If you want to grade along or simply try these clips yourself and make use of my LUTs, grab my Kit here: geni.us/LimitedDiscount If we sell out on the 50 discounted through this link I’ll include some in-depth color grading tutorials exclusively in the kit early January 🙌🏻 Your support is massively appreciated 🙏🏻
You don't need to change the color space and gamma on your HDR node if you set up the timeline color space project settings like you did. You'll notice when you click on the three dots its set to use timeline., that means its gonna use the setting you specify on the project settings.
Makes sense! I didn’t realise that, thank you! I think it might still be good practice to do anyway, especially when you then use other footage with a different profile to make sure you remember to do it 🙌🏻
@@AlexBjorstorp Absolutely! But one thing I would suggest is always working on the same scene space (like davinci wide gamut, arri log c or on this case sony slog3) and the reasoning behind that is you'll be able to build muscle memory on how the tools you use react, how sensitive they are and they won't act in unexepected ways because you'll be consistently working in the same log space. Anyways, hope you're doing well and wishing you a great Christmas and new year! Take care.
@ I worked in DWG/Intermediate for the better part of the last 2 years but it’s not necessary for my own workflow when I work in slog3 99% of the time and I honestly don’t feel any difference as to how the tools perform. If I start working with more cameras, codes and profiles, I’ll definitely use DWG again but there’s just no need for the extra step now 😊 Not to say DWG isn’t the better option I’m just all about saving time and making things as simple as I can at the moment 🙌🏻 Happy holidays mate and thanks for your kind comments and great insights!
Right after I watched Cullen’s video I saw an issue someone mentioned in the comments and he later made a video explaining that he’d forgotten to set the lum mix to 0 and that was why some colors became over saturated in some instances. So I just took that to heart immediately 🙌🏻
I like your workflow, I just have a doubt that I wanted to ask you.. why do you insert your LUT before the CST? the luts in most cases are designed on rec709 color space so why put them first? thanks a lot for the answer
I’ve designed my LUTs to take advantage of the extra LOG information (regardless of the profile) and therefore I put it before. I don’t like the approach most luts take with lowering the intensity, which is why I’ve gone in another direction. That said these luts work more or less the same if you add them after the conversion as well - they just don’t benefit from the extra information then and can be a bit too strong in some instances :-)
Would be the exact same workflow - I wouldn’t change anything, I don’t have any BRAW to show it either but this workflow would be how I grade any footage I shoot myself 🙌🏻
If you’re not filming in a log profile, you’ll be much more limited in how much you can push and pull the image but in theory yes. It’s the same steps I would use if I wasn’t shooting log apart from shooting overexposed. The LUTs are meant to be used with LOG footage but there are LUTs that work great with Rec.709 footage. So from a long answer to a short, yes but you won’t have as much flexibility and you probably wouldn’t make as radical adjustments. Hope that makes sense 😊
I've watched most of your node tree videos from the past year or so, and I've noticed a couple of changes in this "2025" version. One, you switched the order from WB -> Exp to Exp -> WB. Is there a reason for that? And two, you used to mention to start on contrast first, then exposure, and then WB (from right to left), but here you're doing it from right to left (starting with exposure), whats the reasoning for the change?
Great observations and questions! I’ve tried as much as possible to always say that the order of which I did things was just my preference but that you could essentially do it in any order you want. The reason for my switch now is because I shoot so much more overexposed than I used to. So if I don’t start with the exposure I have to push the contrast way too much. Secondly I’ve started shooting manual WB in the second half of 2024 and therefore often need more Color Balancing than I used to. To see the balance properly I need the exposure corrected first though. And then contrast depends more on the LUT and the scene rather than being my main way of adjusting the image as I used to do. I hope that makes sense! I used to find the other way work better but due to my change in how I expose in-camera, which is why I included that, it’s made it easier and simpler to do it this way. In reality you can do either of those 3 as you please and the order that works best for you 😊
Yes, it’s the same pack but now in a kit with all the other assets too 😊 If you already bought The Color Pack you have received an email with a link to upgrade to this kit for free 🙌🏻
@@AlexBjorstorp Ooh, sorry, I mean, do you tweak the S-Log3 Picture Profile settings like contrast, black level, detail, etc in camera or do you leave all those settings as they are? I use an A7IV by the way.
If you want to grade along or simply try these clips yourself and make use of my LUTs, grab my Kit here: geni.us/LimitedDiscount
If we sell out on the 50 discounted through this link I’ll include some in-depth color grading tutorials exclusively in the kit early January 🙌🏻 Your support is massively appreciated 🙏🏻
you covered basically all the important points not only about color grading but how we should read and use our camera lighting settings
Cheers mate! Appreciate your kind feedback 🙏🏻
You don't need to change the color space and gamma on your HDR node if you set up the timeline color space project settings like you did. You'll notice when you click on the three dots its set to use timeline., that means its gonna use the setting you specify on the project settings.
