What habits and mistakes you need to drop from your grading, and what you can do instead? Cullen helps you refine and upgrade your color grading workflow during this live Q&A. This episode of Grade School is answering questions based on these two videos: 3 Levels of color management (and 3 things colorists get wrong) The biggest color grading mistake on YouTube 00:00 Introduction 3:53 Initial thoughts regarding Color Management and Film LUTs 23:32 Does a color space transform overrule the color management done at the project level? What is the difference between input color space and timeline color space? 28:35 When should we use the custom max output in the color space transform when doing color management in nodes? 35:14 Should we cap the custom max output of the CST tool at 48 nits when targeting P3 for theatrical projection? 36:30 How do you deal with a project that is using a lot of speed ramps since they don’t translate well using XMLs? 40:04 If we want to create a warm/cold look shouldn’t we use a LUT that already provides that instead of balancing the image before the LUT? 43:50 How do you decide where your skin tone should be in terms of saturation since the vectorscope doesn’t provide that much information as the signal is very limited in that range? 48:30 Is there any site where we can find the proper color space and gamma from cameras that are not in ACES or RCM? 50:17 When I use an input transform from whatever log to DWG and an output to REC709 sometimes my clips start to flicker, any solution? 51:03 Toby Tomkins said that he prefers using the HDR global temp/tint because it is more linear. What are your thoughts on this way of balancing? 54:24 I struggle with achieving true white with color management, specially for resolve graphics, any insight for that? 58:09 Final thoughts and conclusions -------- Get my free Kodak 2383 film print LUT for DWG and ACES here: Check out my ebook, The Colorist's 10 Commandments: