Man, honestly you're the best. DaVinci can look pretty intimidating but at last your no-nonsense way of showing the tree node usage makes colour grading at least manageable. The fact you're giving so much to the community honours you.
Qazi man! Whenever you drop a video it gets me so excited because I know it's going to be something nice. Thanks for continually posting and inspiring you have no idea how much impact it has 🙏🏾
Amazing work Waqas Bhai, im hoping your next one will be on "Straight outta Compton" or something along those lines, really interested to see you do something with them colours.
Interested to know why sometimes you convert to 709 in the first node and sometimes at the end? I know that Resolves tools are designed to work in 709 but I find I get more natural looks by working in a log space.
Yeah its the wrong move, if youre gonna do a CST to 709, you do it at the end. If you do it at the start, that means your colorspace aware tools are being limited in a 709 color space, vs if youre "working" (or "timeline" color space as Resolve calls it) color space is something larger like ArriLog in his footage case, or DWG etc. Putting the CST to 709 at the start restricts the pipeline too early, and youre kind of losing the whole point in shooting a large color space like ArriLogC.
Didn't watch the video yet, but hit the like button immediately.👍❣️ Also would love to see a video on how to grade a moving hero in the shot. For instance a bicycle rider moving from right to left, how do you make his stand out from the background...
Hey Qazi, i saw your old (2019) Davinci Resolve tutorial and i wanted to make a question. Do you know how i can transfer my edits from the local database (the one i've been using until now) to another (the one i just created)?? Thank you for sharing knowledge man!
I color with Magic Bullet and I love using looks I set my input to Clog from my R6 and out put it to REC709 along with the grade. Should I use one to correct and one to convert to rec709 and one to grade? much like a node tree just using multiple plugin?
Incredible work as always. I’m curious…do you build a look and test it out first, then do the look from Step 1 in the tutorial, or are there times when you’re creating the look as you go?
Man ... I am French filmmaker and drone pilot ... I shoot ski races in winter ... Inspire 2 ... I am getting better at Davinci but snow is really hard ... Would you do a tutorial specific to snow ideally a drone shot ... contrat / highlights / keep the shadows ... not blow up the highlights ... not fuck up the other colors than white ... :)
Hey bro I have watching your video I really love your content amazing 🔥🔥🔥 I Just wanted to ask you I m facing isssu with davinci resolve free version I couldn't able to import my canon r6 log files Let me know if you know about this
Just a small question : on the 5th tip (around 11:09 ) why use gamma over custom curves (as you usually do with vignettes) to darken up the rest of the shot ? :) Just wondering ^^ Thanks!
It looks like you have problems with the node preview also. Those nodes don't display the preview of the image anymore. I contacted BM, you have to upgrade your graphics card driver to get rid of it. It worked :) Nice tutorial as always :)
Really cool video brother! Thank you for sharing! Just a quick question: what is the name of the annotation tool you are using on this vid? Super cool as well. Cheers from Brazil.
Than you for this. I have a question... Why convert to REC.709 as the first step in the processing chain? Would making the final node the 709 conversion (and thus a filter through which grading on previous nodes is viewed) maintain more color information throughout the process? I'm just trying to wrap my head around the best workflow to take advantage of my Red R3D footage. Thanks!
@@badboyrocklobster Hi... I'm rethinking this. In Premiere, I think your output (and monitoring) colorspace is determined by your sequence settings. (Is this the same with Resolve?) So, once you drop large gamut footage, like R3D, onto your timeline, it is automatically "converted" to Rec.709, but all the color values are not being properly distributed throughout the 709 space. You can do this via individual adjustments manually, by adding a conversion LUT, or both. However, the moment you open a Rec.709 sequence, you are looking through a "709 window". Whether adding the conversion LUT first or making manual adjustments first may or may not waste color range data depending on the amount of pixel data that end up getting crushed and spread apart again in the color space. Depending on your target effect, it may be best to add your conversion LUT first since it assumes untouched footage... or don't use it at all and make adjustments manually. Either way, anything you do will still be in the wider gamut, but you'll be viewing and exporting the 709 result. Does this make sense?
