I have a macbook pro and an Eizo connected with thunderbolt port to the mac. The simple answer is that computer displays have inherent limitations due to the OS, ICC display profiles, hardware, etc. I believe these issues are why Blackmagic added the rec709-A option in the latest version of Resolve 16.2.2. The settings I’ve used are below. Color and exposure influence each other, so shot matching for color can be difficult. Import the LUT into DaVinci Resolve by dragging and dropping the file into your main LUT directory. I tested this with a few different encoders from Resolve’s h.264, to Adobe Media Encoder, to HandBrake and also YouTube and Vimeo. Seems fine to me… Just let me know if you feel I overlooked something. However I tried to replicate the results with “DaVinci YRGB Color Managed” instead of “DaVinci YRGB” and whatever combination of Timeline Color Space and Render Tags I used I always got HD (1-2-1) files out of Resolve. If you’re a professional user, rec.709 Gamma 2.4 is the standard color space and has been since the dawn of HD video. The setting looks like it’s supposed to match the GUI image to a reference monitor. That’s why I advise people to turn it on if they don’t have an external calibrated monitor. It’s often used when a sequence has been graded and the grades then need to be transferred to different versions, perhaps a trailer or an updated cut of the sequence itself. I wonder if having the Rec709 3D LUT in the viewer is making the difference in my case. If my “Use Mac Display Color Profiles for Viewers” is turned off, the image in the resolve viewer has more exposure and less contrast. Timeline is Rec709 Gamma 2.4. Maybe this will change as computer displays catch up to broadcast and signal chains evolve, but so far, that’s still the best way to do it. If you’ve subscribed in the past, I’ll send this free infographic out to your email address. Using rec709-a tags is very simple and makes it much easier to match viewers and exports in Resolve and beyond. Could you please email the pdf direct? Rather than just trusting the human eye, examine the scopes for mismatches in shadows and highlights for different colors. Vimeo looked very different from Resolve and QT in Chrome. I tried all three approaches you mention in the Infographic and they all work as expected. Then the Timeline Color Space defines how Resolve’s viewer displays files…. Is it a later model? The end result may not be perfect for your final product, but it’ll serve as a much better starting point to work from as you begin to do your secondary color corrections. Resolve will match the color, contrast and brightness of the clip you’re working on with the one you’ve selected. It seems like there might be an issue with you icc profile if you’re seeing black clipped when you turn it on. There are limitations with color managed and un-color managed applications beyond Blackmagic’s control. Im grading with a reference FSI display and I have ‘use Mac display profile off’. This seems to point towards using Rec.709-A as the Timeline Color Space so the viewers match. Out of curiosity, how are you switching the external display between the two programs? Nothing was matching for me. Companies like Apple control their own ecosystem whereas companies like Netflix are reliant on established broadcast display standards since they don’t make their own hardware. Firefox is the odd man out in my tests. Step into DaVinci Resolve 16 and learn the same proven strategies and techniques Hollywood colorists use without feeling intimidated, stumbling around or feeling frustrated. Huh. I’m ordering Flanders DM240 as we speak as I’m extremely tired of this problem . As a bonus, here’s another short tutorial, this time from Staffordshire Universty, about performing a color match in DaVinci Resolve using a MacBeth color chart. Now what are my options? I can then make further adjustments using the provided scopes and color … For the first change, “Use Mac Display Color Profiles for Viewers” works the opposite of how I described it in my last article. If you then have properly working color engine (OSX one does work okish) then your end preview will be properly converted to display profile. Like any other proper color grade, you need to start your process by balancing and matching your shots to each other as closely as possible using one or two nodes that are simply dedicated to fixing techni… The third is a screenshot from an mp4 upload from HandBrake to YouTube. In my guide, I walk through using a standard display monitor set to 2.4 or 2.2 depending on the deliverable which is ideal for any higher level color grading. Especially if your work is only delivering to the internet not a standardized display color space and your clients are primarily mac users. We’ll do our best to keep you updated on the best ways to work and how to maintain consistency for your clients. Rec.709A does what most post apps have done for many years now for HD video which is use 1-1-1 QT tags. You could use a color space transform in Resolve to go from Rec709-A to Gamma 2.4. Because when “Use Mac Display Color Profiles for Viewers” is turned on, you’re actually only matching viewers. Rest is an accuracy of your display profile, but this is a separate problem. By changing your timeline color space to rec709-A and using rec709-A render tags, your project will match QuickTime renders AND when the file is re-encoded, no shifts will occur. I've taken a clip into Resolve for color grading, but when I bring it back into Premiere, the colors are different—it seems more saturated, and hues are slightly different. While in theory rec709-A tags are great, figuring out how to use them in existing workflows can be a challenge. Matching the Color Chart. There are also