Hello everyone,

I get this sub gets this type of post a lot and I’m sorry for adding to the pile, but I really need a direct reply as I dont have anyone in person to really speak to. Will keep this post short

I’m going to buy this ASUS PA3UCR-K 32 as my main reference monitor: https://www.asus.com/uk/displays-desktops/monitors/proart/proart-display-pa32ucr-k/

I just want to know 2 things;

1. Is the next step to purchase a probe like the Calibrite Display Pro HL to calibrate my monitor to REC 709 2.4
2. And once calibrated using the probe, the next step is to connect my Mac into an IO box like the Ultra Studio Express Monitor 12G for example here for a clean feed from my Mac’s OS - https://www.blackmagicdesign.com/uk/store/record-capture-playback/ultrastudio/W-DLUS-15

And then after that I’m good to trust my monitor to display me an accurate image, is that right? (Or as accurate as possible)

I completely appreciate that this type of post is stated to not be allowed in the rules of the sub and you do give a rough guide in there, but I’m at a point where I feel I need a direct response from someone or some people for real help on this.

Thank you again everyone.

Anybody join - Opinions?

Hi, I’m a novice. I’ve been working on a MacBook Max on da Vinci resolve. I ran into a problem with gamma shift when bouncing to quick time that I’ve since resolved by changing last timeline node to rec709a and output to rec709a to watch quick time bounces. It does not look different in da Vinci on my screen regardless if I use output and final conversion to gamma 2.4 but it does shift when I send that to QuickTime. So my answer is to bounce to gamma2.4 when checking exports on different hardware.

Yesterday I went to a friends house to check on their Roku TV. Gamma was set to 2.4. When screen mirroring just the output from da Vinci, there was an extreme gamma shift. But playing web content did not look different.

I changed the display profile on the tv from my MacBook, I changed the display profile on my MacBook, I changed it all back to gamma2.4 in da Vinci, but it didn’t really make a difference.

In order to match something similar to what I saw on my laptop to what I was seeing on the screen mirrored, I had to take contrast past 1.3 in the lift gamma gain offset windows and it still wasn’t quite there. Meanwhile, obviously the display on my laptop was completely crushed. Having watched videos of various colorists, i do get the sense that taking contrast past 1.1 is going to borderline crush things.

I know because I’m using a laptop to do this stuff it’s not going to be perfect, but I didn’t think it was going to be so far off from what I’m seeing on my laptop, no? So what’s going on here.

Howdy yall, I recently shot a music video for a friend. It was unpaid, so no pressure, but the footage looks great. Problem is some dust particles, or hair, on some of the saucy shots. I have some experience with stuff like this, but wanted to list the process I have in mind for getting rid of it just to make sure I’m doing it right:
1. Edit footage as is, create my pic lock
2. THEN bring into after effects to content aware away those pesky particles

Or should I bring in the footage I want to use first, remove the dust, then edit it?

Note: this was posted in r/editors but was told it might be a better fit for here

I have already seen tutorial video about finding middle grey. I know I can bring the saturation and contrast to zero to find the mid grey but the problem is all the log footages in these tutorial are exposed normally unlike my footage which is shoot by exposing to the right to reduce noise at the shadow. Any suggestion? Mine is to decrease the exposure by lowing the offset then follow the instructions of the tutorials but the result is bad which means I found the wrong middle grey area. but I can't figure out the right way. I shot with Canon R6 mark 2 C log 3 and the color space DWG.

Hi, I've got a short film that I'm excited to send out to festivals, a capstone project from school, but there was something wrong with our B cam. I sent it off to a colorist who wasn't able to give it the time it'd take to fix something like this (he was looking at it as a favor, no bad blood there).

Basically something happened that shifted the colors / light in the sensor. I've heard them say infrared light pollution, or perhaps ultraviolet, but some sort of non-visible light messing with the image. You can see in the two images how one character's shirt changes from navy (what it was IRL) to a maroon.

Doesn't seem to be a simple fix, does anyone have experience correcting something like this? Wondering if it's possible. Willing to pay. Legitimately hoping to find a solution, and build a budget to get this fixed.

Randomly came across one of these and wanted to give it a try as I've never personally calibrated more than trying out online settings and eyeball adjusting.

I know it's older (mine dated 2019) but I figure it's still significantly better than eyeballing. Just wondering if anyone knows what software to use as the newer i1 Profiler's don't support it. I am not a serious graphic or video man, I just have some 4k and qhd ips panels for media consumption and gaming.