@@TomsTwinFilms I think I understand what you're saying, but it is still not best to put CST first. You are losing info almost no matter what you transform to. If you grade behind the CST you are grading the image when it has the most possible information. Here is a great video demonstrating. (skip to 2 min) th-cam.com/video/sJE0IInpbOk/w-d-xo.html&ab_channel=JorisHermans
@@TomsTwinFilms Darren Mostyn has videos that explain this much better than I ever could and certainly better than this one. Here's a nice start: th-cam.com/video/8geDbNpH5cI/w-d-xo.html&ab_channel=DarrenMostyn
@@badboyrocklobster I do agree... that was my initial thought also. I was going to do a tutorial demonstrating my workflow. But then I wanted to think it through more. In Premiere, I set up my 709 sequence and add an R3D clip. On the clip, I add a Lumetri effect with a Red Wide Gammut to REC.709 lut. This gives me a base conversion. Then I add another Lumetri effect above the 709 conversion effect. It is in this effect that I can do a lot of base color corrections on the Wide Gamut. Since Premiere processes down the stack of effects, the 709 conversion lut is processed after the other corrections. So, I completely agree with you, I was just rethinking it out.
Hi Qazi I just joined your webinar a few weeks back but haven’t had the time to fully immerse. I was just wondering if you have tips for color grading the Red Komodo since I’m about to get a project for that. Specially for setting up the color space
More and more people are shooting 4K with their iPhone and bring them in asking to make it pop. My questions is, what initial Project Setting is the best so when finished, they can deliver it to TH-cam as a 4K clip?
Waqas, does this gradings style has a "name"? I think it would be great to sort of entitled the grades and help the community to determine a certain pattern of steps to reach a grade/gender style and categorize them. Thanks again for helping so much!
What happens if I want to grade a shot where the subject moves from sunlight into the shade? (aka a bird) Because I'm shooting birds and not actors, sometimes the lighting completely flips from the subject being in highlights to being in shadows. If I split the clip and edit separately, it's super jarring, but otherwise it's a little difficult to get things done. What should I do? Thank you!
I'm always confused in your node trees about the placement of the CST node (or the LUT node) : to me, and according to what I've learned in school, by putting that node at the end of the node tree, you preserve more of the dynamic range. Am I missing something here ?
It looks like in the log you took out saturation in the shadows. Can't we just use Lum vs sat and do that in the shadows? I guess I'm still confused on when to use the log
Quick question : is the free training (webinar) the same as the one you did a few weeks before ? The themes seem familiar but maybe it's a brand new webinar so just wanted to make sure :)
Can you take average or below average shot and make it look cinematic or movie like? If you need badly lit or shot footage, you can ask me. I got plenty. 😜
I feel like at some point the camera itself doesn't matter too much anymore. Still gotta be a decent camera with a decent image, but lighting, angles, elements in the frame make it an easier job for the colourist to later bring out what needs to be brought out..
@@Birbyvideography Absolutly...the „cinema-Look“ doesn‘t depend on which camera you choose, it depends on how you’re grading...think that opens doors for everyone who has not the opportunity to buy an arri or red or other Cinema camera
@@GexiGex Eh not entirely. The cinema look changes drastically based on the lens' attributes and how the sensor handles light. If the sensor isn't of reasonable quality, post production is limited.
@@Birbyvideography of course, I meant that if you have a midrange camera, which has Slog, you can grade a very good image, which naturally doesn’t look like a arri image, but very cinematic
Hello Qazi, i’m a mild protanopia color blind. My type of colorblind makes me unable to tell the difference between Dark brown with dark green, dark orange and dark red. I also often confuse with Some blues with some reds, purples and dark pinks. And Mid-greens with some oranges . Is there any way, for me to READ any sort of scope or anything for me to differenciate those colors and so atleast i could balance my footage well. Tq in adv
When Qazi talks, you Listen🐐
So many things I would never have thought to do! Amazing watching a mater of his craft! Thank you for this valuable information!
Man, honestly you're the best. DaVinci can look pretty intimidating but at last your no-nonsense way of showing the tree node usage makes colour grading at least manageable. The fact you're giving so much to the community honours you.
