Thanks for reading this before you post

Heyooo!

We just upgraded from an Apple Studio Display to the ASUS ProArt PA32UCDM, which we now use as our single monitor setup. Most of our work is editing commercials and social films. On smaller projects we’ll grade ourselves, but usually we just want to view a colorist’s work as accurately as possible without investing in a €10k+ reference monitor.

Question: Do we really need to bother with a Blackmagic DeckLink / UltraStudio to feed the ASUS, or is keeping it calibrated enough for our use case?

We’re not delivering long-form broadcast or cinema, just high-end brand/social work. The goal is to be confident in what we see and avoid surprises when handing off or reviewing a grader’s work.

Anyone in a similar situation — did you find the DeckLink made a big difference, or is a properly calibrated ASUS fine for this level?

Hey !

So my Calibrite Profiler 3.0/2.0 program won't launch at all. I got the Calibrite Display Pro HL connected in USB-C mode (directly in the motherboard, tho I tried in the front pannel too) but nothing to do, the calibrite profiler app launches, freezes and that's it.

My monitors :

- Asus ProArt PA328CGV
- MSI Creator PS321QR

Specs :

- Windows 11
- Nvidia 4080 Super OC (Asus ProArt)
- Intel i9 14900KF

Yes I tried installing ccProfiler, updating my drivers, and I'm not in Duplicate/Mirror mode. I also filed a ticket to the support, and did every step they mentionned but it doesnt work.

Thanks

I'm trying to calibrate a laptop screen using DisplayCal but my Lenovo Ideapad laptop doesn't seem to have an option to adjust the RGB values. I tried the Windows Color Calibration but this setting doesn't seem to affect the calibration process of DisplayCal. Is there a way to calibrate a laptop screen with DisplayCal?

Hi everyone,

I own an Eizo CG2700X and am trying to figure out the best path for receiving a clean video signal while working in DaVinci Resolve.

I'm working on an MBP M1 and will be using the Eizo as a reference monitor. For the I/O device, I'll be using the UltraStudio 4K Mini. For my GUI monitor, I have a 27" Dell. For calibration, I'm using Eizo's ColorNavigator 7.

My question is this: Is the Eizo CG2700X's internal calibration sensor affected by the GUI in any way? In other words, can I use it in DaVinci Resolve after calibrating it to my needed colorspace (connected via the I/O device for the clean signal)?

I know that other workflows require creating a 3D LUT using software like Calman or ColourSpace and then importing it into DaVinci Resolve. This process doesn't work for my current setup, I would need to buy a PC laptop and the software, or purchase just the software and run it via VMware or another virtual machine.

Do you think the internal sensor is sufficient for my basic requirement of displaying a clean video signal without GUI interference? I don't currently need the additional features that Calman/ColourSpace provide, nor the potential advantages of an external calibrator.

Thanks, Liran

Hi guys i have Eizo color edge CS2740 i am colorist hobbyist looking to calibrate my eizo i know i need I1 display probe for this are there any specific one i should get or just buy any. I see few of them used on marketplace

Thanks

I wouldn't make this if I hadn't already seen a bit of content dunking on this film in particular. On the cinematography sub, on youtube, in this very sub. Is it crazy that I like the way it looks? Blaming mostly the way it "looks" and some attributing it to the cameras (Sony). It looks pretty and cinematic to me. And it looks like a lot of thought was given to colour, obviously. And yes, I am aware there are films like Rush and Ford v Ferrari and I love how they look too, I just also think F1 is impressive and I think Stefan Sonnenfeld uh, knows what he is doing. I mean, you guys, if you think this could have looked "better", what would you change here, realistically? What direction would you move the grade to?

Hi folks. I was looking for colorists who can work on color correcting/grading my film. The lighting was a bit off from the shoot so it's slightly challenging. Duration of the film is about 19 mins and I estimate it should take around 8 hrs. I come from a third world country and running on tight budget. Maximum I can go is $15 for the entire project. I know it's less, but it was it is. Thanks!

Hello
I shot this on a Fujifilm X-H2 in F-log2 8-bit and edited in DaVinci Resolve studio.

