Why using temp & tint is terrible (even in HDR & Camera RAW)

Summary

In this video, the creator discusses the challenges of using the temperature (Temp) and tint controls in DaVinci Resolve for color balancing. While these tools may seem like the go-to solution, the speaker explains that none of them are ideal for achieving the best results. They critique the Camera Raw, Primaries, and HDR tabs, highlighting their limitations and inaccuracies. Instead, they recommend using more consistent and freehanded adjustments, focusing on linear gamma and a better understanding of color science to improve the speed, control, and consistency of color grading. Ultimately, the speaker advocates for a more intuitive and image-centric approach to balancing colors.

Takeaways

• 😀 Resolve offers three temperature and tint controls: Camera Raw, Primaries, and HDR tab, but none of them are ideal for consistent color grading.
• 😀 Camera Raw adjustments mirror what a cinematographer would do in-camera, but these tools are not color grading tools and can be limiting.
• 😀 Grading based on the camera settings creates a 'camera-centric' mindset, preventing a more intuitive, 'image-centric' approach during color grading.
• 😀 The adjustments in the Camera Raw tab are not consistent across all shots, which can lead to confusion when grading multiple cameras.
• 😀 Primaries tab temperature and tint controls feel intuitive but are arbitrarily calibrated, lacking color science backing and resulting in less accurate adjustments.
• 😀 Primaries controls were designed for display-state images, but if you're working in log images, their behavior becomes less accurate and inconsistent.
• 😀 HDR temperature and tint controls in Resolve have a better theoretical foundation, but they can feel imprecise in practice, especially when adjusting extreme values.
• 😀 The spectral locus of color temperature (how the color axis moves across temperatures) is not uniform, making it impossible for a single knob to offer accurate results for every image.
• 😀 The chromatic adaptation tool is useful when you know the precise lighting and camera settings, but it is not practical for every situation.
• 😀 For the majority of shots, a freehand approach to adjusting color temperature and tint is more effective, with linear gamma adjustments providing better speed and control.
• 😀 Using a single control in linear gamma mode, rather than relying on multiple color temperature adjustments, allows for faster and more accurate image balancing without being restricted by arbitrary constraints.

Q & A

Why does the speaker believe that temperature and tint adjustments in the Camera Raw tab are not ideal for color grading?

The speaker believes that the temperature and tint adjustments in the Camera Raw tab are not ideal because they are not true color grading tools. These adjustments are tied to a camera-centric mindset, focusing on how the camera captured the image rather than how the image should look in its final graded state. Additionally, these adjustments are not applicable to all shots, which can limit consistency and flexibility in the color grading process.

What is the main issue with the temperature and tint controls in the Primaries tab?

The main issue with the temperature and tint controls in the Primaries tab is that they are not based on accurate color science. The adjustments are arbitrary mixes of red and green or green and blue, without a scientific backing. This means that they do not provide a true, predictable color adjustment, especially when working with log state images during color grading.

How does the speaker describe the HDR tab's temperature and tint controls, and what are the problems with them?

The HDR tab's temperature and tint controls are designed with the intent of providing a more photometric color temperature adjustment, closer to what is seen in the Camera Raw tab. However, the speaker notes that the adjustments often feel insufficient, as the full range of the controls does not provide enough change. Additionally, the adjustments lack accuracy because they assume an arbitrary starting point without accounting for the unique color temperature needs of each shot.

What is chromatic adaptation, and when does the speaker recommend using it?

Chromatic adaptation is a color science tool used to account for discrepancies between the lighting source and the camera's sensitivity. The speaker recommends using chromatic adaptation when you know the exact lighting and camera settings, such as when you know the light source color temperature and the camera was rated for a different temperature. It provides a more accurate adjustment for these types of situations, but it is less useful in more common cases where you are simply trying to adjust the overall look of the image.

Why does the speaker prefer using the Primary tab with the gamma set to linear for balancing images?

The speaker prefers using the Primary tab with the gamma set to linear because it allows for more flexibility and control over the color adjustments. This method enables freehand adjustments to the image, allowing the colorist to focus on the visual outcome rather than being constrained by arbitrary temperature and tint controls. It is a faster and more consistent approach that aligns with the real-world physical light space, which is important for accurate grading.

What does the speaker mean by 'camera-centric' versus 'image-centric' in the context of color grading?

In the context of color grading, 'camera-centric' refers to a focus on how the camera settings and sensor captured the image, whereas 'image-centric' means focusing on how the image should look in its final form, regardless of the camera used. The speaker advocates for an image-centric approach, where the colorist works directly with the image, rather than adjusting settings based on camera characteristics.

What are the benefits of using the skin tone line and the green-magenta axis when balancing colors in an image?

The skin tone line and the green-magenta axis provide a simple, grounding framework for balancing colors in an image. By thinking about where the image falls along these two axes, the colorist can make adjustments that enhance the image's natural look, especially in skin tones, while also correcting any unwanted color shifts like green or magenta casts.

What is the problem with the temperature knob in the HDR tab, according to the speaker?

The problem with the temperature knob in the HDR tab is that it assumes an arbitrary starting point for the color temperature and then adds or subtracts degrees of Kelvin from that point. This makes the adjustment inaccurate because the knob does not have enough information to determine the correct starting point, leading to inconsistent and imprecise results.

Why does the speaker argue that no single temperature and tint control can accurately balance an image?

The speaker argues that no single temperature and tint control can accurately balance an image because color temperature adjustments are complex and depend on many factors, such as the spectral locus (the way color temperature behaves at different points). A single knob cannot account for the unique characteristics of each shot, making it unsuitable for precise color grading.

What is the key takeaway the speaker wants viewers to have regarding balancing images in Resolve?

The key takeaway is that balancing images in Resolve should be focused on the visual outcome rather than relying on arbitrary temperature and tint controls. The speaker encourages using more flexible, image-centric approaches like freehand adjustments in the Primary tab with the gamma set to linear, allowing for faster, more consistent, and more accurate color grading that is not constrained by inaccurate or arbitrary tools.