Just so you understand how Qazi is analyzing an image is priceless. Thanks for another gem!
Thank you brother
@@theqazmancould you give me this footage❤❤❤ thank❤
Whenever I think I'm good at color grading now.. I watch you and know where I am... You're a genius...
Qazi man! Whenever you drop a video it gets me so excited because I know it's going to be something nice. Thanks for continually posting and inspiring you have no idea how much impact it has 🙏🏾
Awesome..... Just want to know this before I start using computer. Thanks for this. I appreciate...
Digging the goldmine of knowledge in this channel. 😍
Wow I'm early 😂 les gooo . Started working as a colorist, still so much to learn
Video is great! Please make a Lupin look tutorial, the TV Show looks amazing
Love that tutorial, everything you explain make so much sense. No TH-camr I know explains things professionally like you do. Thank you so much! ❤️
You're very welcome.
@@theqazmancould you give me this footage❤❤❤ thank
Phenomenal color grading, and thank you for the tips.
Totally feel your passion in color grading. Love you, man👍
hey qazi,
why did you use the CST in the beginning, not the end of your node chain? Werent we supposed to put it in he end ? :)
Excellent tutorial!
"That's what color grading is all about." Nice!
yesterday webinar was awesome... learn lot of new things
I am new to your channel but man I like your in depth way teaching. I love 👌
what can be amazing then this. incredibly incredible ❤️🔥
Great vid as always man. Thanks very much for sharing.
Solid guy 💪💪💪💯🔝
You are always blow our mind 🤯😍❤️
Never miss your video
Great video mate, once more... Never stop making tutorials please!!!
Amazing work Waqas Bhai, im hoping your next one will be on "Straight outta Compton" or something along those lines, really interested to see you do something with them colours.
❤️ helped a lot!
Thanks Qazi, amazing video 🤩
only a word; Master!!!!!!!
amazing thank you
Interested to know why sometimes you convert to 709 in the first node and sometimes at the end? I know that Resolves tools are designed to work in 709 but I find I get more natural looks by working in a log space.
Yeah its the wrong move, if youre gonna do a CST to 709, you do it at the end. If you do it at the start, that means your colorspace aware tools are being limited in a 709 color space, vs if youre "working" (or "timeline" color space as Resolve calls it) color space is something larger like ArriLog in his footage case, or DWG etc. Putting the CST to 709 at the start restricts the pipeline too early, and youre kind of losing the whole point in shooting a large color space like ArriLogC.
1st time i see u to use multiple windows...its awesome❤️
I'm always learning something new with you thank you so much.
Thank you so much Qazi! Shout out from China.
Mind blown! 👍❤
Great simple tricks man, Thank you so much for sharing!
Tq bro love from mysore...ur fantastic❤️❤️
Thank you!
Man please make a video to get the pro mist filter look or anamorphic lens look.. cz u are the best in thia sector
Please make tutorial for slog3 🙏🙏🙏
hey man,you are very good.and could you give me this footage❤❤
I love this tutorial, event i am premiere pro user.
Didn't watch the video yet, but hit the like button immediately.👍❣️
Also would love to see a video on how to grade a moving hero in the shot. For instance a bicycle rider moving from right to left, how do you make his stand out from the background...
Nice video thanks
Not too much and Not too crazy, now those two words are stuck on my mind while I’m grading 😂
Brilliant thank you
The color of your speech video is awesome especially skin tones please can you tell which LUT are you using?
Hey Qazi, i saw your old (2019) Davinci Resolve tutorial and i wanted to make a question. Do you know how i can transfer my edits from the local database (the one i've been using until now) to another (the one i just created)?? Thank you for sharing knowledge man!
I color with Magic Bullet and I love using looks I set my input to Clog from my R6 and out put it to REC709 along with the grade. Should I use one to correct and one to convert to rec709 and one to grade? much like a node tree just using multiple plugin?
Would love to get your vews on grading in ACES colour space
thank you
Incredible work as always. I’m curious…do you build a look and test it out first, then do the look from Step 1 in the tutorial, or are there times when you’re creating the look as you go?