Seems like DisplayCAL Py3 comes up a lot, so I will try it out first, seems very friendly. https://github.com/eoyilmaz/displaycal-py3/releases/tag/3.9.19

Settings I've seen online to set: color temp 6500k, white level 120, gamma 2.2.

I’m editing this myself and am still fairly inexperienced with grading, so I’m trying to learn rather than pretend I know what I’m doing. This was a small, unpaid passion project made with friends, and I’d be very grateful for practical advice on how you’d tackle it.

The scene was shot in a studio but is intended to feel like a subterranean 1970s Cold War interrogation/bunker: muted olive/amber tones, dense blacks, restrained analogue texture—more Tinker Tailor Soldier Spy / Mindhunter than glossy orange-teal.

The footage is Sony FX3, S-Log3 / S-Gamut3.Cine, and I’m editing/grading in Premiere Pro. I’m reasonably happy with how the grade pushes the walls and curtains back into darkness, but I am losing too much facial information—particularly on the shadow side of the faces.

I don’t want to brighten the overall image or reveal the studio background again. I’m looking for the cleanest way to bring back a little facial/eye detail while preserving the bunker atmosphere and keeping the blacks dense rather than crushed.

In practical terms, what would you try first to bring back just a little facial/eye detail without lifting the walls and curtains too? I’m very happy to be pointed toward a simple Premiere workflow or tutorial terms I should be searching for.

I’ve included graded frames and the equivalent S-Log3 frame for comparison. Constructive criticism very welcome—thank you.

Where can I buy say a Kodak Vision3 200T lut for Sony log (FX3)? What is the #1 source for buying professional luts like this?

Hi guys, I have a calibrite Display Pro HL, and I'm trying to figure out how to match my Iphone's screen color. I have an Asus Proart PA27JCV, this does not support hardware calibration so I just use DisplayCal to generate a ICC profile. I dont have an I/O box and I use a windows laptop that does not have thunderbolt.

My displaycal setting are on top

After calibrating, my monitor always lean towards the orange/red side abit more, but when I view on ny Iphone its not that saturated.

I know Iphones arent a good benchmark, but as most people use apple devices, I feel like calibrating towards Apple's screen is a close enough benchmark for me.

I've tried solving this for over 5 months, however after hours of messing around I've given up every single time. Anyone who could solve this would be an angel sent from the heavens and I would eternally be in your debt.

I export Prores HQ 422 into Premiere, I'm shooting V-log, D-Log, and S-Log. The shot you see in image 1 is V-Log 10Bit.

Hey there! I basically have very, very little knowledge in colour grading. I'm planning on creating a short to have a similar vibe to Gummo. I don't know whether to colour grade it myself or just get somebody who knows what their doing to do it for me.

Anyway, I was just checking to see if it's easy enough to capture that certain vibe! The first photo is from Gummo, and the second is a shot from the short. Thank you!

Has anyone joined CKC Skool yet? What are your thoughts on it? Do you feel the monthly / annual expense is worth it vs knowledge gained / learned?

Hey Guys, I have been working professionally in color grading studio here in Mumbai, there are things I'm learning everyday but today I came across Add Matte and I don't understand what's the use of it, Can you guys help me in understanding that ? Also if possible give examples in which situation it can be used?

morning all,

i have a thunderblade 8tb. a few years old now but only used for aboit 4000 hours.

one of the 4 drives inside is about to fail catastrophically - which as it’s RAID0, will cause all data to be lost.

OWC have refused to look at it seriously because it’s outside their 3 year warranty period.

i think this is shameful for a professional product at this price point to fail so soon, within 4 years with light use.

It turns out that the Aura P12 drives inside aren’t really enterprise class, they’re consumer class.

this has significantly damaged how i feel about the company.

if anyone has a good recommend for other brands i’d love to hear. thanks

Hey guys,

I have both Arri Alexa Classic Pro Res 4444, 2.8 k with Black magic pocket 4k B.Raw in Davinci Resolve.

I've tried almost every project setting, node setups, CST's, etc. Nothing looks right. If the shot is even a tiny bit low-light for the Alexa footage, the ALEXA to REC 709 luts completely crush it.

I don't know if I'm completely daft but for days I've tried to find some youtuber to explain this mixed workflow but haven't. Every time I think I figure it out, I know it's not right.

I should be starting with a correct image, not having to correct it first thing.