limitations with browser and video hosting sites that are beyond Blackmagic’s control. However, I’d actually recommend working with tags instead. You can really see it in the black and white step ramp at the bottom of the images. It will look darker in Resolve than it did in QuickTime because the tags don’t match. The second is screenshot from a ProResHQ export. Key info is still missing in the whole article. Hi Florian. Finally. The bars and ramp are all created from Resolve’s standard generators. The infographic describes in detail how to work with QuickTime tagging and color grading. There appears to be a slight shift from the ProResHQ QuickTime to the H.264 mp4. And then also each format would need to support it, not just QuickTime. It was beyond frustrating. I use project settings when I render out and to be honest I’m getting good results across devices using quicktime, I didn’t know if my set up might be of help to others? The offset settings seemed to be the closest to matching QuickTime and Resolve’s viewer. I haven’t been able to justify a good external monitor yet as the amount of deliverables for broadcast I do per year is 1-2 at most. If I reconfigure a project, changing to sRGB, then the stills match but not the exported movies…. And the joke is, that ipad basically displays everything like if color management is turned off. Hey Conor, thanks for the comment. 1-1-1 tag is the best for a workflow where we need to generate several proxies that need to get the tag attached. Greens are way neon, contrast is different, magenta is dark, other colors are different. – buy an i1 display pro and calibrate your screen to rec709 gamma 2.4 100nits – Grade in a darkened (not pitch black) environment – Set Resolve to rec709 gamma 2.4 across the board. I have been trying to solve the color/gamma shift problem for MONTHS. The next two changes provide solutions for this issue. Just as an aside I had noticed with weird timeline settings (like a Blackmagic setting) you get really weird results if you’re not using Resolve Color Management. Good luck! And Resolve’s color spaces should match corresponding embedded QuickTime tags in source files and renders. Share them in the comments below! Great job! I have not tested this across PC’s and Firefox. The tough thing with any color management is if you’re using a different device to watch something, it will look different. Working with a broadcast monitor and Decklink, what I see in Premiere after sending it back from Resolve doesn’t match, whether I use 1-1-1 or 1-2-1 tags. I am struggling to match colors of a Fusion object to my client’s branding color specifications. Original Footage. The exports would look much darker in QuickTime than Resolve’s viewer. Another problem with this change is that Resolve displays QuickTimes with 1-1-1 tags as 1-2-1 if the timeline color space is Rec709 Gamma 2.4 and “Use Mac Display Color Profiles for Viewers” is on. With HDR, it’s a little different on YouTube/Vimeo, but the vast majority of content is still created in Rec.709. In my testing, both Chrome and Safari matched QuickTime and Resolve’s viewer with uploads to Vimeo and YouTube. I imported the DPX into Premiere, where the colors appeared correctly and I could export a ProRes from there. There will be no shifts from Resolve’s viewer to QuickTime and then to YouTube, Vimeo etc. Kindly. Depending on your workflow, one option might be better than the other. While that is still the case, since Resolve has become so accessible to editors and a larger group of users without a grading monitor, I believe it’s still important for users to understand how to maintain their expected color appearance on Mac monitors even without a grading monitor. Changing the Color Space Tag and Gamma Tag will override the project settings and embed the user selected tags. Stream or Download Instantly . But that could lead you down another rabbit hole if the TV isn’t! It’s true that even big companies have to deal with the issue as everyone watches content on displays that they can’t control. In my experience, the image in the viewer looks closest to a dedicated external monitor with Rec709-A as the project color space. I would also highly recommend confirming with the studio the formatting (color space, gamma, levels.) To use a LUT in DaVinci Resolve: Download the LUT you want to use. Then you have more control over the transforms on a clip by clip basis and it won’t affect your logo. Sorry about that! Below are 4 frames from the video test. Their newest product is CineMatch, a camera-matching plug-in that’s currently available for DaVinci Resolve and Premiere Pro – and coming to Final Cut Pro X in the future. Hi, I am using RCM on the project level, however its not just the logo, its any clip with another one above it. When doing the conversion with the CST’s the conversion is not the same even with the same settings, but I didn’t think to do that, thanks for your help! But still have small differences with Wistia. Mixing Light has a good explanation on their site: https://mixinglight.com/color-grading-tutorials/gamma-2-2-vs-gamma-2-4-davinci-resolve/, Your email address will not be published. Both screens have been calibrated with an i1 display probe to gamma 2.4. Thank you so much for posting this. Most of my deliveries are for internet, but occasionally a client will want a video for broadcast television. DaVinci Resolve also supports HDR10, HLG, and the Rec. 709”, all colors from your color chart will still be adjusted. Ease of Use Winner: Premiere Pro. It would be great if there was an option to see these tags somewhere in Resolve. We have made a lot of combinations. Color spaces in Resolve match QuickTime tags. It really depends on your viewing environment and taste to be honest. But for that extra mile or to really make sure you’re not driving yourself crazy, this is one option to really dial in the colors for final deliveries. Hello Dan, Thank you very much for sharing your knowledge as finding in depth info on those topics isn’t easy… And especially from someone who knows the topic as well as you do. To get an overall balance across everything 50% of the CST node might be more appropriate. For example, if an original camera file has 1-1-1 tags in QuickTime and it is imported into a Rec709 2.4 gamma project in Resolve and “Use Mac Display Color Profiles for Viewers” is turned on, that file will appear as if it has 1-2-1 tags. So glad it worked for you! That sounds like a potential bug. When you want to change the color of an object, but not the whole image, it’s easy to do in DaVinci Resolve. I mean if both screens are calibrated with a probe. A simple fix would be to stay in YRGB and just use CST’s in the node tree to do the color space conversion. Why do people say the screen dedicated to Resolve interface looks different to the other screen connected to the computer? You shoot for close. DaVinci Resolve 16 is the world's only solution that combines professional 8K editing, color correction, visual effects and audio post production all in one software tool! Required fields are marked *. True color and tone is relative to how accurate your monitor target color space is. – For QuickTime on a Mac or Vimeo/YouTube via safari or chrome on a Mac use a colour space transform node and set the output gamma to 709-A. Unfortunately, I do not have an external calibrated reference display. That's where programs like CineMatch come in, a camera-matching plugin that's available for Premiere Pro and DaVinci Resolve, with a version for Final Cut Pro X coming soon. Always remember to have your color chart with you on set and be sure to take at least one shot of the chart for each lighting setup or scene that you shoot. Yes, Instagram defaults to 1-1-1 tags for video but apparently for stills supports wider color gamuts: https://instagram-engineering.com/bringing-wide-color-to-instagram-5a5481802d7d#.auao1yb2d Hope that helps! However my computer monitor is using a profile I made with the free Display Cal software and a setting made for Resolve Rec709 – that profile is set in the ‘viewer 3D LUT’ in Resolve. The fourth is a screenshot from an mp4 upload from HandBrake to Vimeo. A simple alternative is to perform the matching manually for one frame and then animate the color correction with the probes modifier. Normalize clips first with a primary correction or by using Resolve Color Management (upcoming Insight on that!). Atm. Basically this only is useful(the subject of your article) if you grade for internet only, that’s what it means right? Definitely important to work out how to use tags project by project. Most software and browsers still assume video is Rec.709 even with tags. I understood from your post that this is due to wrongly interpreted tags for Quicktime-based applications and displays on a Mac. Part of the importance of grading to a dedicated color space standard. This could be a result of my particular hardware or some other unknown variable. So sticking with that seems to work best. Blackmagic also added a new color space option in Resolve with version 16.2.2 of Resolve. Since these tests are all HD, there weren’t any surprises with color shifts. Are you using YRGB color managed at the project level? I appreciate the response! Using a dedicated external grading monitor here, the closest match perceptually in Resolve’s viewer was Rec709-A. Many greetings from here to there, Christoph (another one than the one who commented earlier , Just did a small test and I seemed to have found a workaround. My settings are: YRGB Unmanaged, 709 2.4 timeline gamma. Tutorials / Color Matching in Resolve / How To Use DaVinci Resolve’s Color Match In An ACES Pipeline Chrome and Safari are color managed by the Mac OS. Matching Color: DaVinci Resolve’s Viewer & Mac P3 Displays and Applications (for macOS High Sierra), https://instagram-engineering.com/bringing-wide-color-to-instagram-5a5481802d7d#.auao1yb2d, https://premierepro.net/color-management-premiere-pro/, https://mixinglight.com/color-grading-tutorials/gamma-2-2-vs-gamma-2-4-davinci-resolve/. Learn how to properly set up Color Match in ACES workflows. I just gave up and stuck to Final Cut Pro. Sorry, need to comment again after doing some more testing, because this is driving me nuts: Final results, with the XDR driving in Native Rec709 Mode. This is just what I need as I’m almost exclusively outputting for the internet. Thanks for the suggestion. Then set the gamma tags on the deliver page to 709-A (1-1-1). Hi Dan, Great information on this article, I have one issue though and I was hoping you might have an answer, I’m using RCM to convert Braw film to Rec709-A because I need 1-1-1 tags I upload mainly to Instagram and I’m assuming they use 1-1-1 tags as well, Here’s the issue, when I do the conversion and layer a logo on top of clips with bright, but not clipped, highlights, resolve will artificially clip the highlights and lose all detail with horrible highlight rolloff any suggestions would be greatly appreciated, I really only care about resolve matching my final deliverable which is Instagram. Specifically it works differently in OS’s later than 10.14.6. But for those who are particular about their colors remaining consistent, it does feel different than the source. I’d have to dig deeper into testing out Premiere’s monitor to an external monitor. By default, the color space tags will match the Timeline Color Space or Output Color Space if the project is color managed. 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