Man ... I am French filmmaker and drone pilot ... I shoot ski races in winter ... Inspire 2 ... I am getting better at Davinci but snow is really hard ... Would you do a tutorial specific to snow ideally a drone shot ... contrat / highlights / keep the shadows ... not blow up the highlights ... not fuck up the other colors than white ... :)
That's amazing bro!!! I am very interested in learning how to colorize video clips, what are the most used techniques in Davinci?
Hey bro I have watching your video
I really love your content amazing 🔥🔥🔥
I Just wanted to ask you I m facing isssu with davinci resolve free version
I couldn't able to import my canon r6 log files
Let me know if you know about this
Just a small question : on the 5th tip (around 11:09 ) why use gamma over custom curves (as you usually do with vignettes) to darken up the rest of the shot ? :) Just wondering ^^ Thanks!
Sir Plz Make A Video On This Topic How To Shoot video like you for best color grading
gracias maestro
It would be great if you create color grading smartphone footage:)
It looks like you have problems with the node preview also. Those nodes don't display the preview of the image anymore. I contacted BM, you have to upgrade your graphics card driver to get rid of it. It worked :) Nice tutorial as always :)
Really cool video brother! Thank you for sharing!
Just a quick question: what is the name of the annotation tool you are using on this vid? Super cool as well. Cheers from Brazil.
Than you for this. I have a question... Why convert to REC.709 as the first step in the processing chain? Would making the final node the 709 conversion (and thus a filter through which grading on previous nodes is viewed) maintain more color information throughout the process? I'm just trying to wrap my head around the best workflow to take advantage of my Red R3D footage. Thanks!
You are right. It should absolutely never be your first node. Weird that he does this.
@@badboyrocklobster Hi... I'm rethinking this. In Premiere, I think your output (and monitoring) colorspace is determined by your sequence settings. (Is this the same with Resolve?) So, once you drop large gamut footage, like R3D, onto your timeline, it is automatically "converted" to Rec.709, but all the color values are not being properly distributed throughout the 709 space. You can do this via individual adjustments manually, by adding a conversion LUT, or both. However, the moment you open a Rec.709 sequence, you are looking through a "709 window". Whether adding the conversion LUT first or making manual adjustments first may or may not waste color range data depending on the amount of pixel data that end up getting crushed and spread apart again in the color space. Depending on your target effect, it may be best to add your conversion LUT first since it assumes untouched footage... or don't use it at all and make adjustments manually. Either way, anything you do will still be in the wider gamut, but you'll be viewing and exporting the 709 result. Does this make sense?
@@TomsTwinFilms I think I understand what you're saying, but it is still not best to put CST first. You are losing info almost no matter what you transform to. If you grade behind the CST you are grading the image when it has the most possible information.
Here is a great video demonstrating. (skip to 2 min)
th-cam.com/video/sJE0IInpbOk/w-d-xo.html&ab_channel=JorisHermans
@@TomsTwinFilms Darren Mostyn has videos that explain this much better than I ever could and certainly better than this one. Here's a nice start:
th-cam.com/video/8geDbNpH5cI/w-d-xo.html&ab_channel=DarrenMostyn
@@badboyrocklobster I do agree... that was my initial thought also. I was going to do a tutorial demonstrating my workflow. But then I wanted to think it through more. In Premiere, I set up my 709 sequence and add an R3D clip. On the clip, I add a Lumetri effect with a Red Wide Gammut to REC.709 lut. This gives me a base conversion. Then I add another Lumetri effect above the 709 conversion effect. It is in this effect that I can do a lot of base color corrections on the Wide Gamut. Since Premiere processes down the stack of effects, the 709 conversion lut is processed after the other corrections. So, I completely agree with you, I was just rethinking it out.
CST for 1st node? But you always said it should be last to protect the quality.
I watched the annoying adds just to support you 🙏 thank you so much for all videos!
