Out of gamut display warning option

Shooting in a larger color space and outputting to a smaller color space will always require a color space transform with a tone mapping method. The relevance of colors that are out of gamut helps me decide which color mapping method to choose and what to correct. In my opinion, it would be very helpful if there were an option to select a display mode, in the color page to enable this, either based on the general color management settings in the project or based on the node tree. The colors that are out of gamut will then be marked with the warning color. Adobe Photoshop has this option and is used a lot with color translation workflows.

I don't think there is a native way to show out of gamut colors in resolve, the way Photoshop can, but having worked with both, I would say that Photoshop version is inferior one because its very limited compared to options we have in resolve and in large part this is related to different needs. I'm not saying it would be bad to have it, just that if you need the function there are tools in Resolve now, and I would argue are more advanced, while there are third party options for similar function to Photoshop.

For example you can only see out of gamut colors warning in Photoshop if you have it turned on for single color space at one time. Not multiple at the same time. You also don't really see what your color compressor is doing until you remove the warning, or you pull gamut back, which is not always ideal. Mainly because you don't see the results of the method you apply. In Photoshop we are very limited to default perceptual, relative colometric etc. And just dialing back the saturation. While in some other applications and resolve we have more sophisticated options as you have pointed out.

https://juanmelara.com.au/blog/fixing-o ... in-resolve

At the moment you have several options to try to gauge out of gamut colors, but keep in mind that out of gamut is only one measure, we also need to keep in mind gamma, not just gamut. For both input spaces, which may be many, unlike in Photoshop where you have one file and one paper print or web display, in video editing you can have multiple camera and files with multiple different gamut and gamma settings, that need to be consolidated for working and than delivered again to other devices with different settings. Photo wold is a lot simpler in that regard.

Anyway, scopes in color page also available in cut page, are the main way to have visual representation of potential issues.

CIE Chromaticity Scope

sshot-1170.jpg (53.1 KiB) Viewed 313 times

DaVinci Resolve contains CIE 1931 xy and CIE 1976 uv scopes, which let you see the current image analysis as a graph superimposed against a triangle that represents the tristimulus values of the color gamut you’re working within, along with an indication of the current white point. A label shows the currently selected gamut, with the specific coordinates of these Red, Green, and Blue values as well as the White point, while the overall “horseshoe” shape represents the entire range of visible light, all plotted against an xy graph.

The white point ordinarily appears atop a curve along the center of the shape. This curve indicates the black body locus, along which the various color temperatures of an image’s white point correlate, from orange-ish warm to blue-ish cool. This black body locus corresponds to the color temperatures obtained by progressively heating carbon to different temperatures.

You also have the option of showing a second gamut triangle, in cases where you want to compare the current analysis to two different gamuts. This can be useful when you need to create deliverables in multiple gamuts, and you want to see which parts of the video signal are safe in all gamuts and which parts are exceeding the smaller of the two. When you do this, both gamuts are labeled, and the coordinates of the Red, Green, and Blue values of both gamuts are listed to the side.

Personally I would like to see 3D historogram that we can rotate, like the one we have in fusion.

sshot-1172.jpg (136.86 KiB) Viewed 313 times

You can also attack the problem by looking at chroma only and luminance only via Vectorscope and false color or paradate or waveform.

If you need a more sophisticated package, many colorists go for third party options, like for example...


Nobe OmniScope - https://timeinpixels.com/

Available for various platforms: DaVinci Resolve, Scratch, Premiere Pro & After Effects, Final Cut Pro X. Adobe Photoshop, Lightroom

OmniScope features 19 types of scopes that can be freely arranged and docked in the workspace. Layouts then can be saved and reloaded depending on your project setup.

Including the 3D histogram and overlay for out of gamut colors etc. Its a lot more sophisticated than anything we have in Photoshop or most of photo applications, but at least it supports Photoshop as well.

