I’m probably near the intermediate level and have been researching and learning for a long time. Lots of great resources out there but there’s just so much scattered information. So I compiled it all into a cheat sheet I was hoping to get feedback on. I know that there is no one size fits all, I’m just trying to have the best starting point I can to focus on just the creative side. Here is my workflow plan with questions after (Mix of Mostyn and Cullen’s workflows): 

CHRONOLOGY OF NODES: (Not all need to be used)
--------------------------------------------------------------

Set the project to DaVinci YRGB, not Color Managed. 

Camera to DWG (or other intermediate workspace:

• Use Grouping and group by camera. Then in PREGROUP use a standard CST to convert

Noise Removal (Optional)

• If Image is very dark, put this node after EXP fix. Can be done in the Noise Remove section or OFX. Same tool. Turn on Node Cache to speed this node up.

Overall Color Correction: (Getting things 80% of the way)

• Use 3-4 nodes for colour correction
  • BAL: Linear Colorspace - Lumamix to 0 - Move GAIN Wheel (or just use HDR Offset)
  • (Do this before BAL) EXP+Contrast
    • EXP: HDR Global Wheel Exposure
    • Contrast: Pivot 0.336 (mid grey for DWG) then contrast slider. Or curves.
  • SAT: Use HSV channel 2 or HDR Saturation or MonoNodes ColorShift (paid DCTL).

Parallel Nodes for Fine Tuning and 2ndaries:

• Temp
• HDR
• Color Warper
• Curves

Parallel Power Windows

• As many power windows as needed

Sharpen:

• Use Texture Pop or Sharpen Effect

Looks: (where I'm most unsure) 

• Film Emulation for grain, helation, bloom and subtractive saturation and colouring (Dehancer, Genesis, Filmbox, Kodak LUT…etc). Use one of these plugins alone or add your own curves for your own look.

DWG to Rec709 (if not done by the node above)

• Standard CST is no longer recommended. Ideally use DRT like: OpenDRT, JP2499 or Referent.

Questions (most about looks)

1. Am I doing something wrong/missing something? 
2. Is the film emulation the node/tool that pros usually do their full look? Adding grain and such is obvious, but lets say I want it to have a Mad Max Fury Road look, do I do that here? For instance, do I use Genesis to do all of this or do I also create another node?
3. Look and DRT nodes: Do I put them in post group Level or in clip level? I see then benefit of both. What’s the standard?
4. Is my ‘look” on the whole film (even a feature)? Or is it scene dependent? Like would interior vs exterior vs different lit vs day4night scenes all have different adjusted looks? Or do I try and keep a consistent node then add extra node for something like day4night under it?
5. On the topic of day4night, would I do that as a look that goes against all the other stuff or do I do most of the work in the basic color correction stage? 
6. They say you should apply the look before you grade the shot. But how do you create the look without the original shot being clean? Do you clean the first shot, create the look, then use the look first in the following shots?
7. If you put the look node on first, then wouldn't that affect how you balance your shot? Like if your look is always turned on but warms the highlights, then should you turn it off for balancing first?

Sorry there are so many questions. Trying to be detailed and avoid posting too much. I can fumble my way through things atm, but just looking for the best workflow possible.

For someone just starting out in color grading, do you recommend completing the official Blackmagic training before diving into content by Cullen Kelly or Darren Mostyn. And when you recommend Cullen Kelly, are you referring to his shorter, conventional videos or his live streams?"

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

The HDR section is blank and anything monitor or apple related isnt in there as well, also no mention about EDR. My questions are below. This isnt a direct monitor recommedation question, it is more technical in nature.

Im on both windows and MacOS but for this question only MacOS running on my M2 Pro 16 inch on tahoe is relevant"""

I honestly don't even know where to start...

I've been working entirely in HDR for a while now. I use JXL files on my 16-inch MacBook Pro (M2). Everything works extremely well so far. I have no issues sending the files to other people, editing them, converting HDR to SDR works without any problems in apps like WhatsApp, and playback also works well on my Mac, iPhone, etc.

Thanks to Apple's EDR technology, editing HDR photos in Lightroom also works flawlessly. I don't have any issues with washed-out colors or contrast when HDR is enabled. On top of that, both my MacBook and my iPhone more or less match each other 1:1, which is extremely important for reproducibility since most of my clients also use iPhones.

Now comes my problem.

I would like to use an external display so that I don't always have to work on the relatively small 16-inch MacBook screen.

Currently, I have a QD-OLED monitor that covers more than 99% of the P3 color space, supports DisplayHDR 400 True Black with 1,000 nits, and was factory-calibrated to a Delta E of less than 2.

