the instructor was allowed to share. Even so, I still consider that I’ve had relatively little hands-on experience, and I can recognize that.

But here I am with my very first real project. I’m not being paid, but it’s my first “real” job—the first one I can start using to build a portfolio. However, I have to admit that when I opened the footage, which is for a YouTube vlog, I felt pretty discouraged. I couldn’t think of any ideas to make an impact on the image, and I’m not sure how much of that is due to my lack of experience and how much is due to the way the video was shot. I mean, there aren’t many elements to work with; the lighting is rather flat and even overexposed. And to make things worse, the guy in the video is wearing a plain white shirt that’s a bit blown out. I managed to improve some technical aspects, but I couldn’t make the visuals stand out in a way that would make someone look at it and say, “Wow, the color work in this video is beautiful.”

I feel quite disheartened and discouraged. I have this strong feeling that maybe this field isn’t for me. While I recognize that the material itself could have helped a bit more, I still feel that my lack of skill is the bigger issue, and I can’t help but imagine a number of people who could pull something beautiful out of this, while all I can manage is just a slight technical improvement.

Here a list o things I've done so far:

-Set exposure, Balance and Saturation;

-Started working on a general look in timeline level to make it;

-I started working on a look at the timeline level to encompass the whole video and create a coherent identity throughout (somewhat like how Cullen Kelly approaches Look Development). To do this, I tested contrast curves and manual split toning, Dehancer, and even the Film Look Creator plugin until I found something that I liked;

-I made some adjustments to try to contain or harmonize some red and blue LED lights that, to be honest, didn't look good in the scene as they were;

-I shaped power windows to make the frame more appealing and interesting to the eye, and others for technical adjustments to light distribution;

Even so, I can't feel satisfied, and I have no idea what else to do.

I would love to hear about your experiences, maybe that would encourage me. I’m feeling really down and discouraged for failing right on my first project.

(SOLVED) Answer: Media Management in Resolve.

Hi! Im an amateur working on a documentary, I need to edit and export daily cuts of S-Log3 footage in a way that saves storage but still allows for high-quality color grading later.

Would DNxHR HQX be a good format for this? Are there extra steps I’ll need for color correction later that I should be aware of?

Any advice on formats or workflow for this would be really appreciated! Thanks!

(My goal is to delete large portions of the original files while keeping the dynamic range and color info.)

I see this almost every week on online tutorials or discussions. No matter what color space they shot their footage in, they convert their camera color space to Arri Log C for grading over DaVinci Wide Gamut, or ACES or even over working in their camera’s color space.

Why is that? If you’re someone who do this, what is it about Arri Log C color space that you like which the other working color spaces don’t have / can’t provide?

I'm working with Canon Log 3 files.

Node Structure 1: First CST - Canon Log 3 to DaVinci Wide Gamut Intermediate -> End CST - DaVinci Wide Gamut Intermediate to Rec709 2.4.

Node Structure 2: End CST - Canon Log 3 to Rec709 2.4 directly.

Both node structures 1 and 2 give me the same end result. Completely makes sense.

Node Structure 3: Canon Log 3 to DaVinci Wide Gamut Linear -> DaVinci Wide Gamut Linear to Rec709 2.4 gives me a different end look.

It's the same case with Canon Cinema Gamut/Canon Log 3 to Canon Cinema Gamut/Linear, and then from Canon Cinema Gamut/Linear to Rec709 2.4.

Why is that? What's happening? I tried different tone map options, and they all look completely different from the first two node structures.

So why do we use nodes when color grading videos in davinci but when using lightroom for photos we dont use nodes and basically just adjust everything in one node. Shouldn't video and photo be the same idea in terms of color correcting and grading?

Hey all, I've been grading in premiere but was gonna try transitioning over to Resolve, but realized you need to pay to grade 4:2:2 footage. Is the downgrade in quality to 4:2:0 still worth the benefits of Resolve over Premiere?

