Best Color Space and Gamma Settings for Ursa Mini Pro

Hi Everybody, I'm new to Resolve and, as im finding, still green to a lot of editing basics.



I have some footage I shot on the Ursa Mini Pro. It was shot Raw but will be using the Blackmagic Design and 4.6K Film color space and gamma options in the Camera Raw Settings under color.


My question is what should I set my other color space options on the Color Management Tab under Project Settings?


Currently here are my settings:

Color Science: DaVinci YRGB Color Managed

Input Color Space: Bypass Gamma: (Greyed Out) Blackmagic 4.6K Film

Timeline Color Space: Blackmagic Design 4.6L Film V3 Gamma: Blackmagic 4.6K Film

Output Color Space: Blackmagic Design 4.6L Film V3 Gamma: Blackmagic 4.6K Film

Matt, I would think you want to change the Output to the Colour of your deliverables such as Rec,709.

Strongly recommend you switch from YRGB to ACEScct. Then you define your IDT to BMDFilm and your ODT to Rec.709 or whatever is most applicable.


Sent from my iPhone using Tapatalk

My question is what should I set my other color space options on the Color Management Tab under Project Settings?

The input color space is not used for raw clips. Resolve will automatically convert the raw settings to your timeline color space.

For the timeline color space, it is to your liking, some people prefer to grade in log format, others prefer linear or prefer ACES. One is not better than the other.

However, ACES has the advantage of setting things right from the start which is really beneficial if you have clips from different cameras. In RCM you may have to map the camera's dynamic range and color gamut to the destination range and gamut yourself but this also gives you more flexibility.

The output color space should be set to the destination format, i.e. Rec.709, P3, etc.

I'm not a fan of ACES simply because I feel it slows me down it terms of normal Lift / Gamma / Gain adjustment. I'd rather do a manual overall camera setting in the first node or two of every camera clip in the timeline, then do all the real adjustments in the subsequent nodes. It's fair to say that Resolve is flexible enough that you can do this several different ways and they're all valid working methods.

Some months ago, Juan Melara posted on his blog a terrific alternate method for grading camera clips:

http://juanmelara.com.au/blog/a-better- ... cinemadngs

I think these are also great ideas that can work under some situations. Me personally, I think grading URSA Mini footage is trivial. Alexa is very fast in terms of getting a decent initial look. Red R3D footage in RedLogFilm... that's not very hard. Sony SLog3... that's tough.

Hi Guys, thanks for the answers!


I tried using ACES and switching the Color management to the following settings:

_____________

Color Science: DaVinci YRGB Color Managed

Input Color Space: Bypass Gamma: (Greyed Out) Blackmagic 4.6K Film

Timeline Color Space: Rec709. Gamma: Blackmagic 4.6K Film

Timeline Color Space: Rec709. Gamma: Blackmagic 4.6K Film


I Found that doing some quick grading tests with ACES seemed to produce more Dynamic range in the Highlights but lacked details in the blacks when doing some initial grading with the Raw Controls. However I wasn't happy with how the Skin Tones looked (Didn't look natural or pleasing)


I also tried doing some tests on the same shots whole using the above YRGB Color Management options. I found that the skin tones are much more natural and pleasing, and produced much more range in the dark areas but not as much saturation or range in highlights




I'll be on shoots for the next two days so I can't produce samples, but I was wondering if this is how both color science options normally behave or make I'm using the wrong setting or an error on my part.

Timeline Color Space: Rec709. Gamma: Blackmagic 4.6K Film

You should probably set the gamma to 2.4.

What monitor do you use and how is it calibrated?

Its a Eizo UHD Monitor, its self calibrating as far as I know.

I have it set for the Rec709 color space.

I found I can coax more dynamic range from UMP Raw Footage when I set timeline Gamma to the BM 4.6 Film then when it set it to 2.4.

Maybe its an error on my part when using Rec 709 and Gamma 2.4 for the timeline, I'm new to Resolve, so maybe there's another setting that I have set incorrectly that is messing with the color space.