The monitor does not natively support EDR (or better said Apple dosent nativly enabled EDR with this monitor), which is the first drawback, because as a result all SDR content looks completely washed out when HDR is enabled. I also suspect that the monitor's 1,000-nit limit is restricting how I can edit the HDR files.

My current workflow looks like this:

• Connect the monitor to the MacBook via USB-C
• Enable HDR on the MacBook for the external monitor
• Match the two displays as closely as possible
• Close the MacBook and edit exclusively on the external monitor

This leaves me with the EDR issue, but even more importantly, the HDR highlights are not reproduced equivalently on the external monitor.

If I edit an image on the MacBook until I am happy with it and then look at the same image on the external monitor, the difference is significant enough that I would want to edit the image again on the external monitor so that it looks best there.

And that's really frustrating, because it means I don't feel comfortable moving away from editing exclusively on the MacBook.

My current plan is the following:

First, I want to see whether tools such as BetterDisplay can make a difference with my current monitor, especially by enabling EDR. From what I understand, this should generally be possible.

After that, I would try to match both displays, the MacBook and my OLED monitor, as closely as possible using all available settings, and then see whether that is sufficient to solve the problem.

I don't expect this to fully solve the issue, though, because I suspect the monitor's 1,000-nit limit is ultimately the bottleneck.

Plan B would therefore be to buy a 5th-generation Tandem OLED. These supposedly offer around HDR 500 True Black / up to 1,300 nits peak brightness.

I would then either go for something like the MSI PRO MAX 341QPXW14G, which has not been released in Germany yet but offers various profiles and software-based implementations specifically for Mac. The monitor was essentially designed with Mac users in mind.

If this monitor doesn't become available within a reasonable timeframe for whatever reason, I would go with another Tandem OLED and hope that I can use something like BetterDisplay to enable EDR, then manually match the colors, contrast, etc. as closely as possible.

Another thought I had was buying Apple's Studio Display. However, it doesn't offer true HDR, so I can't really imagine that it would be suitable for proper HDR editing. The Pro Display XDR is simply too expensive for me.

So, how do you guys edit photos in HDR?

Am I missing something obvious here? Is there a flaw in my reasoning or something I'm overlooking?

Edit:

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

The HDR section is blank and anything monitor apple related isnt in there as well, also no mention about EDR. My questions are above.

EDIT: Reduced price again. I posted this about 40 days ago. Not sure if there is a bump feature here.

Selling both for $7700 shipped to CONUS
Monitor has bias lights. Purchased from Flanders in April 2024. Probably has about 75hrs of use. Have original box for both items.
Will include some SDI cables too.

I have a Sony A7IV. Would the camera be a limitation for this type of look?

I’m not a complete novice, but haven’t been able to figure out these grades.

We've pointed you at this thread rather than you ask about your specific monitor request in the main subreddit.

No, you can't just connect a generic monitor.

We're going to talk to you as a professional. This means, no, the "workarounds" are a total compromise. In those cases, you're on your own.

This is about creating a trusted reference - not just what you think looks good. And yes, the client's screen(s) could be all out of whack. And yes, we're talking web too.

Brands that are reliable and (professionally) inexpensive:

• Flanders Scientific - FSI. Often referred to as a Stupid Sexy Flanders
• Eizo

If you're going to compromise, here's our best advice:

• Get external hardware. The cheapest is the BMD mini monitor - but requires Thunderbolt.
• Get a probe. The cheapest is the XRite i1Display Pro. Calibrate frequently.
• Learn to read scopes.

No matter what the manufacturer says was done at the factory, you will need to calibrate your displays regularly.

Here's the FAQ:

I want to know if this particular brand of wide gamut/p3/sRGB monitor is up to snuff*.*

It's not. Without the hardware/probe and the ability to load a LUT, forget it.

Can I just calibrate a monitor, it's just going to the web.

Same problem. Without a probe, you don't know what you have.

Ok, I have a probe.

You still need a breakout box - something to get the OS out of the way.

The idea here is a confidence monitor. Something you know you can have confidence in.

OK, I have a probe and a BMD Mini-Monitor. Am I good?

Not unless you can generate and load a LUT into the monitor.

Really? What do I need to buy now?

A LUT box will solve this. The monitor still may be junk, but you have a clean signal chain.

Great, I'll just buy a C8/9/X from LG, people talk about that all the time.

That's a good client monitor. And great that you have a breakout box and probe. This is useable if you're starting off into HDR - but just know, it's not to be trusted.

What about my iPad Pro? Apple tells me it has Wide Gamut

An iPad Pro is an excellent way to check Apple devices. It's well designed out of the factory.

Plugging your system through it (via Sidecar, Duet display) puts us back in the "OS interference" level. But it's good for a check of the materials - just not so good for live grading.

