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  • andymile0301
    Post count: 2

    Hi, right now I’m doing the color grading tutorial. I have not finished it, so maybe the topic is touched upon later: My questions are about the color grading workflow with log footage. I use a Panasonic S1 and film in 4K 4:2:2 10 Bit in log format. My questions are:

    1) Which are the correct timeline and output color space for the footage. I plan to export it in different qualities (prores and h264, h265) in 4K? I like to do a good color grading and make use of all the colors and dynamic range?

    2) If I use a LUT for a starting point instead of manually doing the base grade, do I lose dynamic range or colors compared to manually grading? I remember a color grading tutorial in Final Cut Pro X where Mark Spence said that with wide color log footage it is better to use a LUT as a filter instead of assigning the LUT in the clip properties so that you do not loose dynamic range. Does the same apply to Davinci Resolve?



    Mark Spencer
    Post count: 32

    You didn’t post your name so apologies for not addressing you by name.

    1) You set the output color space based on your deliverable, not the export codec. For most work, Rec. 709 is the correct choice. Timeline color space should match. This is all covered later.

    2) Yes a LUT can clip your footage dynamic range, if it is already blown out or crushed, it can be helpful to add a grade before the LUT by applying the LUT on a node instead of on the clip itself. For properly exposed clips this shouldn’t be a problem.


    Post count: 2

    Hi Mark, thanks for your answer and apologies for not posting my name. I’m Andy. Already had a look at your resolve 17 coverage on youtube. Very nice, keep going with your excellent work.

    Post count: 1

    In most color grading scenarios, it’s best to perform the Neat Video noise reduction process on the first node in the tree, placing subsequent.


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    • This reply was modified 1 week, 1 day ago by camillestewa.
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