Beautiful discussion. 👍🏾Thanks for confirming and coalescing the bits and pieces I've picked up over the last couple years regarding the ColorChecker.

Such a great explanation. Now I can use my colour checker with confidence. Thanks for creating this for us.

Congratulations Cullen, 40K subscribers, I subscribed when you had 4k , 2 years ago I think. Thanks for your excellent work.

And great for matching with different cameras.

That's a very interesting question you asked in the last shot. It's the question I ask myself most often. How much to correct the shot and how much to keep the atmosphere. I've also heard the opinion to correct everything first and then give it a look. Which is right and also kind of weird, correcting and then putting it back where it was.

You always have a point, thanks for sharing.

Great info as always, thank you.

love your stuff! thanks :D

Any idea what operations it's using under the hood? Is it just a 3x3 matrix in Linear, or is it also a curves adjustment etc?

Cullen please make a video about monitor calibration. I feel like there is somewhat limited information about it and its all spread and not confined how you always present information. I know it's maybe not your typical content but it would be awesome if you could touch on that subject.

OMG this video couldn't have come at a better time

Thank you for this interesting video. 😊

Very helpful, thank you!

Great topic!!!

For now I am only using CC for product videos where I want to make extremely sure the colors are the same. As usual, golden stuff from Cullen.

Hey Cullen I asked on another video for you to make this video and just found it! Thank you

Hey Cullen Sal again ❤

Good one..... Thanks buddy

Awesome 🎉🎉🎉

Thank u sir♥

Great presentation! My only pet peeve with the color chart overlay is how "fiddly" it can be to individually drag the corner pins to their proper positions. I wish the folks at BlackMagic Design would simply add a shift/corner-drag function (like Photoshop) that allows reducing the size of the frame proportionally for quicker resizing. Then, the fine-tuning of the corner pins could be done a lot quicker.

How do you incorporate this when you are grading a real project? Do you ask the editor to make you another timeline of all the shots containing the color checker and then create stills and apply them to the shots inside the film's timeline?

Hey Cullen. Thanks for explaining. I use these loads to create custom ICC profiles for stills software like Capture One. I wish I could separate gamma from colour in these profiles. In Davinci would you ever use the chart on a node set to "Colour" blend mode in order not to affect the gamma?

Hey Cullen, great video as always ! I have a question: Can it be used for color matching a same scene but filmed with different cameras or lenses ?

Would it be advisible to adjust the color checker whitepoint to taste? Or use a chromatic adaptation node to get it back to taste rather than the node mask.

hello,i would like to add that i own both new versions of colorchecker, video and classic. however they both led to different results on the same s log3 footage i tested them with.

I always ask for them to be shot, but rarely even look at them. For me it's a troubleshooting tool if something goes completely sideways in the footage. I can then take the charts and try to analyse what the problem was that made it go wonky. I have also had problems of when the cam ops shot the chart on set. If they set up and then take the footage - and then start changing out lighting on set - or on an outside day shoot - the sun and weather suddenly changes, the charts are a pretty bad indication of how the footage looks, and absolutely wouldn't rely on it for much. So I just use them for troubleshooting - it's like test tones for audio.

Was it possible to specify a white point in the second example, for example, 3200K ?

Hi... another excellent video, Thanks. I have one comment about using the color checker. As a cinematographer, I often use light in a scene that is a different color than what the camera is set for.. either accent lights or sometimes a cool or warm color for night or fire etc. So I expose the color checker chart to the light that the camera is set to... 3200K, 5600K or whatever the white balance is. Then my accent lights or washes will automatically fall into place. If I had exposed the color checker chart to the colored light, it would have been "corrected out" when in DaVinci.

Is there any way to derive a 3x3 CCM (colour correction matrix) from the colour chart that was shot?

Why didn't you use the color match in your first node? By positioning it later, it's likely going to undo your earlier exposure and contrast adjustments.

If the source is a film scan, from a ScanStation or Arriscan to DPX log, what is the starting colour space?

This is super helpful! I was always curious about the WB setting. How much wiggle room is there if the footage was shot with incorrect WB? Will this be able to fix that? Thx!

