Grade School: Using Parallel Nodes, Pro Colorist AMA

Answering questions on parallel nodes, Resolve 18.5, and everything else you've been wondering.

0:07 Introduction
2:48 How do I know what composite mode is best to use in certain situations?
10:41 What operations are ‘’safe’’ and ‘’unsafe’’ in a parallel mixer?
16:30 What is the first thing a beginner colorist should learn?
21:00 Can we use the qualifier in a parallel node scenario?
22:25 What is the difference between Rec709, Rec709 (scene) and Rec709-A?
28:28 When transforming log footage with CSTs luminance mapping washes out
highlights and I have to use custom curves to bring them back. Is there a better way
to approach this subject?
36:18 Can you explain how to deal with HLG footage using color management in
nodes, specifically about OOTF?
44:10 Should I use white point adaptation for going from DWG to P3?
47:03 How do you play with pivot to find the right amount of contrast? Is keeping it at
the right amount for the working color space not enough?
51:45 Should we set the output color space to sRGB if we want to deliver to
Instagram, YouTube or the internet in general?
54:59 How would you go about bringing footage from an iPhone to DWG? And what
about color spaces that are not built in RCM or ACES such as F-Log 2?
59:36 How can you create a timeline look if the shots are not corrected in the first
place?
1:03:37 Conclusion

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[lifewalklens]

Thanks for the corrections in the previous tutorial it builds better trust for us now i know how better to use the node structure thanks a lot Cullen am lifewalklens from Nigeria

[AlexSpaeth]

So would you recommend putting NR first, then create the parallel node tree off of that, then doing any highlight/detail/sharpen in separate individual nodes after the parallel node?