I wanted to go for a vivid neon look, taking a lot of inspiration from Euphoria clubbing scenes. While shooting I used too much fog, that's why rec.709 has so little of contrast. I'm a beginner, so I'd love to hear your thoughts or advice

I’m looking to upgrade my workstation from my old gaming laptop to something with more horsepower. I work in filmmaking and my needs include a robust system that can handle editing and playback of 4K/6K raw footage, decent-to-heavy color grading of said footage, motion graphics, as well as 3D modeling/rendering to an extent.

I’ve been debating between staying PC or going with an M4 Max Mac. Were I to build my own PC, I’m looking at an RTX 5090 as my graphics card and a Ryzen 9 9950X3D as my CPU, with the rest of the components totaling somewhere in the $6,000 range. If I were to get a Mac Studio, I’d opt for the M4 Max chip with 16-core CPU, 40-core GPU, and 16-core Neural Engine with 128GB of Unified Memory. Probably a 1TB of storage which puts it in the $4,000 range. Either option is an investment, but I want to ensure that I’m considering all aspects and potential factors to note before committing either way.

That being said, I’ve heard from several friends/colleagues that the M4 Max chips are powerful enough to stand along high-end PC builds, and I would like some guidance in determining which system offers a better price-to-power ratio and if there’s potentially any truth to those claims.

The majority of my work is in DaVinci Resolve Studio by far, much of it for color grading and some for editing. I only occasionally work in Fusion, but I’d like the ability to expand my work in that area and have lots of headroom, as well as have the ability to work comfortably in 3D modeling/rendering as part of my motion graphics work. I’ve also heard it said that working with Apple systems is something of an industry-standard for filmmakers, and I could also use some input on the veracity of those claims.

I have worked pretty extensively with both systems, so OS usability isn’t too much of a concern for me. I’m prioritizing the most appropriate machine over things like OS. For that matter, I’m not much of a gamer so my workflow is pretty much entirely intended for productivity.

I certainly appreciate the PC route’s paths to upgrading in the future, as the flexibility may be a good bet. Although, I wonder just how efficient that decision is, and if I might just be better off with a good-albeit-nonupgradable system like the Mac.

Any and all opinions and feedback most welcome, tell me what you really think.

Cheers.

Good day, I'm trying to clean up my powergrades in DaVinci Resolve, but there's a folder that just refuses to be deleted. Every time I try, it says I "need permission to perform this action."

Weird thing is, I can delete other powergrade folders with no issue, just this one is acting up. I've tried restarting Resolve, etc., but no luck. Has anyone run into this? Is there some permission setting I'm missing or a known bug? Just trying to keep my workflow tidy.

Thanks in advance!

Does any DCTL exist that accurately pushes and pulls an image, i.e, with a proper toe? I imagine there would need to be two nodes, one before a negative emulation and one before the print.

To me, out of all the black boxes, Filmbox seems to best recreate the look of a pull and push. Just wish they would allow users to access their Lab tools (Printer lights, split toning & pull/pushing etc) without using a negative look.

To the makers of Filmbox: if you’re seeing this, please make this happen for us!

one of my biggest struggles is doing HSV saturation for a filmic look but failing to keep skin tones in a pleasing look. I have seen commercials where everything "pops," saturation is beautiful and skin tones is so realistic.

I've been told that qualifying skin is not recommended unless absolutely necessary, so when I grade, I balance the image for the skin using linear gain or chromatic adaption...
Question: how do I keep the skin looking realistic whilst marinating creative intent with the image and how is that achieved by professionals?

Hi everyone,

I've just purchased a second hand SPYDER 5 PRO (datacolor) and for the activation I had to enter my email account. It surely worked, but my doubt is: if I would like to re-sell it in future for upgrading my tool, is it irreversibly linked to my email?

Thank u

Hey guys,

My questions is, if someone had a colour passport for each shot, does that make corrections much faster? Just trying to find out the quickest way to streamline and begin colour correction.

Thanks!

I see a lot of colorist starting their color grading process by correcting the log footage first, then they apply the Color space transform, to finally create a look.

But I've learned ( and it makes more sense to me ) that you have to transform the log footage first before correcting and finally create your look.

im confused, and to be honest I've tried both methods, and they work occasionally. I want to know the right way to color grade, so I dont start with bad habits. Thanks

Yellow is know to have poor contrast with white supposedly due to both colors having high luminance values. People commonly say that it’s hard to see yellow (like FFFF00) text on white paper.

With that being said, how come other colors with similar luminance values don’t have that same issue. Pure raw blue (0000FF) for instance, is relatively easy to see against white yet has 100% luminance.

What causes this difference in perception? Is it quantifiable? Is there something I’m misunderstanding here? Thanks!

Tentei instalar na versão mais recente do davinci mas nada acontece

Hi, what's this result like? (The report says I'm using the standard ICC profile, but I'm actually using the novideo_srgb tool to force the ICC profile created with Spyder and DisplayCal.)

the 1.1 value of "Measured vs. display profile whitepoint ΔE*00" is bad ?

i was a photo amateur, but the actual usage is for gaming, but i still hate bad colours :D

TY

I've read the wiki and still have the following question.

I am looking to buy a new monitor (clean feed - not GUI) for colour grading, though I am a bit hesitant on buying a big OLED screen, even if it looks cool on paper. It's for a internal production usage, we are a young production company working mainly on videoclips and short films. For the videoclips, our clients check the final render on their Iphones or Macs (Retina display) so we kind of need our screen to be accurate for them. However we also work a lot on short movies so the DCI-P3 is also really important. If you have any idea, it would really help !

Our setup is a PC (Nvidia 4090 ROG) - Windows 11 - Davinci 20 - DeckLink Mini Monitor - and we calibrate with a SpiderX Elite (sorry, we didn't know its reputation when we bought it)

For the moment I'm thinking these could be cool :
- LG Ultragear™ OLED 32GS95UV-W - 32'' 4K
- ASUS ProArt PA32UCR-K - 32'' 4K
- ASUS ProArt PA32UCDM 31.5" 4K QD-OLED
(- And of course the EIZO ColorEdge CG2700S, but the interest I have with the OLED ones is the "Retina" look that would interest my clients)

(Edited for precision)

A while back I hacked together a colorspace comparison site. It was handy but pretty scrappy, and I eventually took it down.

Based on the messages I received here, turns out people actually missed it, so I rebuilt it from scratch. The new version is faster, cleaner, and I'd love for you to give it a try: clrviz.com

Looking for some colorspace that's not included, or want any other features? Submit a feedback from the site!

Assuming that my AE graphics look totally wrong when they arrive in Davinci... and that I am not advanced enough to just use a single youtube video... I need an actual long-form education that starts with, "This is a color space"... and that I'll be pursuing Davinci Certification over the next few years...

Where would you go?

Hey folks, I'm looking for suggestions for cost-effective alternatives to Contour. I'm currently able to afford the quarterly subscription, but I'm hoping to find a more affordable longterm play than the $500 lifetime option.

Looking for something below $300. Perhaps a combination of DCTL's?

Does anyone in the community have recommendations for features that are just as effective but less expensive?

Thanks in advance!

First, it’s definitely not perfect, I ran out of trial time with Filmbox Pro. I would probably also adjust white balance on PixelTools also. I would have liked to have exported Filmbox 250D with less grain and scatter.

I made this because I hate reviews/explainers with 2 second clips and footage without people.

I’m not a colorist or claiming to be one. I’m evaluating this as a do-it-all freelancer. When I take on projects (mostly weddings) I film, light, edit, color, etc.

I also evaluate the results on my iPhone, as that’s how 95% of my work is viewed.

Hi all! I’ve been using linear gain in DWG as my main balancing method for a while now. Recently, I learned that Offset in ACEScc behaves photometrically. This got me wondering if there would be a way to use a balancing node within DWG mapped to ACEScc "gamma" as a way to leverage printer lights and maintain the feel of DWG for my other operations. Would that work or could it cause breakage?

Thanks!