- Resolve Color Management
is that big scary monster that nobody wanted to (beep) with. But that all changes with Resolve 17. And to top it all off,
Black Magic introduced their own color science that they're calling DaVinci Wide Gamut. Check this out. Alright, so this chart came straight from DaVinci Resolve's user guide. Let's go through some of the color spaces that we are already familiar with. I'm gonna start off with the
narrowest to the widest. Okay? So we have Rec 709, which is this dark triangle right here on the color spectrum. Then we move onto our P3 color
space, which is right here. And you're probably familiar with it whether you have an iMac,
MacBook Pro, iPhone or iPad, they all used P3 color space. Then we move on to our golden standard when it comes to HDR, Rec 2020 which is this white triangle
right here, pretty wide. And then we move on to ACES and it is just a bit wider than Rec 2020. And then we move on to our ARRI Wide Gamut and just look at it, how
freaking ginormous that thing is. It still doesn't even come close to DaVinci's own Wide Gamut,
which is this black triangle. Just look at it. It comfortably covers every
other color space and densum. Forget about this boring chart. Let me try to explain it to you in a much more entertaining way. I came up with this analogy this morning. I was super pumped, it's either gonna be the
smartest thing you ever heard, or the dumbest thing you've ever heard. You be the judge but hear me out. So the difference between
working in a Rec 709 color space to a DaVinci Wide Gamut: Rec 709 color space is
like getting pre-taxed, you get your paycheck,
taxes are already taken out. Whereas working in a DaVinci Wide Gamut is like sending in your invoice, getting paid that exact number. Then you pay your taxes at the end. So what's the difference? You're paying taxes either way. There's a huge difference. In the second scenario, you get access to all the money upfront
that you can reinvest, unlike scenario number one where
it is much more restricted. Same goes for the color
space inside DaVinci Resolve. If you're shooting
something on, say Alexa, you got 15 stops of dynamic range. You're funneling it
through Rec 709 pre-tax where it's much more limited, whereas if you funnel it
through DaVinci Wide Gamut, the possibilities are endless. I don't know. I just made that (beep) up. Back to the video. Up until Resolve 16, every
grading tool inside resolve was meant to work in
a Rec 709 color space. That's why when somebody would use ACES, they would have all these workarounds. They would have their
IDT and ODT set as ACES, and then everything else in
between is set to Rec 709 so all the tools behave properly. But that's not the case anymore. Resolve 17 has color
space aware grading tools, meaning regardless of the
color space you're in, everything is going to behave similarly. This will make much more sense when we get to the tutorial section, but if you don't know the difference between parallel mixer and layer mixer, or not sure when to use which,
you came to the right place. In this free training, you're not gonna learn
everything about nodes, you will also learn to
build the perfect node tree, regardless of the project
that you're working on. I will end the session
with an extended Q&A. These questions came from you guys. Click the link in the
description to sign up for this free training. I'm genuinely so excited
about this brand new training and guys, if you're enjoying the content, you know what to do. Smash that like button, subscribe to my channel
for more awesomeness. Do not forget to follow me on Instagram. Let's roll the intro. (upbeat music) So when you're inside your project, go ahead, click on this guy. This little icon is for
your project settings and under color management, you're gonna see DaVinci
YRGB and Rec 709 gamma 2.4. This is your default settings. Basically what it's saying
is that your color space or color science is set to Rec 709 and then your output
is going to be Rec 709. So if we go back to this chart,
it goes back to this, okay? So we're working in Rec 709. We're gonna be spitting
out a Rec 709 image. Now let's bring in a few
different clips. Okay? So these are shot with different cameras. This one is Canon C500
Mark II in 422 embed. This one is shot on
Pocket 6K, Blackmagic Raw. We got ALEXA Mini ProRes 422 HQ. We got Red Dragon 5k, in R3D. So this is what we got going on. I'm gonna go ahead and bring
these clips into my timeline. So they're in here. And if I go to my color page, you can see that this is in C Log 2. This is pretty flat. I mean, look at the scopes. And that just tells the story. Look at the Alexa footage,
same thing, pretty flat. Look at the Blackmagic
Raw footage, pretty flat. The only one that's not necessarily flat and is in Rec 709 is the RED footage because it is referring
to the project settings. And that's how by default it's set up. So, usually what you would
do in a situation like this is that one, you can just
go ahead and grade it using your primaries or if
you're running and gunning, let's go to our Alexa clip. Now these lights are
provided by DaVinci Resolve. I can double click on it and
boom, this is my Alexa light. And then this will give
me a starting point and then I can go from there. Or, I can do it a color
space transform way. I can click on this guy and say, hey give me my Canon cinema
gamut for input color space and input gamma, give me a
C Log2 and boom right there. If I go before and after you
can see we went from flat and we converted it to Rec 709. So these are two ways to go
about converting your image into a Rec 709 color space
and then start grading. But let's not forget that
we're restricting ourselves to what we can achieve compared to when we get into
the DaVinci Wide Gamut. So let's go ahead, reset this
and reset this clip as well. I'm gonna go back to my edit page. Alright, so now let's click
on our project settings again. And this time what we're gonna do is select this and choose
DaVinci YRGB color managed. And it gives you a bunch of presets and we're not gonna do