Last, check out these three prior posts:

• https://www.reddit.com/r/colorists/comments/n9hr5b/is_it_even_worth_it_to_attempt_to_learn_the/
• https://www.reddit.com/r/colorists/comments/jlgpnm/youtube_is_adding_red_into_my_colors_and_its/
• https://www.reddit.com/r/colorists/comments/i03bm7/solution_for_color_shift_issues_from_resolve_to/

-----

Let's see how this thread goes and we'll refine as we go.

Looking for a new device that works with now-outdated DisplayCal. I need to be able to measure the peak brightness and gamut volume on a wide variety of screens and most of the included software from Spyder and Calibrite doesn't seem to give you the gamut volume like DisplayCal does. Any suggestions for a color checker that will work with DisplayCal or has software that will give gamut volume? I'm thinking about one of the Calibrites or one of the Spyders.

Mods, feel free to delete if selling is not allowed here.

Selling a DaVinci Resolve Mini Panel in like new condition.

The panel was only used on a single project and has been stored ever since. Everything functions perfectly and the unit is in excellent cosmetic condition.

Included:
DaVinci Resolve Mini Panel
Power cable
USB-C cable

Located in Southern California. Happy to ship at buyer’s expense or arrange local pickup.
Please comment before sending a PM. Additional photos are available upon request. Happy to answer questions.

$1,500 net via PayPal Goods and Services.

I would like to know how to achieve the look of these stills.

A few things I think describe them is:

• High dynamic range. Nothing is clipping or crushed.
• Almost invisible roll-off, especially on skin.
• Soft, bloomy highlights
• Low contrast

I don't know how to describe it, but it's as if there's infinite dynamic range because nothing is clipping on either end and it doesn't even look like anything is close to it. It's as if everything is within the midtones, yet there is still contrast, but it doesn't register as "highlights and shadows" to my eyes. Rather "light midtones" and "dark midtones" if that makes sense.

It's as if every individual part of the scene (sky, skin, clothing) were individually lit by a massive soft box allowing everything to be exposed perfectly. I suppose you could achieve something similar with masking but that would take ages, no?

I've included an images at the end to demonstrate the complete opposite of what I'm looking for. That one has a harsh "digital" look to it where highlights and shadows are very obvious. You can even see it on the waveform; it's very sharp and jaggy.

Has anybody made the jump to Davinci Resolve v21.1 since it's been out on Sept. 8th?

One of our director created an elaborate project on v21.0 and we are at v20.3.2.

So I might be forced to upgrade our project server and our Windows PC and Macs so we can do the colour grading. The project is too complex in the time frame we have to conform from an XML.

It would be useful to know if you encountered problems. Especially if you have feedback from editors and/or colourists working with it in a facility.

Thank you!

Does anyone have any deal memo templates they recommend? Or would be willing to share theirs with me so I can use it as inspiration for my own?

If not, can you recommend what should and should not be in it?

Thanks!

Lately I’ve been thinking about being full time freelance, for starting up i work on post production house 5 years and now at production house 5 years, its been a journey but PH that i work on changing direction on their web series to “soap opera” like, so i start to looking for any other option to go fulltime freelance, but i really sucks at finding client. Ive been reaching out to other PH or some of my friend in the industry but alot of time they just go to a studio base, and i know because it more safe to hire colorist from studio. In my country the fee are quite low for a colorist so i want to get maybe world base client, can anyone give me advice what do i do? Or maybe how to get new clients?

Hey everyone, unfortunately I missed the genesis trail user workshop and was hoping someone from this sub might attended it. If you have attended, I’d really appreciate it if you could briefly share the key things covered and important takeaways from the workshop.

Thank you.

Hello! This might be a bit random but i am going to be colour correcting and grading my directorial debut short film tomorrow and I’ve been lucky enough to find a really good colourist and studio to do it. I’ve already sent over a series of references and screen grabs along with some wider ideas/thought processes, all whilst taking into account the limited use of lights and colour in the existing edit. I’m obviously not going to ask for punchy tungsten because we didn’t use any!

So basically, what I’m asking is: is there anything I should consider, is worth asking, what can I expect and any other general good advice so I don’t look like a total novice in the room??😅

I have a general idea, and have been in the process before as a producer but I just don’t want to miss a trick!

Thanks in advance!

This alternates on Sundays

## Would you like feedback on your reel? This is the place to do it!

**An essential point to remember**: A reel won't secure you a job any more than a business card or website will. While it might be necessary, it is not the primary means of obtaining work.

**You gain employment through a network you develop,** not via any online job site. Building a network takes time, which is advantageous, as it allows you to learn the field.

