Very great workflow, that's the way it should be done! From a 20 years + vfx compositor I will add that one of the first thing to do before color grading is to remove the grain(denoise), your curves color selection will be more accurate and smooth! You put the grain back at the very end, after the vfx and compositing. You can extract the original grain(with the substract method) or add the one you want or a mix!
@@nathanmarin6927 In after effects ,first you need to set your project to 32 bpc. This technique will only work in float because we need to use some negative color values here. Degrain your plate. The Neat Video plugin is by far the best tool for this.AE’s built in Remove Grain definitely isn’t 32. Next you want to duplicate your comp. Name that new comp “Grain”. In there duplicate your footage layer and delete the degrain effect from the bottom layer. Then select Subtract for the color mode for the top layer. Your image should go black now. If you want to see that it’s working, crank up the exposure in the view window and you should see all the nice grain from your image. Now drop this “Grain” comp into your main comp on top of your degrained footage, and set it’s color mode to Add. And voilà Regrained footage that matches your source exactly.
Usually I don't throw anyone under the bus, but... Quazi is an absolute tool. (Look him up and you'll find some great reddit threads... :D ) Welcome to a channel where we actually try to understand concepts and workflows! Glad to have you here!
😂 well honestly from watching Qazi over the years I wouldn't directly say that. Yes it's possible he never broke it down this way. But I can tell you he has spoken about this step by step process in his example grades.
So basically there’s no easy way out. But at least now I know why my clips didn’t look consistent 🤣. Where would I be without you? I’ll try out this new workflow!! Thanks
When implemented correctly, grading becomes a lot easier. But you also need to be here for the ride because you will still touch every clip. Thats part of the art. :)
it is not a problem by colring 10 clips video but if you have a short wed film about 200-400 clips to color grade you are going to simplify the workflow to achieve the great results every time
You quoted me basically verbatim: “It can’t be this hard”. This workflow makes so much more sense than the random “anything goes” that I’ve found previously on TH-cam.
This makes complete logical sense. I was the exact example you showed at the beginning. Complete color grade/correction on a single clip, then struggle to get the other clips to match... And never getting a great result. Thanks for this "how to". Extremely helpful!
I've seen a lot of "education" videos on photography and video stuff and you are the single best teacher I have found on TH-cam and this is for sure the best video I have seen on color grading to date. Most of it is infotainment trash not real instruction. You have a real gift for teaching.
Your videos make a lot of sense, even intuitively, when you think about it for a moment, rather than just watching videos that will explain “hOw To GeT cINEmaTIc LoOk”. Keep up the good work. I teach at a University and the way you explain things based on foundations rather than random examples really shows that good TH-cam filmmaking channels aren’t lost.
Herr Lenz, you are a masterful instructor. I don’t know how you manage to convey theory, practical advice, and fundamental techniques in such an approachable and friendly manner, but you do it- and you do it well! Your videos are a gift. Thanks for everything you do! \
This is very accurate bro ❤ Over time, I’ve refined my approach to color grading into a streamlined and effective workflow. I start with color space transforms for all my clips, especially when working with footage from different cameras or formats. Once this is set, I focus on achieving a consistent exposure and balancing key elements like skin tones and white balance. By establishing this baseline, I’ve found that applying the look developed on the first clip across the rest requires minimal adjustment, as they tend to match seamlessly. I typically place the creative look downstream or on the timeline level nodes, depending on the project's requirements. This ensures I concentrate on balancing the footage first, minimizing the risk of compromising the image integrity while applying the look. My process is heavily guided by scopes, particularly the vectorscope and colourised waveform, which I rely on to maintain consistency throughout. Lastly, I intentionally avoid using qualifiers unless absolutely necessary, as I believe this practice promotes a cleaner and more robust grade overall.
Million times thank you. Due to correcting and ultimately grading is different every time, not one formula provides a consistent result, only basics in understanding to reach the consistency by actually understanding what you're doing with the wheels and curves. And given it is an art in a form, it is also never the same. Only the process (workflow) should be the same. I just went through a sample project that I am working on, and things are much more consistent and easier in terms of having less frustration.
I almost clicked away in the intro, but that Lego analogy was great and then showing the same Lego process in the software really helped! I'm more interested in managing skin tones in still photos, but I'm glad I watched this thank you! What boggles my mind is how people know skin tone is off or not... it seems like folks just intuitively see it, but I wish there was a way to break down the art into more concrete and measurable steps... with some sort of constant reference point to help with decision making.
