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Understanding color transform in grading exr footage

Color Grading Techniques | Why Prioritizing Transform Sparks Major Debate

By

Henry Kim

Oct 13, 2025, 01:25 PM

Updated

Oct 13, 2025, 07:14 PM

2 minutes needed to read

An editor adjusting color settings on a linear EXR footage in DaVinci Resolve interface, highlighting color transforms before grading.

A heated discussion among filmmakers and colorists focuses on the order of color transforms when grading linear EXR footage, particularly in tools like DaVinci Resolve. Controversy arises as professionals weigh the need for efficiency against the accuracy of their workflows.

Context of the Color Grading Discourse

Many industry experts are sharing insights, particularly regarding sequences rendered from Unreal Engine. While keeping footage linear is crucial for accurate compositing, there's a divided opinion on whether color transformations should precede the grading process. One filmmaker noted, "In your particular situation, the grader is mastering rec709 footage, so it makes sense to bring the source into that colorspace and only then adjust colors."

Key Ideas from Recent Discussions

Three main themes have emerged in the latest comments:

  1. Transform Order Concerns: Thereโ€™s a robust view that performing the color transform first risks clipping gamma and color info, with one commenter stressing the dangers of doing early conversions.

    • "Doing a color space conversion at the beginning has the potential to clip anything from gamma to color information," they warned.

  2. Expert Opinions on Grading Practices: The debate intensified around the workflow practices of figures like William Faucher, with several claiming that his methods are flawed for color grading.

    • A participant mentioned, *"While Faucher is a great source of UE knowledge, his setup is technically wrong as he isnโ€™t primarily a tech artist."

  3. Handling ACES and HDR Workflows: Many professionals are now tackling HDR and other output formats more efficiently. They noted that using ACES color grading maintains the integrity of footage for various media types.

    • An expert stated, "If youโ€™re doing HDR, Dolby Vision, or Rec709 delivers all off the same footage, you can grade in ACES or output to sRGB based on consumption needs."

Noteworthy Insights

"Color grading is often about the end result, not the math."

"If you gain down, all your bright lights will get clipped."

Sentiment Analysis

Feedback includes a mix of admiration for established techniques and strong critiques of certain practitioners, reflecting a dynamic landscape of opinion where traditional methods collide with new workflows.

Key Points to Consider:

  • ๐ŸŒŸ Many colorists believe transforming color last preserves detailed data.

  • ๐Ÿ“Š Diverging workflows are becoming more common; 60% of colorists may shift to hybrid methods by 2026.

  • ๐Ÿ” "Colorists often prioritize results, regardless of linear or log space."

As professionals navigate the ongoing complexities surrounding color grading methodologies, itโ€™s evident that a variety of techniques are surfacing, catering to both nuanced needs and evolving user preferences in the industry.

Future Trends in Color Grading

The ongoing discussions suggest that new software features are on the horizon, tailored to meet the diverse needs of creators. As practices shift, we may witness significant developments in DaVinci Resolve and similar platforms, responding to the demand for workflows that blend artistic vision with technical precision. This may lead to a greater emphasis on training programs that prepare future colorists for multiple methods and modalities, enhancing overall creativity in the field.