Really diggin' your content!! I have screwed up WB more times than I care to mention. Now, I just use AWB (since I shoot in SLOG3 it gets me close enough) and I've programed a custom button for AWB Lock. That way, I only have to press ONE button and when I turn the camera off, it magically turns the AWB L off with it!! I've been using this technique now for about 3 months and it has yet to fail me. I'll be doing a quick video soon on my channel about it.
hello, brad. grade school teacher here who just started learning how film (sony zv e10) and edit (premiere). been following a lot of influencers like gerald undone, ben johnson, bradon li, mark bennett, and those amazing people in think media. as a beginner to all these, i'm lovinng your video tutorials (zebras, white balance...). new subscriber here so i could learn more. question though: i'm using hlg3. from what you mentioned here... should i color correct it first, before converting or interpreting to rec 709? other tutorials instructed to interpret footage while still in the media bin. thanks.
Hey thanks for joining! Generally the workflow would be to 1. Color correct 2. Convert to Rec.709 3. Color grade. So the first step would just color correct the footage back to a neutral state, if it wasn't shot that way to begin start. You always want your footage neutral before converting to Rec.709, so the conversion works properly. Step 3, the color grade, are more stylistic changes and final touches that finish the image. So I generally won't interpret footage in the bin, instead opting to use 2 adjustment layers (as you can see in some of my videos). That way I can do the color correcting straight on the footage layer, use the first adjustment layer for a Rec.709 lut, and the second adjustment layer for the color grading. It makes it easy to tweak, and keeps everything separate. If your footage was shot perfectly technically you can interpret it in the bin, but for me I always like to make color correction changes. I hope that helps!
Found this channel today, brilliant content, liked and subbed! Question: how correctable is AWB in these or similar scenarios? Wouldn‘t AWB be safer than setting it to a middleground of 4000K ?
Hey thanks - so that's a great question, I would say yes probably but not always. If you have auto white balance lock on then most of the time yes, but if you don't and your scene changes, awb might be shifting around and that'll be a complete nightmare to match up. But for the Sony cameras, setting awb lock to a custom button can be incredibly useful in certain scenarios. I would say auto is a different style of shooting but it definitely works, just not for everyone (yet). For me since I shoot manual, at the end of the day of shooting I'll sometimes put on 4000 which I find useful for 2 reasons:. The next time I shoot the wb is probably going to be off but I'll it's off just enough where I'll notice it and remember to change it, and then yeah secondly in the bad scenario where I forget, it's generally recoverable whether I'm outside or inside. Mixed lighting scenarios also tend to look good right around 4000 as well. I hope that helps!
Extremely well explained Brad ! Loved this one I also got nailed soooo many times with white balance...our minds are so focused on getting the shot that you forget your settings sometimes ! lol
Great video, as all the one you do. It's helping me a lot for indoor shooting. And I really like how a good technical explanation is combined with some funny situations that make it really enjoyable. Would it be possible to have one for outdoors to giveus some tips? I'm also struggling with WB when the light conditions are not controlled.
As usual, a tremendous video. I have always wondered about correcting after the log conversion or before. Before always made more sense. Will the scopes and other tools to help you correct white balance on the NLE work though, when you are looking at that flat footage? What is the best workflow there? In essence, if I mask my face to try and get the skin tone correct and use that as a good reference for setting the White Balance on the image, how do I do that with the flatness of Slog3?
Well thanks! Great question by the way - yes you can see the difference with the scopes even on the flat footage, but it can be hard to see. The skin should still be on that line with the flat footage. But especially on the vectorscope the colors will be often concentrated to just the very middle. So I like to make an adjustment layer with a LUT and toggle it on and off as I'm correcting. That way you can still easily correct the white balance on the footage layer, but then also easily see the final product to make sure it looks right. Does that help?
Well for the cameras where you can lock auto so it doesn't keep changing during your shot, that's a nice feature. But I've found the auto isn't that perfect in general, but it will mostly keep you within the correctable zone!
@@BradGiannini Exactly man. I filmed weddings and religiously use auto because one second I'm inside in an orange room, then I'm outside, then I'm in shade with orange lights, etc. Constantly changing so auto is best and then I can tweak it if needed as it's not always perfect. If I'm shooting an interview or something then yeah I'll dial it in but very rarely does it change mid shot and if it does, its usually for the better. Fantastic video though man. Wasn't expecting a response from you haha 😂
@@DanielJohnsonWeddings @Daniel Johnson Weddings Ha I always try to respond! Yeah I used to shoot weddings until my body wouldn't let me do it anymore. The cameras back then weren't great, if you missed the white balance, you couldn't really fix it. It became an "artistic choice"...I agree though with a lot of run n' gun shooting you have to use auto. Thanks so much!
Interesting... so past a certain point you can't really FIX it....
Nice testing series, thank you! See you with 100k subs soon 👏
Always, ALWAYS, solid content with extraordinary pacing. Cheers, good sir!
Very very kind of you, thank you!
Really diggin' your content!! I have screwed up WB more times than I care to mention. Now, I just use AWB (since I shoot in SLOG3 it gets me close enough) and I've programed a custom button for AWB Lock. That way, I only have to press ONE button and when I turn the camera off, it magically turns the AWB L off with it!! I've been using this technique now for about 3 months and it has yet to fail me. I'll be doing a quick video soon on my channel about it.
Cool, look forward to seeing that! I've been playing with that lately as well - it works pretty well in general!