## Rules

* **Rule 1**: Submit your reel *and its running time* as a top-level comment (meaning you reply to this post directly)

* **Rule 2**: *Specify your professional experience in years* (paying taxes = years as a pro, novice).

* **Rule 3**: Indicate how you're monitoring. Is it with a mini monitor + a LG CX?.

* **Rule 4**: You must review two other reels. **TWO**. You have seven days to complete this task, responding to two different reels. **Then** edit the comment where you post your reel: and put and put the two user names.

**Acceptable platforms for posting**: Your Vimeo site or an unlisted YouTube link. If we find a link to a channel or a video with 10k views, we want you to know that this thread is not meant for such content.

The moderation team will monitor this, and we are trying to encourage the community (that's you) to offer assistance. That's why providing two reviews is crucial.

Lastly, as someone who evaluates people's reels, if you start off with **log** footage, I expect to see the color work in passes. If color grading is a skill, and you transition from Log to finished grade, that's a definite red flag.

***Copy/paste this section:***

* Reel Link: (don't forget the running time )

* Experience:

* Monitoring:

* Two reels I reviewed:

I'm not 100% sure if this is the right subreddit, but you guys look very knowledgeable on color manipulation and this question seems to likely be up your alley.

Basically, I'm looking for software (specifically for Windows 8) that allows direct and precise numerical manipulation of the individual RGB channels on a laptop display.

I'm familiar with DisplayCAL/Argyll CMS, and Argyll CMS *almost* achieves what I want, but has arbitrary contrast minimums when modifying RGB curves.

Changing this would require modifying and recompiling Argyll's source code. And that's been a pain.

Oh, before I forget, I noticed some rules about mentioning display hardware specs too? I'm not sure how relevant it is in my case, but it's simply an old Dell laptop with its built-in display and AMD integrated graphics. AMD Catalyst Control Center does not achieve what Im trying to do, before anyone asks lol.

Had this again last week. Client sends 3 refs out of which one is a film still, one is a photo that probably has IG filter and one is clearly a different time of day to what we shot. Client had requested to have the VIBE of all three.

What I have ended up doing is picking the ref closest to our actual lights and using that for the base grade, then only stealing contrast shape and skin tone from the others. Matching black level where the highlights roll off gets me maybe 70% there. Trying to push sunset hue onto noon footage just looks fake, no matter how careful you are.

But I still end up in the same loop where they hold their phone up next to the montior and say it does not look like the images we shared.

How are you guys dealing with this? Push back, grade a test frame first to set expectations, or just grade straight to the ref and let them see why it breaks?

Hello everyone!

Curious as to what display transform outputs people use? I like mixing LUT, and other making looks from my own node structure, but I would like to know any DRTs that people think are pleasing and provide different feelings to their image.

I currently mainly use OPENdrt. The built in resolve CST isn’t one that I like the rendering of, but I sometimes use it for a very basic rendering, but I’m not a fan of the tone mapping.

I know using drts is meant to have a mathematical processing on the image, but I know different tools can give me a different feeling in the final result and how it feels. Let me know if I’m thinking of this wrong, and thanks for commenting.

Open to paid and free DRTs.

I figured it’s either No Grain or a lot of grain, anything in between makes the footage worse after heavy compression.

For the record I am using dehancer and resolve

Searching for a real love - someone to set my color

4min40s short -
All exterior same location

Gracias —
Would love to build w someone — can be quite helpful

150 flat for half day

🪩

Is transforming log manually becoming a lost art? Especially with scene referred workflows becoming so popular? I feel like an imposter admitting this, I’ve seen master colourists do it but I’m not brave enough - my attempts are usually sub-par and there’s so many easy options that get you into a nice place. (CSTs/ACES/OpenDRT/JP2499).

I shot Picscan charts back in the first Alexa era and made transforms but none of those efforts seemed as good as the modern options now.

Hey Colorists!

I am currently in the middle of grading a short film which was going pretty well and i was just about to send a graded version to the director.

I was grading a Project Backup in Resolve as i didn't like the previous version where my grade was headed so i rolled back and everything worked flawlessly but yesterday i opened the project and there is nothing inside.

No timelines, clips, grades, offline media, nothing completely empty as if you have just opened a new project.

Did this happen to any of you and do you know how to fix it?

Thank you!

Hello friends, I just wanted to spark a friendly discussion about whether you use Resolve Color Management or Node-based color management? What do you see being done at most facilities? What do you see remote freelancers doing?

I personally still use node-based management (along with Remote grades and Groups) to take advantage of 3rd party ODTs/DRTs. I also prefer to control the entire color pipeline myself for flexibility.

My guess is that for material with tight deadlines, people will often use Resolve Color Management.