Eric this is the way tutorials meant to be done, by not being tutorials. Instead of talking about randomly pushing buttons, you are talking about concepts. Hi five man !
Well done, Eric. I love it how in your videos I always learn such useful concepts I didn't know even existed. BTW I also loved using the f word to drive the key message home.
This video came out 2 weeks late. I literally spent a full 7 days doing this mistake you mentioned on a 1h30m long video with a thousand cuts. I wanted to cry
Incredible video! Thank you so much for this, it's great stuff :) even happier that I can see you have a 2 year backlog that I can slowly learn from as I gear up for a mild comeback into video editing after spending a year and a half cursing its name. I feel like a lot of the problems I had with the video editing process were because I'm 100% self taught and have accumulated a multitude of bad habits that just bog the whole thing down so much... If I had had a mentor in 2019 (around about when I started learning this), or if I had taken actual lessons on the subject instead of "giving it a go" and "just watching youtube tutorials" if I ran into problems, maybe I would have enjoyed editing a whole lot more. This just feels so dumb because I studied music for so long, throughout my whole life I've had music lessons: Guitar, violin, piano - and if anyone asked me whether they should A) Just pick up an instrument and teach themselves how to play or B) find a good teacher and study music properly, the answer would be incredibly obvious. At least now I can try and remedy those bad habits and actually learn the craft, thanks for helping me realise this, look forward to watching more of your videos, and I hope to start editing some fun stuff in this new year \o/
I have learnt so many concepts from you which never been aware of. I have already updated my base template with the approaches that you suggested. This is super useful as usual. Looking forward for next video on Look development. You are awesome.
I remember Cullen Kelly using these steps in a video. I watched it, but didn't understand it until I watched this video. Very, very helpful. Thank you for creating this video.
The thing Cullen Kelly demonstrates better is that look dev should be done before or early in the process. His order works fine for 3 clips but correcting a couple hundred and then trying to manually create a look that works for all of them would be a nightmare. If you are manually look developing it's better to take some sort of chart or reference scene, Arri has one on their website, and create a look then correct with the look already in place.
Great video, thank you. Very useful and practical content. I subscribed to your channel right away. I would love to see this kind of workflow applied to lower-grade video footage, such as from the Sony A7III. Because almost all color grading videos are usually showcasing high-end footage. Thanks. Good luck.
Great explanation on efficiency. So many TH-cam color grading tutorials focus on the individual clip and not group consistency. This also leads one to wish FCP had some grouping function. The problem with adjustment layers is that sometimes the clips in a group are not contiguous. Sometimes I wonder if one can use noncontiguous clips as a compound clip, but that can visually get you into a messy timeline. Or perhaps FCP developed a way to do with Roles since they can be non-contiguous. Otherwise, you end up needing Color Finale or going to Resolve.
Roles would be a fantastic base line for this. Just like a roles based audio mixer. If you want to use groups, you can do it with color finale. It has a robust group function. :)
@@iamericlenz After watching this video, and your other one about order of operations, do you know if Color Finale uses the correct order of operations while inputting a LUT under "assume LOG footage?" Although Color Finale can be a bit buggy in FCP, it does have some nice features.
Great video and the issue you presented is also what I struggled with in general editing. When I tried to edit a video from start to finish, I tried to do everything on a clip-to-clip basis, so that means: selecting the clip I want, immediately adding some sort of video effect to it (zoom or similar), then adding subtitles/text, then adding some sound effects and continue on like this for each clip for the entire edit. It immediately puts a lot of work on your plate. My editing started to speed up drastically and showed more general consistency once I started doing it in multiple paces. First starting with cutting the A-roll footage into the story that I want. Then on my second pass I add the B-roll footage. Then on the third pass I start with the effects.... and so it goes on. Keeps the mind less cluttered and allows you to focus porperly at 1 thing at at ime. I didn't apply this to colour grading, and it started to cause some sort of cluttered and imbalanced feeling yet again. This video is another good reminder to not put too much on your plate, and to do everything 1 step at a time.
Thank you. I am not a Videographer but a Photographer. I think this workflow could help me if I photographing a series. I am also bothered on this scenario by the Copy and paste problem.