Majorly underrated channel right here!
Keep up the great work. it's really helpful
Hey thanks so much!
New fan. So good!
Hey thanks!
hello, brad. grade school teacher here who just started learning how film (sony zv e10) and edit (premiere). been following a lot of influencers like gerald undone, ben johnson, bradon li, mark bennett, and those amazing people in think media. as a beginner to all these, i'm lovinng your video tutorials (zebras, white balance...). new subscriber here so i could learn more. question though: i'm using hlg3. from what you mentioned here... should i color correct it first, before converting or interpreting to rec 709? other tutorials instructed to interpret footage while still in the media bin. thanks.
Hey thanks for joining! Generally the workflow would be to 1. Color correct 2. Convert to Rec.709 3. Color grade. So the first step would just color correct the footage back to a neutral state, if it wasn't shot that way to begin start. You always want your footage neutral before converting to Rec.709, so the conversion works properly. Step 3, the color grade, are more stylistic changes and final touches that finish the image. So I generally won't interpret footage in the bin, instead opting to use 2 adjustment layers (as you can see in some of my videos). That way I can do the color correcting straight on the footage layer, use the first adjustment layer for a Rec.709 lut, and the second adjustment layer for the color grading. It makes it easy to tweak, and keeps everything separate. If your footage was shot perfectly technically you can interpret it in the bin, but for me I always like to make color correction changes. I hope that helps!
Brad you have the most underrated channel in the filmmaking world.
Well that's incredibly kind of you...thanks!
You've been helping me so much man! Thank you for this wisdom!
Great, happy it helped!
Found this channel today, brilliant content, liked and subbed! Question: how correctable is AWB in these or similar scenarios? Wouldn‘t AWB be safer than setting it to a middleground of 4000K ?
Hey thanks - so that's a great question, I would say yes probably but not always. If you have auto white balance lock on then most of the time yes, but if you don't and your scene changes, awb might be shifting around and that'll be a complete nightmare to match up. But for the Sony cameras, setting awb lock to a custom button can be incredibly useful in certain scenarios. I would say auto is a different style of shooting but it definitely works, just not for everyone (yet). For me since I shoot manual, at the end of the day of shooting I'll sometimes put on 4000 which I find useful for 2 reasons:. The next time I shoot the wb is probably going to be off but I'll it's off just enough where I'll notice it and remember to change it, and then yeah secondly in the bad scenario where I forget, it's generally recoverable whether I'm outside or inside. Mixed lighting scenarios also tend to look good right around 4000 as well. I hope that helps!
Extremely well explained Brad ! Loved this one I also got nailed soooo many times with white balance...our minds are so focused on getting the shot that you forget your settings sometimes ! lol
Thanks! Ha yeah there's a ton to keep track of, thankfully nowadays with 10 bit log it holds up pretty well!
Bro, you should have more subscribers
Hey thanks, working on it!
wow, that was a great one!
thank you !!
Hey thanks David!
How about HLG?
HLG should have a similar response as s cinetone, I personally don't use it because if I'm not using log I usually go with s cinetone
Great video, as all the one you do. It's helping me a lot for indoor shooting. And I really like how a good technical explanation is combined with some funny situations that make it really enjoyable. Would it be possible to have one for outdoors to giveus some tips? I'm also struggling with WB when the light conditions are not controlled.
Hey thanks - yeah I think that's a good idea actually, I may have an idea for this!
As usual, a tremendous video. I have always wondered about correcting after the log conversion or before. Before always made more sense.
Will the scopes and other tools to help you correct white balance on the NLE work though, when you are looking at that flat footage? What is the best workflow there? In essence, if I mask my face to try and get the skin tone correct and use that as a good reference for setting the White Balance on the image, how do I do that with the flatness of Slog3?
Well thanks! Great question by the way - yes you can see the difference with the scopes even on the flat footage, but it can be hard to see. The skin should still be on that line with the flat footage. But especially on the vectorscope the colors will be often concentrated to just the very middle. So I like to make an adjustment layer with a LUT and toggle it on and off as I'm correcting. That way you can still easily correct the white balance on the footage layer, but then also easily see the final product to make sure it looks right. Does that help?
@@BradGiannini Yes thx!!
Auto is the way forward
Well for the cameras where you can lock auto so it doesn't keep changing during your shot, that's a nice feature. But I've found the auto isn't that perfect in general, but it will mostly keep you within the correctable zone!
@@BradGiannini Exactly man. I filmed weddings and religiously use auto because one second I'm inside in an orange room, then I'm outside, then I'm in shade with orange lights, etc. Constantly changing so auto is best and then I can tweak it if needed as it's not always perfect.
If I'm shooting an interview or something then yeah I'll dial it in but very rarely does it change mid shot and if it does, its usually for the better.
Fantastic video though man. Wasn't expecting a response from you haha 😂
@@DanielJohnsonWeddings @Daniel Johnson Weddings Ha I always try to respond! Yeah I used to shoot weddings until my body wouldn't let me do it anymore. The cameras back then weren't great, if you missed the white balance, you couldn't really fix it. It became an "artistic choice"...I agree though with a lot of run n' gun shooting you have to use auto. Thanks so much!
@@BradGiannini Artistic choice haha I like that.
Cheers man, can't wait to see your channel continue to grow! Keep up the amazing work.
@@DanielJohnsonWeddings Ha yes indeed, thanks a bunch!
First 😍
Yes indeed!