- Posts: 3
- Joined: Tue Nov 16, 2021 3:47 pm
- Location: Charlotte, North Carolina
- Real Name: Billy Walker
Daria Fissoun, Yes. She has done lots of content on YT, hopefully she continues to do collaborations. She teaches the 4 day Zoom color class, I recommend it for everyone.bwalker28277 wrote: By the way, I thought the woman who was doing the training was excellent!
bwalker28277 wrote:
I am assuming if I'm working with those files I would ignore the Primaries Color Wheels and use the Primaries LOG Wheels instead in order to start the balance process
You can use either. You will find lots of 'old timers' who prefer the log wheels as that was all they had back in the day. I personally do 95% with the Primaries wheels. They are 'linear' and will probably give a more intuitive result to newbies.
bwalker28277 wrote:
- From there, again I'm assuming, I would go to the HDR Color Wheels to finish the clip off - My question is this: Am I correct in thinking I would ignore the Primaries Color Wheels as they are aimed primarily at SD files?
I think BM made a poor choice in calling these 6 wheels 'HDR' as they are great tools for non-HDR. I use them all the time to tweak clouds . I would say they are a fine tweak adjustment tool, there lift/gamma/gain wheels are better to get the base grade.
bwalker28277 wrote:
A second related question: If I'm working with the above files and I let Resolve handle the color management (RCM) am I correct in assuming I would still use the workflow as stated above - RCM does a pretty reasonable job and you just might be able to ignore the HDR workflow in some instances should you choose to go that route.
Resolve confusing because it behaves different for Raw vs Non-Raw files. Raw files always have color space transforms happening in the Raw tab. Even if you don't use RCM. And they should 'Just work' if the camera meta-data tells resolve what to do correctly.
Non-Raw files, Resolve has no way to know the color space of the file. So you have to tell it a bunch to get it going.
Regardless, once you get the file into Davinchi Wide Gamut, it should work the same for you where it came from your fancy studio camera or a Gopro.