Just trying to get a better understanding how light choice affects the work flow

Hi, I recently filmed this interview/ad for a local association.
I like to do a privated test-upload on the desired platform before sending out the final video.
I exported the video in rec.709, gamma 2.2 on my widows PC and everything looked fine in the player but when uploading to youtube it looks completely dark. The blacks are clipping, even though I wanted to go for a little more "washed out" look, especially in the beginning. [The lighting and grade and grade get subtly more dramatic the more personal the interview becomes (I'd appreciate feedback on that decision/overall look btw, as this is pretty much my frist paid project).]
What can I do to prevent the video from looking like crap on YouTube?

https://imgur.com/a/00DHjNw

Hello friends,

Today I've decided to be what we in New Zealand call a Good C*nt.

I recently purchased my first panel, the wonderful wee Micro Panel. I found the manual a bit hard to use for quick referencing and there is just no way you are going to remember all the multiple functions of each key and whether it's "shift up" to track a window or "shift down" for the first week or so of using the thing. And you’ll end up jumping back to the first clip by mistake or pasting a stills grade instead of copying a node grade, etc etc. And some functions you just cannot remember which bloody key they are hidden behind.

So, I've created this PDF, which you can have floating around in the background and with just a magical ⌘ F, you can search the term of the function you are looking for and unlike the Blackmagic PDF, you won't get 15 bloody instances of the word! Hopefully just two or three. 

I’ve also written descriptions in a manner that is very brief, so you need to read the manual to actually understand the various functions first! This is only to jog your memory about where a shortcut lives. The main functions of the keys are generally not labelled, ‘cause they are written on the keyboard and glowing, duh! 

It has helped me heaps, so I thought I’d share it. You're welcome.

DL PDF Here

hi! im currently trying to do a short film for a project and heres the basic context for everything im about to lay out (sorry if im intruding this subreddit for a novice advice but idk where else to ask and have someone dumb it down for me) and i use premiere pro because that's what i have

i've done multiple short films and all of them have been shot on an iphone, which ; considerably for the time i made it looked great. i've always wanted to delve into color grading but everytime i tried it just seems so...weird?? almost like i spilled an entire paint in the paper if i had to explain. so i would resort to relying on the iphone's quality and just lowering the exposure which works but im not gonna improve with the visuals if i never try color correcting and grading. everything just looks like i slapped the color green or yellow or whatever vibe im going for and lowered the opacity. its similar or even worse than slapping a filter on capcut Imao

i've been watching tons of videos about color correcting and i found out what log was, and then how to color correct, and then color grading (i use luts that are free) but i'm met with the same look. granted i feel like a huge part of the reason is the original lighting of the videos but i've tried different footages which have arguably a wide range of footage with different lighting to work on but it just never changes. i've been working on these for days yet nothing is changing, can someone help?

Hello! I am attempting to build a sat vs sat tool in reuleaux space after watching through Steve Yedlin's display prep demo follow up again. I am fairly green to color science. I took all of tac resolve training CCS 1 and 2 but thats my full experience with this stuff. The ideal way this tool would work is I can saturate the inner part of the color cube but at the same time preserve neutrals. The outer more saturated colors should be much less affected. I have been building this out through fusion custom tools and I think I'm pretty close.

My issue is that while I am preserving a diagonal line through my cube that looks a lot like my neutrals it is not my neutrals but is quite close.

heres a link to the thread on here that talks about reuleaux space: https://www.reddit.com/r/colorists/comments/169osrn/reuleaux_an_open_source_color_model_for_film/

my set up is this:

I have rgb to reuleaux piping into a color curves node modeling only my saturation(this is my Sat mask). that same rgb to reuleaux is also piping directly into the yellow "input one" of my "sat vs sat custom" tool. the color curves node is piping into the green input 2 of the "sat vs sat" custom tool. The "sat vs sat" custom tool then pipes back to rgb through a reuleaux to RGB transform.

the sat vs sat tool has only one slider controlling saturation.

here are the changes to the intermediates and channels

Intermediate 1: (1+((g2-g1)/g1))

Intermediate 2: g1^n1

the only change to the channels is to green(saturation). everything else in channels stays the same

green: i2*i1+g1*(1-i1)

If anyone can help me out with where I am going wrong with the math it would be much appreciated!

