All language subtitles for Procolor_C07_L1b_Colormanagement_Inresolve

Welcome back.

In this lesson, we're going to be talking
about color management

and looking at this process in resolve
of taking this and changing it back

into something
that looks really natural on our display.

Okay. So if you want to follow along,

I'll be in the Tuesday on Earth timeline
and let's click on Tuesday on Earth.

Start

and let's move over to Shot eight.

Well is click on the shot thumbnail

and I'm going to do a couple of things
just so that we can see a little better.

I'm going to get rid of our clips
and our timeline

and our media pool or a gallery

and get zoomed in here.

A couple of things
to check out that we've learned so far.

One is we have one node.

There's nothing going on.

And down
here in the scopes, we can see that

nothing is really very dark
and nothing is really very bright.

All of this
signal lives between 768 and 28 ish,

and generally for something
to look good on a display,

the signal needs to kind of stretch
from the top

to the bottom of this scope
for whatever display.

We want to show this on.

A lot of the time

we're going to be working with
like a normal computer monitor or a TV,

which on the parade is from 1023 to 0.

So if anything's black,
it really needs to be down here at zero.

If anything's bright white,
it needs to be up near 1023.

And it's not that we necessarily have
a bunch of black or white in this image,

but we can certainly tell just
by looking at it that it's really gray,

kind of washed out and the scopes are
kind of just living in the middle.

There's nothing in the upper
or lower part.

Those are all great clues to show us
that we are working with the log footage

now, like
we talked about in the last lesson.

If we wanted to, we can adjust this by I,
I could grab this master wheel

slider down below our left,

which is only going to affect
the darkest parts of the image

and only the brightness
of those darkest parts.

I can drag it to the left

until the bottom part of my scopes
kind of reaches zero,

and I could do a similar thing
for the gain.

I could take this master wheel and grab it
and pull it to the right,

and that will brighten up my image

to where the brightest parts
get closer to 1023.

And now we have a lot of our problems
fixed.

If we turn this node off
and on by clicking on its number,

we can see before it's grain washed out.

And then after we have this,
we have much better contrast.

We could also go to our saturation
and take that

and drag that to the right.

And now our colors are getting
a little brighter and this looks closer

to what we can guess
it looked like on the day we shot it.

And this works.

But again,
there's a huge problem with this in that

we don't really know
what the camera was seeing on this day.

We're kind of just guessing.

We're sort of arbitrarily
putting the darkest parts down

at the darkest part of the signal,

the brightest parts up
at the brightest part of the signal,

and kind of setting our saturation
to what looks good.

And this is an okay way to do it,
but it's not the very best

because like I said, we're kind
of starting with a moving target here.

This isn't necessarily how the camera
actually saw this image on the day.

This is sort of our starting
interpretation of it.

So let's take a look at what color
management looks like in resolve.

First thing I'm going to do is right
click here

in our empty space
and say reset all grades and nodes.

Now we're back to our log footage.

There are a bunch of different ways
to do color management inside of resolve.

One of the ways
would be to go to our project settings,

which is down here in the lower right
hand corner.

Click on this little settings cog.

Then about

halfway down our list,
we have color management

and here we have

a section for color space
and transforms by default.

This is set to DaVinci White B
and the timeline color space

is set to rec 709c
And if you have these kind of settings,

if you look at some log footage,
this is what it's going to look like.

But what we can do is actually tell
resolve what kind of camera we shot with,

and then resolve can take that information
and it can apply a color transform

to make this log footage
look really nice and actually

pretty much as close as you can get to
how it actually looked on that day.

So to get there, we go to our color
science dropdown here instead of DaVinci

White, our B, we can go to DaVinci
White RG be color managed.

This switches is some of the settings here
and for now we'll just leave this

on automatic color processing
mode SDR Output Color Space.

SDR rec 709 rec 709 is the fancy word
for the type of colors

that something like a TV
would produce, like normal video.

It isn't like on an HDR TV
or isn't on a projector

in a movie
theater is generally rec seven or nine.

So that looks good.

Let's go down here and hit save.

And now our image changes a little bit.

That might have been hard to see.

So let's just go back to our g B save.

There's before

and here's after.

So now this isn't so flat.

It's still maybe
a little flatter than we want,

but it's doing some adjustment
to the image so that we can see

a little bit
more accurately what this looks like now.

How does it decide
what to do to the image?