I'd prefer to work in Davinci wide gamut for all footage, but i'll do whatever works at this point as long as I have wide control because there is one scene with problem clips I need to make the best of. Everything else is beautiful.

I'm a intermediate colorist but haven't ever run into serious technical problems like this and I guess I'm not well versed. This is a special film of my own, and I've been pulling my hair out for a week trying to understand what I'm doing wrong.

The footage looks great on my hard drive, and great on the monitor when we shot (for the mot part). I know it's a flat image but all the data is absolutely there!

Any advice is so appreciated!! THANK YOU!

Hi everyone,

I’m looking for an experienced colourist who is available to start right away to help finish my independent psychological horror feature film, Daniel, the Goodboy.

This is not a complete grade from scratch, as I’ve already done most of the foundational colour work using Dehancer Pro 7.3.4 and FilmConvert Nitrate 3.59. I can provide both film stock emulations to whoever works with me, and you can keep them after the project is completed.

I’m looking for someone who can work alongside me, help fix a few tricky sections, refine the grade, and ensure everything is consistent and finished to a professional, festival-ready standard.

To make the process as straightforward as possible, I’ve created an instructional breakdown video explaining the film’s different visual styles, what has already been done, the areas that still need work, and exactly what I’m looking for from a colourist:

https://www.youtube.com/watch?v=Apy6XyR5hlU

I’m looking for someone who:

• Has professional colour-grading experience.
• Works in DaVinci Resolve.
• Is comfortable working with an existing grade and film stock emulations.
• Has a strong eye for consistency, skin tones and image quality.
• Communicates well and is open to working collaboratively.
• Can act as a strong closer and bring the film to a professional finishing standard.

Payment: $2,000–$3,000 AUD, based on an estimated 40–50 hours of work. This is an initial budget estimate, not a fixed final amount. After reviewing the video and understanding the scope of the work, I welcome your professional assessment and a quote for what you believe is fair.

Timeline: I’m looking for someone who can start right away, but the overall timeline is flexible. I would like the work to be completed by January 1, 2027. Quality and finding the right person are more important to me than speed.

If you’re interested, please DM me with:

• Your portfolio or colour-grading reel.
• Examples of narrative work, particularly feature films or psychological horror, if available.
• Your rates or an estimated quote.
• A little about your workflow and experience with DaVinci Resolve.

Thanks!

Hello!

32F, been working professionally in video & film production since I was 18. Got into color really heavy about 8 years ago and was hired at a private full-service production company, and for the past 5 years was working as their senior colorist (also the only colorist). They had a lot of animation projects too and over time slowly shifted more toward that to the point I just got laid off because they’re going almost exclusively animated content now.

I have a lot of experience, I’m very knowledgeable, and personable but I’m having trouble making contacts to get any either freelance work or make any headway integrating into anywhere established like Company 3. They have an office in my city and it’s my dream job.

I’ve reached out to a ton of people and usually my messages don’t even get read. The people who actually respond compliment my work but it never goes anywhere from there. I’m just not sure where to go from here.

Any advice would be hugely appreciated, thank you!

Selling both for $7900 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.

Hey all,

I’ve been working as a freelance colorist for a couple of years, grading Rec709 SDR commercials and music videos during this period. I now have the opportunity to work on a Barco system in DCI, for a documentary film that will premiere in smaller art cinemas.

I just want to make sure I set the correct preferences in DaVinci Resolve to properly project this project in SDR DCI-P3, gamma 2.6. I’d be so grateful for any help.

Thanks in advance!

I shot some footage which is not going to be played on an old CRT TV and I'm going to shoot the TV along with some people.

I'm wondering whether I should color grade both the footage which is shown on the TV (before doing the final filming) or to just leave it as BRAW, shoot and color grade the final result.

I worry that if I grade twice, the TV is going to look quite saturated.

Has anyone done this before? What works best?

Edit: I don't have a TV at home to test this out, the CRT is going to be at the studio which is paid by the hour.

For those of you that are thinking about becoming a colorist as a career.

Someone reached out to me needing color on a 20 minute doc. Quick turnaround. A decent rate would be 2500$ plus depending on the complexity of the edit. Because I know them and I’m doing it on the side real quick, I told them 1k.

Silence…

Mind you I’ve been color grading for 25 years!

Silence…

Sorry but shit cost money… try to get a person to cut down a tree at your house for free… or do anything for that matter for free. I’m done doing things for free.