peterjackson wrote:So no, Jim is not correct. He just has a preference to stick with what works for him and that's OK. Claiming this to be the only way or ultimate truth is non sense.
Actually, I think @Jim Simon is 100% correct. The moment you start viewing an image in an uncalibrated environment, you have no idea what you're looking at.
Read these:
"Grading for Mixed Delivery: Cinema, Home, and Every Screen in Between" by Cullen Kelly
https://blog.frame.io/2019/10/14/gradin ... -delivery/"How to Deal with Levels: Full vs. Video" by Dan Swierenga
https://www.thepostprocess.com/2019/09/ ... l-vs-videoand
"A Deeper Look at Consistent Color with QuickTime Tags From Resolve To YouTube & Vimeo on Wide Gamut Apple Monitors" by Dan Swierenga
https://www.thepostprocess.com/2020/07/ ... ktime-tagsand I think they cover the issues and the solutions very well. Understanding color management is also helpful:
"Color Management for Video Editors"
https://jonnyelwyn.co.uk/film-and-video ... o-editors/My simple method: always export a second or two of SMPTE color bars at the very head of the project, and then check them on scopes in whatever player you're using to see how it looks. If there's a shift (video level or hue or chroma), you'll see it very quickly in bars.
Read page 2515 of the Resolve 17 manual, "Limitations When Grading With the Viewer on a Computer Display." This explains why it's unwise to try to use a computer display for final color correction.The same problem exists with the "Clean Feed" output, since it's not color managed.
Don't try to make judgements on uncalibrated GUI displays. That will lead down a perilous road of pain and suffering. And if you do look at anything in the GUI display, don't compare it to what you see in Resolve.