Turned out I had learned, was doing it correctly, and the app had the issue. Thank goodness the savior came along or I'd have dismissed a half year of study thinking I'd not learned a thing. The guy who discovered the error only discovered it by using the dropper tool to sample the values.Īnyway, see how a programming/bug error in a color managed app can further confuse someone who is just learning color science? Many didn't believe there was a difference at all. To me, the inside by side had a striking difference. No one else could see the color difference with their eyes. Intriguingly, I also discovered during that fiasco that my eyes are pretty good. He reported the bug and helped me find a work around. They didn't one was one color one was another color.įINALLY when I had about given up since the experts kept giving me the same condescension, a guy did his own test and discovered there was a bug in Photoshop and that it was converting to a different color space on it's own when exporting. Errors in calibration would result in BOTH images have the same errant color. The people in the forum kept insisting it was because (they assumed) I hadn't calibrated my monitor.Įxcept I was viewing the working image AND export from within the same color managed workspace going to the same monitor. I thought I had everything set right, yet my exported image continued to have different colors than the working image. I had been cramming to understand color science and the application of it. I was recently preparing a file for print in Adobe Photoshop. They are negligent in providing that info.įinally, working within programs that themselves have bugs can create confusion. For instance, as mentioned, we don't really know what the air 2s dlog is. My assessment of why it is difficult to understand color science to such a degree that I can correctly apply my knowledge is that first of all I read too many articles and watched too many videos of explanations that came from people who didn't really know what they were talking about.Īnother is The inconsistency between devices/programs and how they handle color. Some footage looks best when the pre-clip node transforms to DWG then post clip is set to Input d-log output rec.709.
of course only if timeline color is set to DWG I've also played with a transform on the pre transforming dlog to DaVinci Wide Gamut then post node from wide Gamut to 709,2.4. And if I can make it look better by assigning an incorrect input or output gamma, I will until I know better.ĭ-gamut to rec 709 color, at least, seems to work and I've not played with alternatives there. I play with the input and output gamma, admittedly not knowing what each of these is attempting to do with the footage. Normal lighting conditions in the footage yield less than optimal results.
Anything recorded on a SUPER BRIGHT day looks great. I've found that it at least seems the brightness in the recording has an effect on this. Sometimes those settings indeed do make it all too dark. and while the kids may be smooshed, they aren't as low as the Scopes seem to indicate. Sometimes those settings make the waveform show everything squeezed to BELOW zero. I always start there and then play a guessing game. On my transform node I set color to DJI d Gamut and gamma to d-log. Though right away using the transforms on a nice in the timeline yielded more realistic looking results. I had operated believing "DaVinci Color Managed" was making the appropriate adjustments. I only recently started using color space transforms on the timeline.
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