Hi Qazi I just joined your webinar a few weeks back but haven’t had the time to fully immerse. I was just wondering if you have tips for color grading the Red Komodo since I’m about to get a project for that. Specially for setting up the color space
Awesome
More and more people are shooting 4K with their iPhone and bring them in asking to make it pop. My questions is, what initial Project Setting is the best so when finished, they can deliver it to TH-cam as a 4K clip?
Waqas, does this gradings style has a "name"? I think it would be great to sort of entitled the grades and help the community to determine a certain pattern of steps to reach a grade/gender style and categorize them. Thanks again for helping so much!
what is the best file format to export?
Do you have any classes for the artistic side of color grading? Like color theory, light and shadow.
What happens if I want to grade a shot where the subject moves from sunlight into the shade? (aka a bird)
Because I'm shooting birds and not actors, sometimes the lighting completely flips from the subject being in highlights to being in shadows. If I split the clip and edit separately, it's super jarring, but otherwise it's a little difficult to get things done.
What should I do? Thank you!
Great tutorial Asian Guru
mantaap....keren abis
Hey, amazing tutorial. Your annotations are also really helpful, may I ask what screen capture app you used?
Great video, I was just wondering, wouldn`t it be better to change the color temperature in the actual RAW settings in this case?
Do we need colour space transform even we have specified it in project colour settings???
Not if you working color-managed.
Bro which app
I'm always confused in your node trees about the placement of the CST node (or the LUT node) : to me, and according to what I've learned in school, by putting that node at the end of the node tree, you preserve more of the dynamic range. Am I missing something here ?
You're not but there is even a better way I show in my webinar.
love form nepal
It looks like in the log you took out saturation in the shadows. Can't we just use Lum vs sat and do that in the shadows?
I guess I'm still confused on when to use the log
You definetly can do it that way. There is no right way to do alot of these things.
Magic
could you give me this footage❤❤❤ thank
Quick question : is the free training (webinar) the same as the one you did a few weeks before ? The themes seem familiar but maybe it's a brand new webinar so just wanted to make sure :)
It's the same as the live training I did a month ago. 💪🏾
i thought it was a new one so searched whole night to get the new one.. now um realising it was old :(
@@theqazman Thanks for the answer ! I took notes on the first one so it's good for me :) I'll stay tuned for the next one :)
Yess
This is RAW video?
Canon luts
Can you take average or below average shot and make it look cinematic or movie like? If you need badly lit or shot footage, you can ask me. I got plenty. 😜
still dont get it 🤔🙁
🥰🥰🥰🙏🙏🙏
It’s impressive, what’s possible with color grading...
I feel like at some point the camera itself doesn't matter too much anymore. Still gotta be a decent camera with a decent image, but lighting, angles, elements in the frame make it an easier job for the colourist to later bring out what needs to be brought out..
@@Birbyvideography Absolutly...the „cinema-Look“ doesn‘t depend on which camera you choose, it depends on how you’re grading...think that opens doors for everyone who has not the opportunity to buy an arri or red or other Cinema camera
@@GexiGex Eh not entirely. The cinema look changes drastically based on the lens' attributes and how the sensor handles light. If the sensor isn't of reasonable quality, post production is limited.
@@Birbyvideography of course, I meant that if you have a midrange camera, which has Slog, you can grade a very good image, which naturally doesn’t look like a arri image, but very cinematic
🎉🎉🎉🎉🎉🎉
12:27 "I really want him to stand out"
can you color grade anime video
😎
Let's drop a like even before viewing the actual video :p !
FCM fam 😀
@@theqazman Always here !
Me who came to learn colour grading for my vfx shot withy red mi note 9 pro max🙂😭
Don't forget to check out my FREE 1-hour Color Grading Training: bit.ly/3pY5SeD
Learn industry secrets to HDR-Ready Workflow.
Hello Qazi, i’m a mild protanopia color blind. My type of colorblind makes me unable to tell the difference between Dark brown with dark green, dark orange and dark red. I also often confuse with Some blues with some reds, purples and dark pinks. And Mid-greens with some oranges . Is there any way, for me to READ any sort of scope or anything for me to differenciate those colors and so atleast i could balance my footage well. Tq in adv
This guy makes it seem like Brain surgery
could you give me this footage❤❤❤ thank