Incredible tutorial, as always. It’s well explained, demonstrated and proofed. Some day, I will be good with color grading on my YT channel, and for sure, you will be one of the biggest mentor. Keep up the good work !! 🙏👍
i imagine that if you’re working on a large project with dozens of shots (say, a music video with 4-5 performance shots but boatloads of b-roll) you’d run this process for the performance shots first and then slightly tweak all the smaller shots as needed later or perhaps if you’re working with footage in three different settings (indoors, afternoon sun and blue hour) you’d run this process on heroes from those three first, and then tweak the rest later maybe stating the obvious but curious if i’m overlooking anything. excellent content as always, you must know this stands apart in the tutorial landscape
You're absolutely right. Plugins like Colour Finale or Software like Resolve allows for efficient group-grading. If you have a short film with, say 400 clips in your timeline, you want to be very considerate. Picking a hero for each scene is a great start but these workflows are as individual as the projects. :) This can get complex very fast, though, and I just wanted to share the basics. More on that soon! :)
A good example of knowing what to do, while not having the discipline for it ;) Sometimes in the heat of things, I feel it'll be faster to copy-paste and tweak. But the way you showed feels much more satisfying! Concerning the FCP workflow : I feel it would be hard to make my CST with an adjustment layer with a lot of b-roll and cuts (mainly with a fast delivery and using look + CST luts). And so, when I want to do look development, I do have to copy paste on each clip to take advantage of order of operation...or live with the look happening after the CST (like film grain). I'm not working on projects with a heavy look, but would it be that bad if I adjusted the look with an adjustment layer (or on a compound clip), while the CST is on individual clips?
If I understand you correctly, you just open yourself up for so many errors. If you establish a good foundation, you can do the look once and it will work regardless whats underneath it. Also, I don't understand why the adjustment layer wouldn't work. Or is your B-Roll from different cameras? Then yes, this approach doesn't work. However, you can save a default signal chain as an effects preset (with the corresponding CST LUT) and do your look in Rec709 (after the LUT). This comes with restrictions, but might be a great middle ground.
Thanks Eric ! So useful. I like the BW check layer idea. Only done 1 grade so far, it was in DaVinci. But I like the workflow you have here so I might try Final Cut on my next one.
Amazing explanation as always. My only pain is that my timeline is consisting of footage from 2 cameras, one of them 8bit, lots of footages from different locations both indoors and outdoors, some footages with ND filter, that alters the colors a bit, but some without ND. Shots shot on different lenses, with different color as well, some of them sharp, some soft. etc😂 but at least I now really understood how to make them look as similar to each other as I never be able to do. Thanks a lot!
Would like your opinion on this... I see most people use LUTs After converting LOG to 709 but if you put the LUT before and start doing the primaries and balance and all that before it seems to get a cleaner output and even the LUTSs take a better color with in the Convertion. Ive seen some pro colorist approach it kind of similar. Let me know what you think. I hope it made sense. Im not sure if i articulated this correctly.
I think most videomakers deliver 1-minute products so they can brute force that pretty easily. I have to do the baseline pass everyday for the 20-minute documentaries but it’s more nuanced than this, because clips come in batches from several locations, but excellent overview and techniques!
Eric thanks for your great videos and sharing your knowledge, would love to know if white balance could be explored in the same way you did whit color grading, going beyond do this or that and doing a fundamentals approach
On the final Look adjustment layer, can we add a custom LUT or a plugin like cinema grade or color finale and refine the look ? I am looking at a workflow using these plugins.. Can you please create a video for that
This is really helpful, question. I am using files from two different cameras (DJI and Sony), should I apply luts on the 10bit and log files and then start using adjustment layers to match exposure, contrast, hue and then look? Or should I apply luts at the end after look? Thanks a lot in advance
Thank you, I really love the detail in your tutorials and am slowly working through your back catalogue. Would be really helpful to know which one talks you through the set up for side by side checking if possible. Also, have you done anything on matching different shots from different cameras? Thank you again.
Thank you so much for your channel, I am learning a lot from your channel. I am new to color correction and at times past just applied film convert, but I want to do better. I have a question on this video. Is an adjustment layer advisable with clips that from multiple different lighting, and locations (outdoors/studio interspersed together). Would that be the time we need to adjust each clip individually? Thank you so much for your help and assistance.
I understand what you say and like where your going but don't get the black and white to set the lighting. Because to me seeing colour helps with how the lighting blends with the overall shots.
Im learning so much thank you! Would you then follow up with a creative LUT after all the adjustments at the end? or are you able to create your look just off your own adjustments pre transform lut?
As soon as I found the right color management settings, I stopped using any LUTs, plugins, anything. I just focus on editing. All changes applied to the adjusment clip.
