- In this video, we're covering
a pretty confusing topic for beginners and non colorists; color space versus color gamut, and I'm breaking it down
into five questions. Define color space and color gamut? What's the difference? Why is it important to understand? How to properly set up your
color space and color gamut? What to look for in a monitor when using a specific color space? So we recently did a survey. Majority of you,
regardless of the skillset are struggling with shot
matching, skin tones, balancing and working with 8-bit footage. So I created a one hour long free training that covers all of that, plus we'll wrap up the
training with an extensive Q&A and you'll also get a link to download; the practice footage, power grades, and some of my personal LUTS. Link is in the description. And guys, if you're enjoying the content, do me a favor, subscribe to the channel, hit the bell icon so you can be notified when I put out brand new content. Let's roll the intro. (upbeat music) So the color space is a range of colors inside a color spectrum that
is visible to a human eye. Let's look at the chart. So here are a few
examples of color spaces. DaVinci Wide Gamut, you're
probably familiar with it; ARRI Wide Gamut, ACES,
P3, Rec.2020, Rec.709. So look at the amount of information each color space covers
inside the color spectrum, colors that we can see with the naked eye. Some of the color spaces are
actually going past that, which is perfect for archival purposes. Once we have more capable displays, we can take full advantage of this. Now let's move on to color gamut. And color gamut is a range of colors within the color space that can be reproduced
on an output device. So here are a few
examples of color gamuts. And literally, if I were
to go back to color space, just look at how much wider each triangle was compared to our color gamuts. And that's the whole point, right? Color gamuts are basically range of colors within a color space. And you guys are probably
familiar with these as well. The current HDR standard is REC.2020. Adobe RGB is used in
the photography world. NTSC is the old SDR standard. DCI-P3 is used in the theaters worldwide. And then we got the internet
standard, which is sRGB. Now to further explain the difference between color space and
color gamut would be this. Let's just say I'm in Resolve, and right here input transform, I'm working in ACES. If I were to change my output transform from REC.709 to let's
say something like HDR; which would be P3-D65 ST2084. As soon as I do that, my
image looks like this. And that's because we're
choked on the display level. My display can only output REC.709 so it is sort of like blind to what this color
space or color gamut is. That I'm trying to tell it that, "Hey, transform everything
into this color gamut." And my display is just
kind of pooping right now. It's just like, "Hey, I don't
know what you're asking me. I don't speak that language." So now if I go back to
REC.709 it understands that. And it is set to REC.709 because that's what it's capable of. So it's giving me a
proper conversion, okay? So that is the difference. My color space inside Resolve could be as wide as possible, but I am limited to what
my display can output. So my color gamut then
is choked at REC.709. But later in this video, I will show you how we can output HDR if our monitor is capable of it. So this is a practical
example for you to understand why it's important to know the difference between color space and color gamut. Let's say that I'm grading on this screen. This is the Apple display XDR, okay? So Pro Display XDR, and it's by default set to
P3 color space at 1600 nits. So this is what everything
looks like on this screen. But inside Resolve, my
color space and color gamut is set to REC.709, gamut 2.4. Meaning when I export this, the final output is gonna look like this. It doesn't matter the screen, it could be your grandma's old tv, your girlfriend's iPad or your laptop. It's going to look similar to that. There might be some color shift that happens usually
from screen to screen, but overall image is gonna
look very close to this compared to this. And now I'm gonna show
you how to correct that. Now, in order to fix it, all we had to do is to go under presets; instead of P3 color gamut, I changed it to REC.709 HDTV video. And that did the trick. So now if I make this full screen and you can look at the two screens they look very, very close; and that's how it's supposed to be, okay. Now let's just make it more exciting and take it up a notch. Let's just say the client says, "Hey, can you also deliver
another trim in HDR?" And now I'm gonna go ahead and select the right