Makes sense! I didn’t realise that, thank you! I think it might still be good practice to do anyway, especially when you then use other footage with a different profile to make sure you remember to do it 🙌🏻
@@AlexBjorstorp Absolutely! But one thing I would suggest is always working on the same scene space (like davinci wide gamut, arri log c or on this case sony slog3) and the reasoning behind that is you'll be able to build muscle memory on how the tools you use react, how sensitive they are and they won't act in unexepected ways because you'll be consistently working in the same log space. Anyways, hope you're doing well and wishing you a great Christmas and new year! Take care.
@ I worked in DWG/Intermediate for the better part of the last 2 years but it’s not necessary for my own workflow when I work in slog3 99% of the time and I honestly don’t feel any difference as to how the tools perform. If I start working with more cameras, codes and profiles, I’ll definitely use DWG again but there’s just no need for the extra step now 😊 Not to say DWG isn’t the better option I’m just all about saving time and making things as simple as I can at the moment 🙌🏻 Happy holidays mate and thanks for your kind comments and great insights!
I have been using linear gain for WB but didn't know to put lum mix at 0. Woot!
Right after I watched Cullen’s video I saw an issue someone mentioned in the comments and he later made a video explaining that he’d forgotten to set the lum mix to 0 and that was why some colors became over saturated in some instances. So I just took that to heart immediately 🙌🏻
I like your workflow, I just have a doubt that I wanted to ask you.. why do you insert your LUT before the CST? the luts in most cases are designed on rec709 color space so why put them first? thanks a lot for the answer
I’ve designed my LUTs to take advantage of the extra LOG information (regardless of the profile) and therefore I put it before. I don’t like the approach most luts take with lowering the intensity, which is why I’ve gone in another direction.
That said these luts work more or less the same if you add them after the conversion as well - they just don’t benefit from the extra information then and can be a bit too strong in some instances :-)
Please a tutor for color grading BRAW! Thank you.
Would be the exact same workflow - I wouldn’t change anything, I don’t have any BRAW to show it either but this workflow would be how I grade any footage I shoot myself 🙌🏻
@AlexBjorstorp Thank you. Goodnight.
Does this workflow can be applied on iphone non-ProRes video ?
If you’re not filming in a log profile, you’ll be much more limited in how much you can push and pull the image but in theory yes. It’s the same steps I would use if I wasn’t shooting log apart from shooting overexposed. The LUTs are meant to be used with LOG footage but there are LUTs that work great with Rec.709 footage.
So from a long answer to a short, yes but you won’t have as much flexibility and you probably wouldn’t make as radical adjustments.
Hope that makes sense 😊
I've watched most of your node tree videos from the past year or so, and I've noticed a couple of changes in this "2025" version. One, you switched the order from WB -> Exp to Exp -> WB. Is there a reason for that? And two, you used to mention to start on contrast first, then exposure, and then WB (from right to left), but here you're doing it from right to left (starting with exposure), whats the reasoning for the change?
Great observations and questions!
I’ve tried as much as possible to always say that the order of which I did things was just my preference but that you could essentially do it in any order you want.
The reason for my switch now is because I shoot so much more overexposed than I used to. So if I don’t start with the exposure I have to push the contrast way too much. Secondly I’ve started shooting manual WB in the second half of 2024 and therefore often need more Color Balancing than I used to. To see the balance properly I need the exposure corrected first though.
And then contrast depends more on the LUT and the scene rather than being my main way of adjusting the image as I used to do.
I hope that makes sense! I used to find the other way work better but due to my change in how I expose in-camera, which is why I included that, it’s made it easier and simpler to do it this way.
In reality you can do either of those 3 as you please and the order that works best for you 😊
@@AlexBjorstorp Thank you for clarifying.
Is this 10 bit footage? Can you make the tutorial in 8 bit footage and the camera setting?
It is 10-bit but my settings and workflow is the exact same using the A6400 which is in 8-bit 😊
Are the LUTs in this new Package the same as V5 Luts you released a few weeks ago?
Yes, it’s the same pack but now in a kit with all the other assets too 😊 If you already bought The Color Pack you have received an email with a link to upgrade to this kit for free 🙌🏻
Great video and node tree Alex, one question though. Do you use the default S-Log3 settings?
Thank you David! I’m not sure what you mean by default slog3? Could you explain (but my question suggests that I am though) 😄
@@AlexBjorstorp Ooh, sorry, I mean, do you tweak the S-Log3 Picture Profile settings like contrast, black level, detail, etc in camera or do you leave all those settings as they are? I use an A7IV by the way.
Ah I get it! No I leave everything in default. I find that works perfectly fine 😊 I’d love to try the A7IV - looks like a great hybrid!
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Cheers mate! I think you were the 3rd comment actually haha!