Your videos are insane, thanks so much for sharing. Do you have a video of a compelte workflow? From importing clips to exporting final video? I saw in some of your videos the concepts of primary changes, secondary etc so Im really interested in the overall approach. Thanks again!
I love your videos, they are really helpful. I have one question. Is the video you made on grading process using footage of a group of friends exploring an old castle or building and then finding a field etc, is that video a correct process or did you find an improved process?
One of the better teaching videos I've seen on TH-cam. Really enjoyed the lego example! For davinci nodes does the "look development" node then become the first node with the "color space" adjustments your second node even though you do "color space" first?
This is mightyyyy helpful. Thanks a ton. I am restarting my grading after this. I have been experiencing all the problems you described in the initial half. Please get the look video out fast….. Also, I had a doubt… All the clips you had were shot in the same location, so when I am grading footage from multiple locations shot in different time of day, should I grade location wise or go for balancing out all the day time outdoor shots together (regardless of location) and night time outdoor together and indoor daytime as one and indoor nighttime as one…?
This is up to you but with my suggested workflow, you'd adjust one thing at a time, regardless of the location. But for a more efficient workflow you can group the shots. However, this becomes pretty complex pretty fast.
Hi, new subscriber! Why do you start by adding an adjustment layer with the camera LUT? I usually just go into extended settings and add the right log conversion / camera LUT for all the clips in one go at the base layer so to speak. Adding a camera LUT in the extended settings really shouldn't be destructive at all. This goes against what I've learned so far by others: that camera LUTs are 100% non-destructive.
Very great workflow, that's the way it should be done! From a 20 years + vfx compositor I will add that one of the first thing to do before color grading is to remove the grain(denoise), your curves color selection will be more accurate and smooth! You put the grain back at the very end, after the vfx and compositing. You can extract the original grain(with the substract method) or add the one you want or a mix!
Is there a name for the method? I’m not seeing much info.
@@nathanmarin6927 In after effects ,first you need to set your project to 32 bpc. This technique will only work in float because we need to use some negative color values here. Degrain your plate. The Neat Video plugin is by far the best tool for this.AE’s built in Remove Grain definitely isn’t 32.
Next you want to duplicate your comp. Name that new comp “Grain”. In there duplicate your footage layer and delete the degrain effect from the bottom layer. Then select Subtract for the color mode for the top layer. Your image should go black now. If you want to see that it’s working, crank up the exposure in the view window and you should see all the nice grain from your image.
Now drop this “Grain” comp into your main comp on top of your degrained footage, and set it’s color mode to Add.
And voilà Regrained footage that matches your source exactly.
@@nathanmarin6927 substract method? You just do normal footage - denoised ftg = just the noise
This 19 min video gave me twice the knowledge than Waqas Qazi's entire TH-cam catalogue.
Usually I don't throw anyone under the bus, but... Quazi is an absolute tool. (Look him up and you'll find some great reddit threads... :D ) Welcome to a channel where we actually try to understand concepts and workflows! Glad to have you here!
😂 well honestly from watching Qazi over the years I wouldn't directly say that. Yes it's possible he never broke it down this way. But I can tell you he has spoken about this step by step process in his example grades.
Have you ever taken his free course? Because if you did you'd know this.
Hahahah yes I agree he is an absolute tool @@iamericlenz
I've spoken to some VERY high level colourists who all tell me Qazi is so shit-listed in the industry that it's not even funny anymore.
So basically there’s no easy way out. But at least now I know why my clips didn’t look consistent 🤣. Where would I be without you? I’ll try out this new workflow!! Thanks
When implemented correctly, grading becomes a lot easier. But you also need to be here for the ride because you will still touch every clip. Thats part of the art. :)
it is not a problem by colring 10 clips video but if you have a short wed film about 200-400 clips to color grade you are going to simplify the workflow to achieve the great results every time
You quoted me basically verbatim: “It can’t be this hard”. This workflow makes so much more sense than the random “anything goes” that I’ve found previously on TH-cam.
Great to hear! Thank you!
This makes complete logical sense. I was the exact example you showed at the beginning. Complete color grade/correction on a single clip, then struggle to get the other clips to match... And never getting a great result. Thanks for this "how to". Extremely helpful!
Same here
You know it’s going to be a good video when he spells it “colour”
Absoulutely
Heck yeah
Yes, the correct spelling that is! 😄
I've seen a lot of "education" videos on photography and video stuff and you are the single best teacher I have found on TH-cam and this is for sure the best video I have seen on color grading to date. Most of it is infotainment trash not real instruction. You have a real gift for teaching.
