All language subtitles for Procolor_C07_L1c_Pro_Color_Mng_Techniques1

Now that we've explored a couple
of different ways that Resolve handles

color management, I want to show you
the way that I like to work.

So again, there are three different ways
to make color management work.

One is in the project settings

switching to wired to be color managed.

The other way
is using some version of ACES.

And the third way

is to use a color space transform
in a note.

This is actually how I prefer to do it.

And the reason is this one, it's
really easy to turn off the color

space transform
just by clicking the node on or off

where there isn't really an easy way
to do that.

In the project settings,

if we do have this enabled,

you can right

click on a clip
and say bypass color management.

And it's not
a huge deal, but it's just a little bit

less convenient since I'm usually
working in the nodes anyway.

The other thing I'm not really a fan of
when it comes to setting your color

management in the project settings
is everything's kind of hidden.

There's no way to really view
or adjust your color transform.

There's no real visual
way to see what's happening.

Before we do any color correction
and what's happening after we do our color

correction, it's all just kind of hidden
and magical, which I don't really like.

I want to be able to be aware
of what's happening to the image

from the very start to the very end.

And when things are kind of hidden away
from you like that,

it's really easy to maybe forget something
like, Oh, well, this image actually

doesn't have the color space that we need
to set it to this color space.

And if something weird is happening,
it's hard to kind of pinpoint where it is.

It's just sort of like there's
a lot of things behind the curtain

when you use color management
from the project settings.

When we're talking about using nodes,

I can tell at a

glance that my image is being transformed

and exactly where it happens
in the image pipeline.

I can do something before my transform
and it has a certain effect

and I can view that either
under my transform or not.

And I can even switch this around

if I want to do adjustments
after my color transform,

which is going to give me
a very different result.

And so there's just a lot more control
with putting this color

transform in a node.

And the good news is I can actually have
the best of both worlds here.

I get rid of this pink push.

I can take any node that I want
and I can apply it to an entire timeline.

All I have to do is go up

to the upper part of my node graph
and there are a couple of dots here.

I can click on the second dot
and I have a whole separate node graph

which is applied after my corrections
on every single clip.

So if I hit alt asked to add a serial node

and I make everything really, really
yellow,

that happens not only to this clip,

but every single clip in the timeline.

So if I have a bunch of footage

that's all shot on the same camera,

I can take something like my color space
transform

from my clip nodes,
just grab this and hit Control C

and then go over and make a new node
in my timeline Select selector and Control

V and that's going to paste
that color transform.

I'll make sure to go here
and get rid of this node

for my clip
and I'll just reset all grades and nodes.

And now I have my color

transform applied after anything
that I do here in the clip level.

And so it is kind of hidden away,
which is sometimes nice

if things get complicated.

But any time I can switch back over
to my timeline nodes

and here it is,
and I can see exactly what's happening,

I can open up the effects and dial
in any setting that I want to.

And of

course, I can put nodes before
or after this color transform

that will also be applied
to every clip in the timeline.

I can do this once on the timeline node

and everything in the project
gets that same transform

and looks pretty good.

In fact, I've had a color space transform
on this in the previous lessons,

just so we didn't have to look
at our nasty log footage.

This is really a great way to work
and if you're wanting my advice,

I would definitely recommend
doing resolve color

management with a color space
transform inside of a node.