anything custom in this video. We're just gonna stick with the presets. And the one that I'm gonna pick is DaVinci Wide Gamut. Okay? And let's read the description. An extra wide gamut log
grading environment suitable for SDR and HDR deliverables, preserves maximum image fidelity and highlight detail up to 10,000 nits. So basically you're
future-proofing yourself if you're working in this color space. Then a very important thing right here, our output color space or ODT is still set to Rec 709 gamut 2.4, meaning I'm gonna take advantage of, let's go back to our picture, I'm gonna take advantage
of all of this color space when I'm in my timeline, but when I output, I'm gonna output for sRGB for web and for broadcasts. Now you can obviously always change this, do whatever you want. If you wanna export for
Netflix or something like that, you can just select one of these options. This is gonna be your option for Netflix. And you can just go from there but we're gonna leave in our Rec 709, because let's say I'm gonna
be exporting this video for YouTube and I still want it in sRGB or Rec 709 color space. So that's all you need to know about Resolve Color
Management to get going. Now let's go ahead and hit
Save and look what happens. As soon as I hit Save,
it converts my image into a proper Rec 709 environment without me doing anything. And that's the beauty of
Resolve Color Management. And it does the same thing
for this clip right here. So it went ahead and did
exactly the same thing. Let's chop this up. This is the only one that didn't convert and that's because if you're working with footage that is not raw, it's not always going
to know to convert it. In this case, the metadata came in. It knew that it was shot on an Alexa Mini so it converted it, but
for Canon, it did not. So what you need to do is you
need to go to your media page and on this level, you have
to select that Canon shot, right click and just
under input color space, go ahead and select Canon
cinema gamut Canon Log 2. Done. Okay? So now the proper conversion happened just by clicking that one
button and we are ready to go. We can right click and
update our thumbnails so everything looks clean and now we are ready
to go, ready to color, and take advantage of
all that color space. Basically imagine this, right? We're using ARRI footage which is this blue triangle
inside the DaVinci Wide Gamut, instead of taking this ARRI Wide Gamut and cramming it in a Rec
709 timeline color space. To really give you an idea of
how wide this color space is, keep your eyes right here. Okay? And let's look at where our
oranges are sitting. Okay? So one, two, three about three lines, little past three lines, right? That's where our oranges are sitting. We are in DaVinci Wide Gamut. Okay? So what I'm gonna do is
I'm gonna go back in here to my project settings. I'm gonna switch it back to
DaVinci YRGB Rec 709 2.4. And this is where we're at. Let's do it again. I'm gonna drop in my
color space transform. And this is our Rec 709. Look at what happened. Look at how different it looks compared to the DaVinci Wide Gamut. This is basically just telling
us that, hey, I'm maxed out. You can't really do
anything with me right now. This is the most this image
can be pushed. That's it. So just check this out. Now, keep your eyes here. Let me go back. So let's reset this, go back to our DaVinci Wide Gamut and now I'm gonna hit Save
and boom, look at this. So hopefully that gives
you an understanding of what this actually means, how it's eating every
other color space alive. It's just all under this
huge Davinci Wide Gamut. Then at this point, what I would do with this particular shot
is just give it a little bit of a contrast, not too much. And in this example,
we're pretty much done. And once again, everything is controlled. Nothing is blown out. It's handling all these different colors in the shot so well. Let's move on to this particular shot and I'm gonna freeze it right here. So let's say this is our
hero shot or hero frame. And this time we're just gonna do I think maybe four or five nodes, and I'm gonna go under my fourth node. I'm gonna go under my third node and let's start off with contrast, so let's crank it a little bit. I'm gonna keep it somewhere around here. Obviously it looks too dark so I'm gonna go under my
second node and gamma up. Let the image breathe a little bit, gain down, gamma up, gain down. So I'm gonna keep it
somewhere around here. I'm gonna take my lift and
lift down a little bit, not too much, something like that. I'm gonna go to my node number four. This is gonna be our pop node. Let's go in here, go to custom curves, make sure editable splines is turned on. Let's click on this guy. I'm gonna raise it up. I'm not gonna do too much with it because I wanna kind of
create like this film look. So I'm gonna see, okay. Maybe somewhere around
here, let's take the bottom. And again, going for that film look so I'm not gonna push it too much. Maybe something like that. If I do before and after, it adds a really nice pop, looking good. And now let's go ahead and add our glow and I'm gonna go in here. We're gonna change the
composite type to soft light and let's go to threshold, open it up. Open it up all the way. And then in the spread, we are going to keep it
somewhere around here. I'm gonna open the global blend and let's just bring it to halfway point. And at that point, let's
take the brightness, crank it up a little bit. I'm gonna go back in my threshold and kind of tighten it up. And let's see, more brightness, something like that. And how are we looking? Okay, so let's go back into my curves and let me just grab
this and see if I wanna, kind of pull this down and then let's see the top. Alright. Maybe something like that. Now I'm gonna go on my first node and let's add noise reduction because I don't know if you
guys can see it on YouTube, but you will be able to
notice the difference here. You see how thick this