Your videos make a lot of sense, even intuitively, when you think about it for a moment, rather than just watching videos that will explain “hOw To GeT cINEmaTIc LoOk”. Keep up the good work. I teach at a University and the way you explain things based on foundations rather than random examples really shows that good TH-cam filmmaking channels aren’t lost.
Thank you very much! This is valuable feedback!
Love how you visually demonstrated the process with Lego cubes - so simple and clear. Great work, keep it up! :)
I really like the way you managed light reflection on your glasses. It's not completely gone, but it's really subtle.
Herr Lenz, you are a masterful instructor. I don’t know how you manage to convey theory, practical advice, and fundamental techniques in such an approachable and friendly manner, but you do it- and you do it well! Your videos are a gift. Thanks for everything you do!
\
This is very accurate bro ❤
Over time, I’ve refined my approach to color grading into a streamlined and effective workflow. I start with color space transforms for all my clips, especially when working with footage from different cameras or formats. Once this is set, I focus on achieving a consistent exposure and balancing key elements like skin tones and white balance. By establishing this baseline, I’ve found that applying the look developed on the first clip across the rest requires minimal adjustment, as they tend to match seamlessly.
I typically place the creative look downstream or on the timeline level nodes, depending on the project's requirements. This ensures I concentrate on balancing the footage first, minimizing the risk of compromising the image integrity while applying the look. My process is heavily guided by scopes, particularly the vectorscope and colourised waveform, which I rely on to maintain consistency throughout. Lastly, I intentionally avoid using qualifiers unless absolutely necessary, as I believe this practice promotes a cleaner and more robust grade overall.
Just drop by to say a big thank you. I used your workflow today and for the first time ever, my video looks consistent
Great to hear! Thank you!
Million times thank you.
Due to correcting and ultimately grading is different every time, not one formula provides a consistent result, only basics in understanding to reach the consistency by actually understanding what you're doing with the wheels and curves. And given it is an art in a form, it is also never the same. Only the process (workflow) should be the same.
I just went through a sample project that I am working on, and things are much more consistent and easier in terms of having less frustration.
I almost clicked away in the intro, but that Lego analogy was great and then showing the same Lego process in the software really helped! I'm more interested in managing skin tones in still photos, but I'm glad I watched this thank you! What boggles my mind is how people know skin tone is off or not... it seems like folks just intuitively see it, but I wish there was a way to break down the art into more concrete and measurable steps... with some sort of constant reference point to help with decision making.
Eric this is the way tutorials meant to be done, by not being tutorials. Instead of talking about randomly pushing buttons, you are talking about concepts. Hi five man !
Well done, Eric. I love it how in your videos I always learn such useful concepts I didn't know even existed. BTW I also loved using the f word to drive the key message home.
This video came out 2 weeks late. I literally spent a full 7 days doing this mistake you mentioned on a 1h30m long video with a thousand cuts. I wanted to cry
lol sorry to hear. but there's no crying in grading
I used this workflow to color my latest wedding film, and dang did it help. I think it's my best colored film yet.
Thanks!
Yeah this video is about to become my colour grading bible - thanks!!
Wow. What a nice and insightful lesson on color-grading. I'm going to be editing my next film completely different now. Youre awesome!
Awesome, thank you!
Incredible video! Thank you so much for this, it's great stuff :) even happier that I can see you have a 2 year backlog that I can slowly learn from as I gear up for a mild comeback into video editing after spending a year and a half cursing its name.
I feel like a lot of the problems I had with the video editing process were because I'm 100% self taught and have accumulated a multitude of bad habits that just bog the whole thing down so much... If I had had a mentor in 2019 (around about when I started learning this), or if I had taken actual lessons on the subject instead of "giving it a go" and "just watching youtube tutorials" if I ran into problems, maybe I would have enjoyed editing a whole lot more.
This just feels so dumb because I studied music for so long, throughout my whole life I've had music lessons: Guitar, violin, piano - and if anyone asked me whether they should A) Just pick up an instrument and teach themselves how to play or B) find a good teacher and study music properly, the answer would be incredibly obvious. At least now I can try and remedy those bad habits and actually learn the craft, thanks for helping me realise this, look forward to watching more of your videos, and I hope to start editing some fun stuff in this new year \o/
this is the best tutorial I've found on TH-cam! thanks so much! You are an amazing teacher!