I've been told both to not crush my shadows and clip my highlights but also to trust my eye. When I'm color correcting/grading my darker scenes to eye I refer back to my waveform and notice that my shadows have dipped into crushed territory. When I lift shadows up to above 0 IRE I lose my contrast and richness slightly in those darker areas. I try to compensate by bringing my mids down but it isn't quite the same. I'm doing this in a controlled environment in my schools color suites BTW. it's not like I'm crushing the fill side of the face or anything but sometimes an actor has dark hair or theres a set the falls into darkness. I'm unable to include a picture (I think because it's my first time posting here) but i've gotten confirmation from multiple people that the grade, to eye, looks fine. is 0 IRE the word of god or do I go with what looks good in the color suite? I'm not the type of guy that likes his scenes super dark either, I like to use a full range of contrast by pushing my highlights towards the top of my waveform and making sure I have legible skin tones. I've also run into the scenario where, for example, a scene is very purple by design and so my green channel is crushed due to the lack of green information in the shot. Is that alright? Thanks!

Hey ya'll, I've been producing multimedia content for about 10 years now and am just recently trying to take my color grading more seriously by utilizing CST and LUTs. Up until now I've primarily been using color wheel and curves to get my desired results with 8 bit footage. Bu now I have a Lumix S5IIX and am shooting 10 bit footage and I am really trying to raise my ceiling with my color grading capabilities for myself.

I know there's a billion tutorial videos out there, but:

• A lot of them only teach you 95% of what you need to know and leave out that crucial 5%.
• A lot of them tell you WHAT to do but not WHY.
• Most of them seem to have completely different workflows and give wildly different advice. I would expect this from a tutorial on any sufficiently nuanced discipline but it's making it hard for me to understand the fundamentals.

So here's what I'm trying to figure out:

• Where does the CST node go? Does it even matter where it goes? I've been using it as the last node, but I've seen other people insist that its best placed as the first node. I think I heard someone say that placing it last can restrict the color space you're working in? This might explain a lot because often when I try using a luma value mask through a qualifier node it immediately artifacts out the applicable parts of my image even if I'm using the feather tool to smooth out the chosen values picked. And a lot of times the image is artifacting when I *know* the image has more data in it to flex because when I deactivate the qualifier node I can push and pull the chosen area way, way more...but of course at that point the rest of the image is pushed and pulled with it as well.
• When do I use CST vs a LUT? I heard some guy say that CST and LUTS are an "either/or" sorta thing and that you typically aren't going to be using both at the same time, albeit the LUT may be used as a point of reference. And if that's *not* the case, then where does the LUT go in relation do he CST node? Is that a static decision or does it change depending on circumstance?
• Sometimes I'll see someone using multiple CST nodes, converting the color space from one thing to another, and then to another, and then to another...how do I know what color spaces to choose and transform into another color space? I think I heard someone say this even depends on what LUT you're using? I haven't found any tutorials that dive into the nuances of what each of these color spaces are or what they mean. Where can I go to learn about the base logic of this stuff? Someone said that for S5IIX footage I should be converting to Rec709 but some people seem to use the Davinci color profiles.

That's all for now. I may have some follow-up questions, but if someone could shed some light on these items, or direct me to a good tutorial that dives into the nitty gritty, I would be deeply appreciative. Thanks!

I’m looking for some advice on whether to buy the EIZO EX4 or the Calibrite Display Plus HL for calibrating my EIZO CS2740 monitor.

My main priority is ensuring the EIZO is calibrated accurately, as I need it to be as precise as possible for color work. The EX4 seems like the obvious choice since it’s designed specifically for EIZO ColorEdge monitors and integrates perfectly with the ColorNavigator 7 software, which is a huge plus.

However, I’m also considering the Calibrite Display Plus HL since it would give me the flexibility to calibrate my MacBook Pro (2021 with XDR) as well, which would be a nice bonus. But I’m concerned that, because the Display Plus HL is a third-party device, it might not fully support all the features available in the EIZO software or provide the same level of calibration accuracy on my CS2740.

Does anyone have experience with both devices, or can share if the Display Plus HL has any limitations compared to the EX4 when used with an EIZO monitor? Any advice would be greatly appreciated!