white color is right here? It's gonna thin out quite a bit when we apply it noise reduction. So let's do that. I'm gonna go in here. I'm gonna drop in about three frames. Let's go to three and then let's crank
this up to about 11-ish, 'cause this is a pretty noisy shot. I'm gonna break the link right here and go under my chroma and
bring it up to around sevenish. And if I do before and
after, huge difference. Okay? And again, look at this. How it's thinning out,
that's how you know, that it's working. Now let's move this over
or actually, you know what? Bring this down. I'm gonna click right
here, open another note. And then I'm gonna create a layer mixer and basically in the bottom one, I'm gonna select his skin and it's gonna select all of this. Okay? Because that's right next to the skin. So let's go ahead and control that. So I'm gonna bring this, try to close it off and
clean it up a little bit. And then let's... what was this up? And let's bring this in and now let's just add denoise and if I take the denoise
up to about 10-ish, there's not gonna be any
chatter or anything like that. You guys are gonna see, okay? So let's leave this as is,
let's go back up to five, and here I'm just gonna do
my basic printer lights. So I'm gonna take my red lift and I'm gonna bring it down
to kind of add that teal. Not too much though, because then it's gonna look unrealistic. So even something like this is looking, it's pretty dramatic, but
it's looking pretty good. And I'm gonna take my blue gain and I'm gonna add some warmth
in my highlights. Okay? So that's what I'm doing. Then I'm gonna take my red gain and I'm gonna add some red, up there. Then I'm gonna go back into my red black, right here, red lift, and I'm gonna keep adding that teal to kind of create that color contrast. So if we go before and after, so you guys can see where we started to where we're ending up and then if I just do
before and after here, we're creating this really dramatic look. And once again, like I
said, it's gonna hold up. There's not gonna be any chatter. So you can see my key is holding up. It's looking clean. There's nothing wrong with it. And we were able to create this look. Now, guys, the beautiful thing
about DaVinci's Wide Gamut is that look at the highlights. Look at the highlights here,
look at how it's holding up. This is where we started to
this is where we ended up. This was shot in
Blackmagic Raw at 3,200 ISO on the Pocket 6K. It's not necessarily known for its great low light sensitivity yet with a little bit of work, we were able to come away
with a image like this. I mean, come on. Now, let's move on to this shot. Let's do something pretty
basic with this shot. So I'm gonna create two nodes. I'm gonna click on this
guy and click right here to do our proper wide balance and boom. I mean, everything is looking proper. The white balance is pretty much done. Now what we can do here is we can create some sort of a look. If we are going for... Let's go do temp and tint. So I can just add some warmth and then keep it somewhere around here, just really warm it up. And now what I wanna do is
I'm gonna create a layer mixer and I'm gonna go under my qualifier. I'm gonna be using lumen qualifier. I'm gonna crank it up quite a bit. I'm gonna hit Shift + H so you
can see what I'm selecting, and I'm gonna go ahead and
only select the highlights. And now if I turn this off, if I do on and off, so basically what am I doing? I'm keeping the same look, but I'm pulling out some of that dinge that's going into my highlights. Basically look at the clean
crisp specular highlights are now white. The wall on the back is white. The products are supposed
to be white and now they are but we still have this
essence of this look. So if I take these two
and turn it on and off, we still have that look, but it's a sophisticated
version of that look. And then that could be that
for this particular one. And now if we go right here, once again, this is what I'm trying to tell you. Look at the specular highlights
and how it's handling it. Again, we can see it here. How much room we have to mess around with all of these tones. This is something that does not happen when you're in Rec 709 gamma 2.4. Okay? This is just making it look too easy. Now let's go over here in our RED shot. Obviously, it's basically
referring to the project settings, but one thing that I don't like is that how these highlights are super clipped. We can even see these
flat lines right here. So in order to fix that,
I can go click on clip, I can change the color science, keep your eyes right here
first, and then right here. So if I click on this and hit IPP2. Boom, it just opens it
up, cleans it up so much. Even if you look at the scopes this time, I'm gonna go back, legacy, and now I'm gonna go back to
IPP2, cleans it up so much. Now let's take it a step further. I'm gonna go into my HDR palette and I'm just gonna take my highlights. I'm gonna crank 'em. And basically it's just
opening up the image so much and adding this extra dynamic range. So look at the forehead
specular highlights over there, or actually his head not forehead. And look at the specular
highlights right here. I mean, all of these new tools in Resolve are just so practical especially
the HDR palette is so good. So guys, this is basically in a nutshell, what DaVinci's Wide Gamut
is and what to expect. I mean, this thing is an absolute beast. You saw what we were able to create and how fast we were able to do it. And just look at the range
that we have to play with. Let me know if you guys wanna
see more stuff like that. Now, personally, I've been
using DaVinci Wide Gamut since Resolve 17 dropped
for my client work and for my personal work. I will highly recommend
watching this video a couple of times, just so
everything kind of sinks in and you really understand how RCM works. Do not forget to check out the training, link is in the description. If you're enjoying the content
smash that like button, subscribe to my channel
for more awesomeness. I will see you guys in the next video. (upbeat music)