I would like to use this feature to match 2 different shots. Not to neutral xrite standards but the one to the other.. Would be cool to match film charts for example. But as far as I know this is not possible..

Great post, as always! Question: shouldn't one use the color chart step at the beginning of the node structure? if the colors are not "accurate" from the get go, how are we going to have 'accurate" exposure & ratio nodes...? thanks!

Cullen would you do this before applying a "look" on the timeline with one of your Voyager Luts?

Do the colours have to fit perfectly in the boxes in the vectorscope?

You dont mention another 'way' which is to get 'this camera' in daylight and shoot a colour chart as a way of 'correcting' this camera, but when you move into suntset light or warm tungsten scene you can still apply the cart node from the daylight image which should cancel any specific sway of that sensor.. but retain any warm/sunlight/tungsten feel

My question is what is actually happening when it's in use? Is it using a mathematical correction that's under the hood you could say? Sort of the way a LUT works, or is it manipulating parameters we all have direct access to in the color page? Hope that makes sense.

What would be considered as budget or midrange specs to handle Resolve workflow? Including small fusion work.

are you wearing a lav??? ur mic is behind you, do you have 6 mics

Which colorchecker would you get: the ColorChecker Video or the ColorChecker Passport Video?

Doesn't a color checker correction throw out all camera color science out of the window?

it would be great to have an option to only affect the balance, because otherwise it messes with the contrast which is hard to bring back

Shouldn’t the input colorspace be ArriLogC?

You color grading before CST or after i don’t understand (((((

Thanks for the video, I wanted to know exactly why and how they use these things. But the video didn't answer the question, which is bugging me from the beggining. Will this method relight everything in post to 6500K? In your second scene for example, if you shot the scene with the light with 3000K and then reshot it with the light of 5600K and then in Davinci use this method with color checker you just showed, would I get two "identical" images in Resolve? Therefore completely unaware of my lighting intentions? Thanks

The puzzle I've always had is: what's the best way to apply that correction to all of the other instances of the same shot (same camera and lighting) in the scene? I use the "memories" in DVR, and you can also apply forward and back, but I don't know if there's a more straightforward way.

Thank you for the scratch on the topic… but I have a few more questions, that I hope you can elaborate on; My understanding of the color charts is that they are themselves color space specific. Which is why you don’t use a photography chart on video cams, because the color spaces are different. Meaning more: You can’t shoot a Rec 709 Calbrite Video Passport in *say* sLOG3. Meaning Even More: Where does that enter Color management? As far as I can see…. what you just did in this video borders on useless. In fact… completely nonsensical. You managed to come full circle to “look”. I get the color management. But yet the entire purpose of the color chart (as I understand it), is to draw a defacto line in the sand. Meaning; THIS IS MIDDLE GRAY! Now what your sensor is reading, might differ. That’s OK… because… THIS IS MIDDLE GRAY (insert magenta, etc.) The color chart (as I understand it), is color space specific, not the other way around (as you are proposing it). I have proposed this question in Grade School, and almost fainted when I saw this video post. I am very disappointed in the answer (sorry). Calbrite Video Passport is “Rec 709” It’s very specific about this. Recommendations are that you shoot the Passport in Rec. 709, and then shoot your footage in whatever color space you want, and adjust the color “correction” in post accordingly. Traditionally, you would do this laboriously by mapping your sensor (using the chart) to correct your sensor color cast, and then apply that LUT. Question: WHERE would we apply that LUT in a DR Color Managed System? WHERE would we put that in the default Node Graph? I would like (for once), to approach this from a PURE color correction standpoint. Please do not use the word “look”. I will deal with the LOOK later. I want to “correct” different sensors, and exposure, and WB…. BEFORE… I even think about “look”. The color chart is my constant. I also do NOT want to consult the DR Color Chart Tool. Show me the Vector Scope. Show me different color space captures on the same color chart Work a manual adjustment in a color managed workflow. Flex your muscles. Show me something I can use. Sorry bud. I respect you. This Vid was useless and borderline destructive. 12 mins of useless.