I don't think there is a native way to show out of gamut colors in resolve, the way Photoshop can, but having worked with both, I would say that Photoshop version is inferior one because its very limited compared to options we have in resolve and in large part this is related to different needs. I'm not saying it would be bad to have it, just that if you need the function there are tools in Resolve now, and I would argue are more advanced, while there are third party options for similar function to Photoshop.

For example you can only see out of gamut colors warning in Photoshop if you have it turned on for single color space at one time. Not multiple at the same time. You also don't really see what your color compressor is doing until you remove the warning, or you pull gamut back, which is not always ideal. Mainly because you don't see the results of the method you apply. In Photoshop we are very limited to default perceptual, relative colometric etc. And just dialing back the saturation. While in some other applications and resolve we have more sophisticated options as you have pointed out.

https://juanmelara.com.au/blog/fixing-o ... in-resolve

At the moment you have several options to try to gauge out of gamut colors, but keep in mind that out of gamut is only one measure, we also need to keep in mind gamma, not just gamut. For both input spaces, which may be many, unlike in Photoshop where you have one file and one paper print or web display, in video editing you can have multiple camera and files with multiple different gamut and gamma settings, that need to be consolidated for working and than delivered again to other devices with different settings. Photo wold is a lot simpler in that regard.

Anyway, scopes in color page also available in cut page, are the main way to have visual representation of potential issues.

CIE Chromaticity Scope

sshot-1170.jpg

DaVinci Resolve contains CIE 1931 xy and CIE 1976 uv scopes, which let you see the current image analysis as a graph superimposed against a triangle that represents the tristimulus values of the color gamut you’re working within, along with an indication of the current white point. A label shows the currently selected gamut, with the specific coordinates of these Red, Green, and Blue values as well as the White point, while the overall “horseshoe” shape represents the entire range of visible light, all plotted against an xy graph.

The white point ordinarily appears atop a curve along the center of the shape. This curve indicates the black body locus, along which the various color temperatures of an image’s white point correlate, from orange-ish warm to blue-ish cool. This black body locus corresponds to the color temperatures obtained by progressively heating carbon to different temperatures.

You also have the option of showing a second gamut triangle, in cases where you want to compare the current analysis to two different gamuts. This can be useful when you need to create deliverables in multiple gamuts, and you want to see which parts of the video signal are safe in all gamuts and which parts are exceeding the smaller of the two. When you do this, both gamuts are labeled, and the coordinates of the Red, Green, and Blue values of both gamuts are listed to the side.

Personally I would like to see 3D historogram that we can rotate, like the one we have in fusion.

sshot-1172.jpg

You can also attack the problem by looking at chroma only and luminance only via Vectorscope and false color or paradate or waveform.

If you need a more sophisticated package, many colorists go for third party options, like for example...


Nobe OmniScope - https://timeinpixels.com/

Available for various platforms: DaVinci Resolve, Scratch, Premiere Pro & After Effects, Final Cut Pro X. Adobe Photoshop, Lightroom

OmniScope features 19 types of scopes that can be freely arranged and docked in the workspace. Layouts then can be saved and reloaded depending on your project setup.

Including the 3D histogram and overlay for out of gamut colors etc. Its a lot more sophisticated than anything we have in Photoshop or most of photo applications, but at least it supports Photoshop as well.

Thanks, Kruno, for the detailed answer. I understand that the warning in Photoshop is limited, but it helped me make choices and corrections. I was already using a CieLab 3D model program alongside Photoshop to get a better overview of color conversions for print. I wasn’t aware of the 3D plugins I can add to Resolve that make this possible as well. I’ll dive into it—thanks so much!

I can also highly recommend OmniScope. It may still be on Black Friday sale today.
It’s a subscription, but doesn’t stop working like Adobe when it runs out, you just don’t get updates any more. In a professional environment, you may want to get a base Mac mini, hook up any old screen sitting around in a corner, and you’ll have a solution that beats any hardware scope of the past.