Monitor calibration

[Enginn Heima]

How do you “force” it to data levels? I did right the click the clip in the media pool, selected clip attributes and turned it from “auto levels” to “data levels”…

And how can I verify if “I’m monitoring output levels correct yo my monitor”?

Thanks for the help!!

[Enginn Heima]

Thank you for the suggestion, but I did read that plenty of times beforehand, and I don’t see how it could resolve my problem? What am I missing here?

[Glenn Sakatch]

Start with a simplier workflow…don’t use Resolve color management until you understand what it is doing. Just set your color science to Resolve YRGB. (Most of these settings should be left alone for new users)

If you have a 3d lut from Calman, and it was created correctly, for your monitor, you would enter that under 3d video Monitor Look up table, which it looks like you have done.

But it is possible your Resolve color management is screwing up the input look of your original clips. Turn that off and start slower.

If it still looks wacked out, I would go back through CalMan again, to verify your LUT is correct.

Glenn

[Enginn Heima]

Thanks, I will try to generate a new LUT and see if I get any luckier ☺

But can you tell me, why does the clip look when previewed in media pool and not in edit nor in color my de? Is this normal?

[Enginn Heima]

I tried switching the Color management to “Resolve YRGB” instead of “Color managed” but that did not change anything. I then tried to run DisplayCal again and created my 3D LUT once more, but neither did that change anything.

Anyone? Any more ideas!?

And just a simple question, why are my clips showing up decently in the Media Pool tab and not in the EDIT and COLOR tabs? Is this normal that it shows up differently in Media Pool?

[Robert Olding]

Enginn … for more of an explanation, take a look at these various sites.

https://www.pixelupdate.com/solutions-to-resolve/

https://mixinglight.com/color-tutorial/gamma-2-2-vs-gamma-2-4-davinci-resolve/?idev_id=104

https://www.mysterybox.us/blog/2017/9/7/display-calibration-color-management

https://partnerhelp.netflixstudios.com/hc/en-us/articles/360002088888-Color-Grading-Color-Managed-Workflow-in-Resolve

https://www.youtube.com/watch?v=DGY14ygjpLU

Robert Olding

Studio Eight | Director of Photography
https://www.studioeightmn.com
Minneapolis, MN

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[Joseph Owens]

I don’t really have anything against Resolve Color Management, other than I am suspicious of attempts to deploy proprietary approaches.

Also before I was ready to embrace ACES, when it was in the Release 0.n versions, I took the trouble to reverse- engineer linear transforms of my own, with the help of various cinematographers, charts, many cameras and a lot of patience and scope reading.

For log projects, ACES is an automatic, pretty much default choice for me now. If something isn’t working, something is wrong — and I will choose the shortest, simplest strategy every time. Choose the I/O transforms, apply them, go to work. I do not support LUT displays for judgement or conversion. On one hand, too crude, on the other, no control.

In the past, I have developed tables for the User Interface — so that clients looking over my shoulder do not question the pass-through values that may appear differently on the Resolve edit/grade preview pane. It is absolutely why it is not the best, first choice for making grade judgements when they have to count. I also only use Client-3 Calman profiles developed with a sensitive probe for my iMac and do not use Apple characterizations. For so many reasons. The main system graphic display for the User Interface was almost close-enough after some time spent with CalMan just creating an Advanced User RGB balance in the monitor’s own adjustment software. Actually close enough to not bother with a display LUT. It’s better when there are fewer interventions.

jPO, CSI

\”I always pass on free advice — its never of any use to me\” Oscar Wilde.

[Dan Powers]

I think this is what you are looking for. When your raw clip is in media pool it looks fine. Go into Edit or Color and it is flat. When putting that same clip in Premiere it looks correct. Is this what you are seeing?

IF so, while in Premiere right click on the clip in the project window and choose the option of “Disable Master effects”.
Did it go to flat color?

What is happening is that there is metadata with the imported clip and that meta data tells premiere pro to enable a LUT to make it look correct.

While in Color, you need to manually set the LUT on the clip.

I hope this explains what you are seeing.

Dan