Once again...brilliant tutorial. I've seen too many to count, but yours are superior. Also, your Nikon RAW LUT is phenomenal. Nothing has come close.
Do you know where to find the Nikon Raw Lut?
How have I never thought to use black and white for exposure and contrast adjustment 🤯
saw the technique about 3 time from different creators. never used it. until I got too frustrated
This is exactly why I only shoot with a black and white preset when taking photos. Makes you focus on things that are more important than color.
You make difficult things seem so easy. And explain the reason WHY to do something which is so important! Going to watch all of your videos now :D
I have learnt so many concepts from you which never been aware of. I have already updated my base template with the approaches that you suggested. This is super useful as usual. Looking forward for next video on Look development. You are awesome.
Thank you! I appreciate to hear that!
When you describe beginners and that's something I only dream of
I remember Cullen Kelly using these steps in a video. I watched it, but didn't understand it until I watched this video. Very, very helpful. Thank you for creating this video.
The thing Cullen Kelly demonstrates better is that look dev should be done before or early in the process. His order works fine for 3 clips but correcting a couple hundred and then trying to manually create a look that works for all of them would be a nightmare. If you are manually look developing it's better to take some sort of chart or reference scene, Arri has one on their website, and create a look then correct with the look already in place.
dude! you're killing it with these. SUBBED
Thank you very much!
Man, you are awesome! Thank You a lot! Now I think: the colour grading is a state of mind!
you have the nicest looking color grade i've seen on yt. Thanks for sharing you knowledge!
Love the comparison view in Final Cut Pro, I had no idea you could do that before watching. I've now saved my own workspace just like that!
Great video, thank you. Very useful and practical content. I subscribed to your channel right away.
I would love to see this kind of workflow applied to lower-grade video footage, such as from the Sony A7III.
Because almost all color grading videos are usually showcasing high-end footage.
Thanks. Good luck.
Thank you yet again Eric, amazing lesson !
Fantastic video, thank you. Well explained
This is the video I was waiting for, this explains everything in a good way. I definitely going to change my work flow
It's the best explanation dude, many thanks! 🖖
This is just what i was looking for. Thank you
Great explanation on efficiency. So many TH-cam color grading tutorials focus on the individual clip and not group consistency.
This also leads one to wish FCP had some grouping function. The problem with adjustment layers is that sometimes the clips in a group are not contiguous. Sometimes I wonder if one can use noncontiguous clips as a compound clip, but that can visually get you into a messy timeline. Or perhaps FCP developed a way to do with Roles since they can be non-contiguous. Otherwise, you end up needing Color Finale or going to Resolve.
Roles would be a fantastic base line for this. Just like a roles based audio mixer. If you want to use groups, you can do it with color finale. It has a robust group function. :)
@@iamericlenz After watching this video, and your other one about order of operations, do you know if Color Finale uses the correct order of operations while inputting a LUT under "assume LOG footage?" Although Color Finale can be a bit buggy in FCP, it does have some nice features.
Great video and the issue you presented is also what I struggled with in general editing. When I tried to edit a video from start to finish, I tried to do everything on a clip-to-clip basis, so that means: selecting the clip I want, immediately adding some sort of video effect to it (zoom or similar), then adding subtitles/text, then adding some sound effects and continue on like this for each clip for the entire edit. It immediately puts a lot of work on your plate. My editing started to speed up drastically and showed more general consistency once I started doing it in multiple paces. First starting with cutting the A-roll footage into the story that I want. Then on my second pass I add the B-roll footage. Then on the third pass I start with the effects.... and so it goes on. Keeps the mind less cluttered and allows you to focus porperly at 1 thing at at ime.
I didn't apply this to colour grading, and it started to cause some sort of cluttered and imbalanced feeling yet again. This video is another good reminder to not put too much on your plate, and to do everything 1 step at a time.
Awesome! I just done this to some edits for stills too and got me through quicker. I’m a noob in Premier so let’s see how it goes. Great explanation!
Thank you! Hope everything was a lot more efficient now!
Thank you. I am not a Videographer but a Photographer. I think this workflow could help me if I photographing a series. I am also bothered on this scenario by the Copy and paste problem.
Incredible tutorial, as always.
It’s well explained, demonstrated and proofed.