Hello, I am a photographer and an editor. I have recently found myself confused with which colour space to use in which situation and struggling to justify which reason is the most justified or desirable for what I am looking to achieve.

I have written out below my research and findings - which I believe may be correct. However, I am looking for some clarity. I am using a Canon R5, taking RAW pictures and editing on multiple softwares including; LrC, Denoise and Ps.

Please share opinions and corrections.

---------------

ProPhoto RGB has the largest, followed by Adobe RGB and sRGB has the smallest range of colour gamut. The argument is that if your image does not contain any colours that out reach that of the Adobe RGB colour space or even less so of the sRGB one then there is relatively no point in using ProPhoto RGB to edit. However, it all depends on printing. Some printers are not capable of printing to a colour range of ProPhoto RGB, in which case an Adobe RGB version may yield a better print. In any case. As long as the screen is colour managed as well a safe option (whilst being slightly redundant) is to use ProPhoto RGB to edit, as it minimises any possibility of the colour space clipping some colours due to a lack of range. If the printing is colour managed and able, printing in ProPhotoRGB, will yield the best results.

Further on from this, is that some screens are poorly or incorrectly colour managed. Meaning that if a file, that is utilising a ProPhoto RGB or Adobe RGB colour space, is viewed on screen not capable of showing that gamut of colours - the image will look dull and or muted. Meaning that if someone is viewing the file on a phone (through social media) or on a TV (through a website) it is best to use the sRGB colour space. This is because most phones and or non professional screens are capable of showing the sRGB colour space.

---

This deduces the following:

PROPHOTO RGB: Is a large gamut colour space. Ideal for editing and printing files that show a wide range of colours. It becomes necessary to use if all the file colours are within Adobe RGB's colour space - however it is a safe option if one can't be sure. Editing files in this colour space, on screens that aren't capable will create dull and muted images - as will printing on printers, that aren't properly colour managed - and this includes other device screens also, like phones.

Adobe RGB: Is used for editing when a file's gamut of colours are suitable for this space, as they don't exceed its range - the same applies for printing.

sRBG: This colour space should be used when sending files to clients or posting on social media. As clients will most likely not have correctly colour managed screens - the same reason to use this colour space when posting on social media. This therefore also applies to websites, as it is with regards to the individual's device which is being used to view the image.

---

So, PROPHOTO RGB, to be used when Editing and Printing - as long as the screen being used to edit and the printer it is going to are colour managed spaces. SRGB, to be used for websites and socially - as most screens don't have wide gamut colour capabilities and one doesn't want to see dull and muted images. This leaves ADOBE RGB, to be used when editing, if the image doesn't need a large colour space (as it doesn't show a wide range of colours) and should also be used for printing if the printer isn't capable of using a larger colour gamut.

---

In any case, one should edit using ProPhoto RGB - as it minimises any chance of losing colours and then convert to either other colour space, if then required.

---------------

Need a way to reduce the absolute most saturated reds for a LUT. Qualifiers not possible. Any tips? DCTLs?

Edit: Color Warper was the solution.

Hi everyone,

I have a Tangent Wave 2 color grading panel that I used with the Color Booster extension made by Souand Rerodrigues, to expand my opportunities with it.

https://youtu.be/1QPszwShjTQ?si=PuOYdaGbqByWX-0V

https://souandrerodrigues.com.br/controlbooster/

The issue is that Color Booster is discontinued with the previous Resolve version (18). So, I’m wondering if anyone here has worked on updating the mappings for Resolve 19? Or is this project essentially abandoned at this point?

Thanks in advance for any insights!

I feel like I should know this but here we go.

A previous project database may have been lost and client asking for a change to one graphics clip a year later…(of course) Original project was setup as davinci color managed and exported as rec709-gamma 2.4. Ideally now im going to have to take one of exported files (prores 422 HQ) and just make the change and rerender. Is there a way to just lock in original color space or should I make project and export color as 709 gamma 2.4? Thanks

I've been looking for free alternatives for dehancer, mainly because of the colors it gives, i like those film colors but whenever i try to color a footage or apply a lut, it looks good it looks acceptable but just not as the dehancer one, so if anyone knows a free alternative for dehancer please lmk