Well, if we go up to our clips
and show those again and go over here

to clip eight and right click

about halfway up our menu here,

we can select input color space.

This is the fancy menu
where you tell resolve

what kind of camera you shot with
and what kind of settings you had.

So if you shot with a canon,
there are options for that.

Options for Red and Red Dragon, Nikon,

Sony, all kinds of different cameras
and presets.

But what we're going to look for, for
our footage

is actually a blackmagic design film.

Gen five The reason we're picking
this is because this footage was shot

on a blackmagic pocket
six k with the newest generation

at this time of color settings,
which is called Gen five.

So when I click this,

the image

gets a lot more poppy
and everything actually ends up being,

you know, stretched from 1023 all the way
down to zero, just like we would want.

This is about as close

as you can get to how this image
actually looked in real life.

And we haven't made any creative decisions
so far.

All we've done is tell it what camera
we shot with and what settings we used.

So we're going to go into more detail
of exactly how this works.

But that's the basic idea

is that you set your color management
in your settings, make sure you're on.

Why aren't you be color managed?

And then whatever

footage you have, you make sure to right
click and tag the input color space,

whatever color space you shot with.

So now we have this shot
which is untouched,

but the colors are very accurate
to what we actually shot that day.

Let's take a look at another way that
we can do color management in resolve.

We'll go back to our project settings

and this time under y RG be color managed
right here under color science.

Let's switch that to ACS. CCD.

ACS is basically the same idea

as resolve color management,
but it's a little bit more generalized.

ACS isn't just available in resolve, it's
available

in Premiere and a whole bunch
of other different applications.

And some people swear by ACS.

Some people really like
resolve color management.

It kind of just depends on your workflow.

If you're working with other people
who use ACS for our workflow,

this isn't going to work very well
because they don't have Blackmagic design.

Gen five.

They only have Gen three,
which is not going to look exactly right,

but we can set this to Gen three and
our output transform to REC seven or nine

and hit

save and we
will get some version of color management.

And this actually works great for
any camera that is like supported by ACS.

But like I said,
we don't really have the right one.

So we can select like Blackmagic design
film and get kind of close.

But if we're really going for accuracy,

none of those
are going to be quite accurate.

But if you did shoot on something like Red

or Sony in one of these different formats,

it'll give you very similar results
to resolve color management.

That said, for now,
I would recommend if you're going to use

color management
settings here in the project settings,

setting this to DaVinci,
why be color managed?

Because there is a little bit

wider range of support
and if you don't really need to use ACS,

there's no downside to using color
management inside of resolve.

The other way you can do

color management is by setting it up
in a specific node.

So let's go back to our project settings

and this time I'm going to turn off
color management and just switch to Da

Vinci y arg b

and let's hit save

and we get back to our gray,
nasty looking footage.

I'll reset all of our grades here

and now we can do a very similar thing,

but we can set up our color transform
instead of in our settings.

We can set it up in a serial note
all as to make a new serial node.

All right, click this and say node label
and we'll call this color transform.

And now if we go to our effects
up here in the upper right,

we have a list of

all these different kind of effects
that we can drag on to any node.

If you have have quite a bit more effects
available that actually work.

But even if you have the free version,

you should have something called
color space transform.

If you take this
and drag it on to the node,

this little effects badge comes up

and you should have your effect
controls here and our little effects

panel, Here's where you can set
a bunch of nerdy settings,

which we don't need to probably get
into all of the details for.

But what we do need to do is set these top
four settings right here

for input color space.

Let's take this down and we're going
to pick the one that we shot with,

which is Blackmagic
design wide gamut Gen 4/5.

This is the color space.

That's basically
how many colors are allowed in this image

for input.

Gamma We're going to pick
Blackmagic design film Gen five

and this is kind of how
the brightnesses of everything are mapped.

So this by default will look pretty good

and this will actually look exactly
the same as if you set up your

color managed
and set your input on your clip

to be Blackmagic Film Gen five.

We also want to set our output
color space,

which we're going to scroll down to REC
709 and our output

gamma was also rec 709

This again is specific to whatever output
you want to make.

So if you're making a video for YouTube,
if you're delivering for broadcast

rec seven or nine where you want to be,
and now we have our corrected image

that started like this
and ends up like this.

But the difference is we can turn this off
and on to preview things

and do anything
that we would normally do in a node,

but with our color transform applied
within that node in the next lesson,

we'll take a look at my preferred workflow
for color management.