Native False Color in Davinci Color Page?

I didn't see any posts about this which is surprising to me. As a long time user of Resolve, I've always wondered why false color isn't built into the color page? I know there is a third party plug-in available for this, but wouldn't a native false color option be better even if it's only in the studio version? Is there a technical reason why this hasn't been implemented already that I'm unaware of?

Sorry for all the questions, but I use false color all the time while I'm shooting, and it would be helpful to me when I'm editing projects I haven't shot or projects I have shot when color grading.

Edit: Should have been more clear why I think this would be useful natively in Resolve. All Blackmagic Cameras I use have false color built in to the camera or into the EVF. The monitor I have also has false color. Other cameras have false color.

What I'm requesting is this. False color in Resolve that emulates the false color of the camera or monitor you use. I use Blackmagic cameras so that is easy. The false color scale and values in Resolve would match the false colors and scale for my Blackmagic camera. I don't use the false color for my (Atomos) monitor because the values and colors are different than my camera.

What would be helpful for everyone would be false color in Resolve that not only emulated the false color of Blackmagic Cameras (although, for marketing reasons, they could stop there) and false color that would match the value of different hardware. For example, if I used Atomos false color when I was shooting, I could choose and option in Resolve for it to display those false color values in the color page. I think it could either be a great selling point for Resolve or for Blackmagic Cameras depending on the route they went.

I looked at the third party plugin and yes it has a scale, but when I leave that and go out and shoot with my camera I have to remember and relearn what the false color values are in the camera. Yes, the best option is for every manufacturer to have set values and color for false color, but until we get there can we get this natively in Resolve?

Rob

It' a great feature for shooting, but with all the instruments you've got in Resolve and a calibrated monitor you should get, what is it good for?

It' a great feature for shooting, but with all the instruments you've got in Resolve and a calibrated monitor you should get, what is it good for?

Things like Ratios, which creatively can let you decide to leave something blown out in the image because it balances with the dark area of the image in the opposite corner of the frame.

This is just an example and I'm not saying it absolutely necessary, but it would be helpful. It's just another tool. You can argue why a histogram if I have a waveform? Just another tool.

I almost look at it this way. We started with a histogram, got more specific with the waveform, and we're now even more specific with false color.

It would be great to have that as an option. Maybe even have this is a smaller window; like in the same area as the Histogram, Waveform, Vectorscope?

False color is easy to implement using a DCTL or a LUT.

Apart from the plug-in by timeinpixels there is a already someone with LUTs:
https://luts.iwltbap.com/false-color-lut/

RED cameras have a false color tool called the GIO Scope. It provides false color across a 16 stop range. It turns out to be non-trivial to achieve that using a LUT alone (even a 65x65x65 LUT) but a good result can be achieved using a LUT plus a CDL. Details here: https://manifoldrecording.com/2017/12/2 ... t/gio-lut/

Support for CDLs exists in Resolve 14, but you really have to know your stuff to use the interface it gives you. Here's hoping that Resolve 15 or 16 make CDLs more of a first-class citizen in the interface.

I didn't see any posts about this which is surprising to me. As a long time user of Resolve, I've always wondered why false color isn't built into the color page?

I would say one reason is that vectorscopes and waveform monitors have been the standard way to color correct since the dawn of time, certainly in the 4 decades I've been doing it.

My opinion is that you'd be wiser learning to read the RGB Parade scope and the Vectorscope, because it will tell you much more about overall balance, clipping, black crushing, and other problems before they happen. It's a question of wrapping your head around the way levels work, rather than trying to fit the signals to something like False Color. Leader, Omnitek, Tektronix, and Videotek all make very high-quality external scopes, though be warned they are not cheap; Scopebox and BMD's UltraScopes are affordable alternatives.

I find it's extremely helpful (even if you use the internal Resolve scopes) to bring in a second display, drag the scopes over to that, and make them as big as is necessary to read them comfortably. I have used false color before on shoots and never had the confidence that I had with RGB displays. Histograms are also helpful to some extent.

I didn't see any posts about this which is surprising to me. As a long time user of Resolve, I've always wondered why false color isn't built into the color page?

I would say one reason is that vectorscopes and waveform monitors have been the standard way to color correct since the dawn of time, certainly in the 4 decades I've been doing it.

My opinion is that you'd be wiser learning to read the RGB Parade scope and the Vectorscope, because it will tell you much more about overall balance, clipping, black crushing, and other problems before they happen. It's a question of wrapping your head around the way levels work, rather than trying to fit the signals to something like False Color. Leader, Omnitek, Tektronix, and Videotek all make very high-quality external scopes, though be warned they are not cheap; Scopebox and BMD's UltraScopes are affordable alternatives.

I find it's extremely helpful (even if you use the internal Resolve scopes) to bring in a second display, drag the scopes over to that, and make them as big as is necessary to read them comfortably. I have used false color before on shoots and never had the confidence that I had with RGB displays. Histograms are also helpful to some extent.

Like most people on this forum, I know how to read scopes. And I know people have been using certain methods forever. I still use a light meter at all times, which people think is weird. And please know I'm not being snarky. I don't disagree with you, except that false color is an inexpensive helpful tool that would be welcome in Resolve.

My point is, another tool like false color is helpful and would be a welcome addition. I know it's newish, but that doesn't mean it's not valid.