Matt, in your previous post you say you set a Colour to Resolve Colour Managed YRGB. Don’t use that. It should be ACEScct. I can’t verify in Resolve at this time, but maybe your post was just in error and your settings are fine.


Sent from my iPhone using Tapatalk

Its a Eizo UHD Monitor, its self calibrating as far as I know.

I have it set for the Rec709 color space.

I found I can coax more dynamic range from UMP Raw Footage when I set timeline Gamma to the BM 4.6 Film then when it set it to 2.4.

Maybe its an error on my part when using Rec 709 and Gamma 2.4 for the timeline, I'm new to Resolve, so maybe there's another setting that I have set incorrectly that is messing with the color space.

I am sorry, I quoted the wrong quote, I was referring to the output color space. The output color space should match the monitor setting and the deliverable which presumably is Rec.709 with a gamma of 2.4.

So to summarize:

Input Color Space: Not applicable for raw clips
Timeline Color Space: To your liking
Output Color Space: Rec709. Gamma: 2.4 (or the gamma your monitor is calibrated for)

Matt, in your previous post you say you set a Colour to Resolve Colour Managed YRGB. Don’t use that. It should be ACEScct.

Why do you believe must it be ACEScct as opposed to YRGB Color Managed?

Both options are valid to use, one is not better than the other.

Cary, you’re correct. It’s just that Matt had posted he was trying the settings I recommended but his (erroneous) post didn’t have him using ACES. I was not implying that using Resolve Colour Management YRGB was bad, just not appropriate if you’re trying out ACES.




Sent from my iPhone using Tapatalk

Cary, you’re correct. It’s just that Matt had posted he was trying the settings I recommended but his (erroneous) post didn’t have him using ACES. I was not implying that using Resolve Colour Management YRGB was bad, just not appropriate if you’re trying out ACES.

Got it!

Cary, you’re correct. It’s just that Matt had posted he was trying the settings I recommended but his (erroneous) post didn’t have him using ACES. I was not implying that using Resolve Colour Management YRGB was bad, just not appropriate if you’re trying out ACES.




Sent from my iPhone using Tapatalk

Hi Rick sorry for the confusion. I did try using ACES with the settings you recommended but I wasn't happy with how the image looked:

I Found that doing some quick grading tests with ACES seemed to produce more Dynamic range in the Highlights but lacked details in the blacks when doing some initial grading with the Raw Controls. However I wasn't happy with how the Skin Tones looked (Didn't look natural or pleasing)"

It may be that that I'm not used to grading in ACES or I have some other setting wrong that is causing these issues. I'm currently on a shoot the next few days so I can't post samples unfortunately.

Matt, when I first tried ACEScc version 1.02, on an existing graded project, it looked awful. Primaries on that project would have been the conventional Colour wheels. The first hint of success occurred when I began a new project where things started to look reasonable. But I found Colour adjustments quite awkward as someone mentioned in an earlier post. By the time ACEScct version 1.03 was available (with Resolve 14 last year), I also switched to using Colour log adjustments of primaries. That’s where I’m at today and I get the results I want usually with little effort. So there is more to it than simply turning on the appropriate project settings. I’m not sure if this is the way you tried, but start ACEScct with a new Project and work with the log setting from the Colour dropdown menu at the right of the primaries area.

Some folks do suggest ACEScc but I personally prefer ACEScct. If you are not using log adjustments, you do have to be very careful with many changes being very slight nudges; with log, you can be more aggressive in the changes to get what you want or easier to nudge things along with smaller alterations.

With most things, we usually don’t like change. It takes a while to retrain the muscle memory in the sense that things do behave differently. I’ve never wanted to go back.

I like living in a world defined by cinema industry standards even though I’m a one man band and producing for the internet. Only hope I live long enough to see the death of Rec.709 and sRGB (as the broadcast/monitor standards) at the hands of Rec.2020. P3 is a small step in that direction available now but it can’t be assumed that consumers will embrace it unless it’s the default on Apple gear instead of the optional display mode. Looks like I’ll need to “live long and prosper.”