Some day, I will be good with color grading on my YT channel, and for sure, you will be one of the biggest mentor. Keep up the good work !! 🙏👍
Subscribed for lego editing instructions. It look just like the layers this is genius
Thank you, would appreciate if you give some project files for premiere to see it in the editor. Helps understand the sequence.
i imagine that if you’re working on a large project with dozens of shots (say, a music video with 4-5 performance shots but boatloads of b-roll) you’d run this process for the performance shots first and then slightly tweak all the smaller shots as needed later
or perhaps if you’re working with footage in three different settings (indoors, afternoon sun and blue hour) you’d run this process on heroes from those three first, and then tweak the rest later
maybe stating the obvious but curious if i’m overlooking anything. excellent content as always, you must know this stands apart in the tutorial landscape
You're absolutely right. Plugins like Colour Finale or Software like Resolve allows for efficient group-grading. If you have a short film with, say 400 clips in your timeline, you want to be very considerate. Picking a hero for each scene is a great start but these workflows are as individual as the projects. :)
This can get complex very fast, though, and I just wanted to share the basics. More on that soon! :)
You will want to work in ACES color management workflow, especially if you have 3-4 differentes camera.
A good example of knowing what to do, while not having the discipline for it ;) Sometimes in the heat of things, I feel it'll be faster to copy-paste and tweak. But the way you showed feels much more satisfying! Concerning the FCP workflow : I feel it would be hard to make my CST with an adjustment layer with a lot of b-roll and cuts (mainly with a fast delivery and using look + CST luts). And so, when I want to do look development, I do have to copy paste on each clip to take advantage of order of operation...or live with the look happening after the CST (like film grain).
I'm not working on projects with a heavy look, but would it be that bad if I adjusted the look with an adjustment layer (or on a compound clip), while the CST is on individual clips?
If I understand you correctly, you just open yourself up for so many errors. If you establish a good foundation, you can do the look once and it will work regardless whats underneath it.
Also, I don't understand why the adjustment layer wouldn't work. Or is your B-Roll from different cameras? Then yes, this approach doesn't work.
However, you can save a default signal chain as an effects preset (with the corresponding CST LUT) and do your look in Rec709 (after the LUT). This comes with restrictions, but might be a great middle ground.
You are underrated!
Getting there! :D
Thanks Eric ! So useful. I like the BW check layer idea. Only done 1 grade so far, it was in DaVinci. But I like the workflow you have here so I might try Final Cut on my next one.
Thank you! If you don’t have very specific requirements, the tool almost doesn’t matter. Choose what works best! :)
Bro is killing it with knowledge🔥🔥🔥 He just needs to switch to Davinci Resolve now 😉
He left davinci resolve
@@montehalthon7831left? crazy
I’m kinda glad I learned to colour grade back when things were all analogue… makes you think about the process very differently
Agreed. More possibilities always means more ways to get it wrong.
Thx so much for sharing your knowledge 🙏
Amazing explanation as always. My only pain is that my timeline is consisting of footage from 2 cameras, one of them 8bit, lots of footages from different locations both indoors and outdoors, some footages with ND filter, that alters the colors a bit, but some without ND. Shots shot on different lenses, with different color as well, some of them sharp, some soft. etc😂 but at least I now really understood how to make them look as similar to each other as I never be able to do. Thanks a lot!
Awesome stuff! Subscribed!
Welcome aboard! :)
waiting for the secondary adjustment video!
Could you make similar instructions for premiere pro please?
Awesome content! Thanks. 🙏
Thank you!
Great tutorial. Thank you.
Absolutely everything makes sense thankypuuuuu
I just realized that I had never heard Eric curse lmao, this is a great explanation! Love your ways of teaching
Will be the last time for now :D
Thank you for breaking that down. :)
Can you please make a video on how to adjust HSL OR HSV. Just diving a little deeper into look development 🙏
At least one bookshelf in the background would convince me about your grades, sir!
Thank you so much !!
why are you not on davinci resolve?
Because Apple makes nice machines.
@@Seafox0011Resolve runs on Mac lol
Old habits die hard
Thank you for this.
Thanks this video is brilliant 😊
You sir are awesome!
Would like your opinion on this... I see most people use LUTs After converting LOG to 709 but if you put the LUT before and start doing the primaries and balance and all that before it seems to get a cleaner output and even the LUTSs take a better color with in the Convertion. Ive seen some pro colorist approach it kind of similar. Let me know what you think. I hope it made sense. Im not sure if i articulated this correctly.
Thank you for the knowledge
I think most videomakers deliver 1-minute products so they can brute force that pretty easily.