parameters for HDR output. So it's gonna be P3-D65 ST2084 1000 nits. It's a mouthful, but let's
go ahead and select that. As soon as we do that, this is what happened on our screen. So usually we know that HDR Adobe Vision is supposed to look very lifelike; it should pop, it
shouldn't look like this. So what's going on? What's happening is, let's go back. Our monitors, our screen, our displays, are still set to outputting REC.709. Meaning we have to
manually tell our screens that are capable of displaying HDR, which in this case is the Sony BVM-HX310. So what I'm gonna do
is I'm gonna go ahead- I've already created a preset but I'll show you what it's doing. So I'm gonna go ahead
and click this one button and boom, check this out. So the HDR kicked in,
you can hear the fans. So now it's in, it's like super mode. And if I were to hit the display, we can look at it right now. What is going on? Color space is DCI-P3, and then EOTF is set to 2084
(HDR), which is 1000 nits. Okay? And this is the mode that I had to go in to get the actual display going, compared to like what was
happening on the SDR screen. And this is why guys, it's really important to
understand these things. And now the next step is
what to look for in a monitor when you're working in
a specific color space or color gamut. All right, so I picked out
three different monitors. These are at three different tiers, okay? So if you're getting serious
about coloring grading, I will highly recommend
a monitor like this. EIZO CG2700, It's a new release from EIZO and the stuff that I'm
worried about is brightness. So the maximum brightness is 400 nits which means that it is more than capable for giving you a true REC.709 brightness which is usually 100 nits. Contrast is 1600:1 which is pretty good for an IPS type LCD. And it's a 10 bit monitor, which is excellent for color grading. And it basically covers 100% REC.709, that's why they didn't even give it here because you're covered. And 99% Adobe RGB so if
you're working with photos, you're pretty set. DCI-P3, it is pretty capable at 98%. And that's what you need to see, okay? You need to see colored gamut, you need to see bit depth, you need to see brightness. And contrast ratio is
a pretty good one too, higher the better. Now the second example is going to be a professional monitor when it comes to SDR
grading, which is DM241. That's a model number
from Flanders Scientific, and it's also a 10 bit
panel, 1100:1 contrast ratio. So it's a little less than the EIZO, but based on my experience, I can tell you with the back
light technology that they use, this contrast is gonna be feeling right at the same level if
not better, compared to EIZO. This one goes higher nits
compared to EIZO to 450, but it's still not HDR. And then they tell you what it covers. So it covers 100% of REC.709, it does cover DCI-P3, and then they have their
own proprietary native gamut which is pretty wide for an SDR monitor. And then finally, we're
gonna look at the big boy, which is BVM-HX310. This is the (indistinct) when
it comes to color grading. Marvel movies, and pretty
much anything on the top end. Company3 is using BVM-HX310. It basically doesn't get any
better than this as of now. It has 1000 nits sustained,
1000000:1 contrast ratio. Guys, look at this. So we have 1100:1, 1000000:1. And you have to see it in person to know what that really means. It's absolutely phenomenal. It's flawless. And now that you have this information, you can decide what it is
that you usually work with. If you're working with SDR content, you might be more than okay with just going with EIZO CG
because the price is right. If you wanna do more color accurate work, and just wanna make sure that you know you're 100% on the money, then go with Flanders. And if money's no object you
want to go all the way in and you're working with a lot
of HDR content and SDR content then there is nothing
better than the BVM-HX310. So hopefully this cleared up any confusion that you may be having
around this subject. If you have any other questions when it comes to color grading, drop 'em in the comment section below. That helps me plan out future content. And in the meantime, if you want to shorten your learning curve then check out the free training. It also comes with LUTS power
grades and practice footage so it's well worth your time. Link is in the description. And guys, if you enjoyed this video, then do me a favor, smash the like button so we can reach more awesome
people such as yourself. Subscribe to the channel,
hit the bell icon so you can be notified when
I put out brand new content. And on that note; work hard, get obsessed, get possessed. I will see you guys in the next video. (upbeat music)
