-
What in the world!
I have color graded an image in Resolve and really like it. I exported the clip and brought it into Adobe Premiere and it doesn’t look the way it did in DaVinci Resolve. Any idea on how to fix this. Here is an image to show the difference.
Stephen Smith
Check out my Vimeo page
-
13 Replies
-
Going to need more info on your workflow.
In the past the issues would be QuickTime gamma but I cant really say with your examples.
-
-Edited in Adobe Premiere with RAW Red Files.
-Exported XML to Adobe Premiere
-Color Graded in DaVinci Resolve
-Exported ProRes 4444 files out of DaVinci Resolve
-Imported the QuickTime movies into Premiere and they are not the same. I used the three-way color corrector to try to get it back to the way it was and the saturation needed to be reduced 9%. The blacks needed to be increased and the highlights needed blue added back in.Stephen Smith
Check out my Vimeo page
-
If you are asking why the adobe premiere interface and the Davinci resolve interface don’t look exactly the same, you will probably have a lot of people asking why they should. They each use their own engines, math etc to form a picture. Load it up in Avid and will probably look different still.
(to be honest, i’m looking at your images thinking…whats wrong?)
If you are saying the levels look different on scopes from one output to the next programs input, than it usually comes down to output setting from Resolve (video vs auto vs full) to how Premiere is interpreting the footage when you bring it back in.
Are you using a proper reference monitor?
Have you tried your workflow using bars?Glenn
-
Does the image look different between the two applications on your broadcast monitor?
-
The interface in Resolve is NOT COLOR ACCURATE! Sorry, I seem to say this every day. In order to see what the image REALLY looks like, you need to use Blackmagic IO devices, and external monitoring. That interface isn’t designed to be accurate…it’s a lot brighter than normal.
WHY? Well, they do give out this awesome grading app for free, right? They still need to make money and pay people who work hard on it…so to do that, the free app requires a blackmagic (and ONLY Blackmagic) device to send a signal out to an HDTV, calibrated computer monitor (for those ONLY distributing to the web…NOT FOR BROADCAST or anything seen on a regular TV)…or broadcast monitor.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] “The interface in Resolve is NOT COLOR ACCURATE! Sorry, I seem to say this every day”
I see this as a symptom of a fundamental misunderstanding regarding the differences between graphics, photography and motion picture cinematography. They are all related but have differing characteristics.
As a rule, graphics and photography are scene-referenced and don’t really have a specific colorspace other than the general sRGB gamut that just defines a range of 0-255 values (8-bit) that have become a nominative Photoshop way of describing a pixel. “Calibrating” a monitor generally means something different to a person running a graphics program than it does to a colorist. Frankly a no-brainer “white balance” doesn’t cut it — its just the tip of the iceberg. Display referenced means that you calibrate your media to how you intend to exhibit it inside the designated colorspace— and it is up to the viewer to conform to that, as it is up to the colorist to provide a consistent display appropriate to its release. That means accurate reproduction in gamut, colorspace, value range, whitepoint, contrast and so on.
This is taken care of by isolating the display image from the Operating System. BlackMagic’s solution and the only one it can control is to manage the screen values through their Desktop Video application supervising the output of a separate device like a DeckLink card or MiniMonitor outboard interface. You still need to configure that (whether its the almost ubiquitous 709-space or stepping around in P3 or 2020 or HDR or whatever) in the Resolve interface . That is what display-reference is all about. If you think that whatever the screen shows you is the gospel truth, that is the quickest route to disaster imaginable.
The UI preview is ultimately for placing windows, vignettes, masks, tracking points… graphics positioning… grade reference is the last thing you would want to try to attempt. That would require a very careful alignment with a very good photosensitometer and would require pretty much constant vigilance to maintain. If you are capable of doing that, its hard to imagine that with the direct experience of going through that exercise that it would continue to represent a viable option — once one has figured out for oneself that it is a fool’s game and spending the time and money on interventions is a waste of energy when just doing it right the first time makes it look like you know what you’re doing.
Imagine yourself the passenger on an airliner descending through the clouds and the pilot is saying, ah well, my altimeter is not really set right, and I’m pretty sure my DG has precessed… but I think the runway is somewhere around here, so I’m just gonna land. It’ll prb’ly work out all right… right?
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
-
[Shane Ross] “The interface in Resolve is NOT COLOR ACCURATE! Sorry, I seem to say this every day”
I always hold off saying it because i know you will ☺
There needs to be a sticky at the top of this forum.
Glenn
-
I would love for JPo’s message to be permanently pinned: he says it all, and he says it well.
-
well, if the scopes don’t change then you’re screwed. so in this case, you’d actually need to hope your scopes change, then you could make a “fix it” lut. I use this free one. https://sellfy.com/p/aQ1y/
are you using a P3 monitor? also, premiere only understands rec. 709 rgb 0-255 not legal video range.
-
next time BEFORE you grade,
uncheck the Use Mac Display Color Profile for viewers option in the settings:
https://timeinpixels.com/2016/04/contrast-issues-in-resolve-on-macs/
Reply to this Discussion! Login or Sign Up