I have to do the baseline pass everyday for the 20-minute documentaries but it’s more nuanced than this, because clips come in batches from several
locations, but excellent overview and techniques!
great video - very helpful.
Eric thanks for your great videos and sharing your knowledge, would love to know if white balance could be explored in the same way you did whit color grading, going beyond do this or that and doing a fundamentals approach
On the final Look adjustment layer, can we add a custom LUT or a plugin like cinema grade or color finale and refine the look ? I am looking at a workflow using these plugins.. Can you please create a video for that
Very informative
This is really helpful, question.
I am using files from two different cameras (DJI and Sony), should I apply luts on the 10bit and log files and then start using adjustment layers to match exposure, contrast, hue and then look?
Or should I apply luts at the end after look?
Thanks a lot in advance
F Bomb caught me off guard 😂 thank you for these videos , they are amazingly helpful and you are a very good teacher
Haha :D Thank you!
Thank you, I really love the detail in your tutorials and am slowly working through your back catalogue. Would be really helpful to know which one talks you through the set up for side by side checking if possible. Also, have you done anything on matching different shots from different cameras? Thank you again.
I don’t have one up for that. You can select “Horizontal Layout” from the dropdown at the top right corner of the scopes. :)
7:56 bro is tired of having to repeat himself LMAOO 😭
😂
I just REALLY wanted to drive that point home tho 😅
@@iamericlenz and i aprreciate you for that, it was a great video!
It got me off guard, felt like that one friend getting comfortable after a while 😆
Thank you so much for your channel, I am learning a lot from your channel. I am new to color correction and at times past just applied film convert, but I want to do better. I have a question on this video. Is an adjustment layer advisable with clips that from multiple different lighting, and locations (outdoors/studio interspersed together). Would that be the time we need to adjust each clip individually? Thank you so much for your help and assistance.
I understand what you say and like where your going but don't get the black and white to set the lighting. Because to me seeing colour helps with how the lighting blends with the overall shots.
Do you have a FCPX export settings tutorial? Trying to get better YT uploads that have less banding and crunchiness haha
Im learning so much thank you! Would you then follow up with a creative LUT after all the adjustments at the end? or are you able to create your look just off your own adjustments pre transform lut?
this!!!! love it, thank you!
Split toning tutorial please 🤝
As soon as I found the right color management settings, I stopped using any LUTs, plugins, anything. I just focus on editing. All changes applied to the adjusment clip.
This is amazing. In one video you've explained clearly and concisely what hundreds of other YT videos couldn't do. Subscribed!
Your videos are insane, thanks so much for sharing. Do you have a video of a compelte workflow? From importing clips to exporting final video? I saw in some of your videos the concepts of primary changes, secondary etc so Im really interested in the overall approach. Thanks again!
Keep the uncensored content 😂💀🔥🫡
I love your videos, they are really helpful. I have one question. Is the video you made on grading process using footage of a group of friends exploring an old castle or building and then finding a field etc, is that video a correct process or did you find an improved process?
One of the better teaching videos I've seen on TH-cam. Really enjoyed the lego example! For davinci nodes does the "look development" node then become the first node with the "color space" adjustments your second node even though you do "color space" first?
Thanks! I recommend having your look on the timeline level right before your your CST to Rec.709 (or whatever deliverable).
Great stuff!
This is mightyyyy helpful. Thanks a ton. I am restarting my grading after this. I have been experiencing all the problems you described in the initial half. Please get the look video out fast….. Also, I had a doubt… All the clips you had were shot in the same location, so when I am grading footage from multiple locations shot in different time of day, should I grade location wise or go for balancing out all the day time outdoor shots together (regardless of location) and night time outdoor together and indoor daytime as one and indoor nighttime as one…?
This is up to you but with my suggested workflow, you'd adjust one thing at a time, regardless of the location. But for a more efficient workflow you can group the shots. However, this becomes pretty complex pretty fast.
In this video of you speaking to the camera, do you have a filter on the lens or did you add that post?
Great Tips
I never knew they taught color grading in Hogwarts. Great video wiz!
Hi, new subscriber! Why do you start by adding an adjustment layer with the camera LUT? I usually just go into extended settings and add the right log conversion / camera LUT for all the clips in one go at the base layer so to speak. Adding a camera LUT in the extended settings really shouldn't be destructive at all. This goes against what I've learned so far by others: that camera LUTs are 100% non-destructive.
Thank you great video!!! What is that mouse you use? I'm looking for something great for FCP editing