I grew up with my life revolving around art. So I am a bit more old school with the terminology of the macro /micro - I like that, but it implies only two possible motives. I have always referred to it in the oil painting reference that has been around artists for centuries - to use a broad brush or a small brush. If you have ever watched a painter create a painting - they tend to start with a broad brush ( like a wall paint brush ) and without much attention to any detail they make big move to lay out the foundation of a painting. Sometimes, if you watch them, it's even hard to recognize what exactly they are painting. Then they progressively, add detail with smaller brushes, with the 3d distance, use a smaller brush on the foreground to perceptually show what our eyes do naturally - being more and more granular, where they want the viewer to look. This concept, I apply to the macro/micro - But your terms sounds so much more techy. If I talk to someone that I now perceive as technical thinking - I now use your terms - but the old artsy people like me, get the oil panting analogy.
Hey Cullen, I watch almost all of your video and I learn and signficantly improved alot. I even bought ur Colorist 10 commandments ebook! Tho I have a question, what is the proper workflow for colorist to grade a project that involved Motion Graphics, Compositing and 3D elements? Do I grade the clip first and then send it off to the compositor artist or let them blend the animation, then only send it back to me? Do we export out as EXR and received it again in EXR? Thanks!
Hey, maybe I can answer your question as I'm a compositor who has worked in the vfx industry. Typically, you would send the raw plates to the compositor along with a temporary Look LUT which will be applied for viewing purposes only. When the compositing is finished, you will get the work back in the original colorspace of the plate and then you can do the color grading. In professional pipelines, ACES is often used for the color management workflow, that means the raw plates are first converted to ACEScg, sent to Compositing and then sent back and converted to e.g. ACEScct for color grading. Hope this helps! :)
As I binge your videos the more I appreciate them. In certain aspects such as NR, I don't completely agree with your approach, but for the vast majority of everything you do and primarily for you philosophy of keeping things organic, not only do I agree, but your videos centre me and ground me, often when I'm lost with what I should do with a clip/s. Its amazing seeing someone so passionate, and articulate. There is not one video in which your eyes don't boyantly light up with passion, and their is not a single video that gets boring. Your ability to demonstrate your passion for this craft, is uncontainable and contagious. Thank you Cullen, Wish you all the best on your journey ahead, and I'm excited to not only for what it brings for you, but what you bring to it. Is there anywhere where you have a portfolio? I would like to see some of the projects you've been apart of/ some of the work you've contributed too.
This is an absolutely great method to build up a look. I love the gentle way of creating a look, instead of slapping a LUT that never really works. I've been a long time viewer of your channel, and it's time to give back, to purchase some products from you. However the links do not work at the moment. How can we get to them and to the E-book?
As far as I am aware it is not possible to bypass the timeline look, so everything even title and credits can get effected. Also, different scenes call for different levels of any look, it is better practice to group and to apply looks to a post-group workflow, this enables one to skip credits etc and to refine the level of a look at a scene by scene basis. At least thats my two cents worth.
I had the same problems with different cameras and especially when I inserted pictures into the timeline. I'm definitely new to this whole process, but I learned from Cullen to use Color Space Transforms in nodes and assign each camera to a different group. I left the images alone so they were never altered as the LUTs and other look adjustments were done in the timeline for each group; they did not have a group. Again, I am new at this and it's just my experience and hope I'm not giving bad information.
This is what I am doing right now :) CST node-based colour management + film look on the post-group, as I must bypass the look on the presentation slides inserts. The solution was offered on the Black Magic forum by Walter Volpatto.
@@BlackWinterProduction We are in good hands then, though, to be honest, Davinci is built this way and the purpose of the post-group is this more or less. What is stranger is that there isn't a bypass timeline button, it would not be very difficult to implement.
I wasn't familiar with these LUTs before you mentioned them, so haven't had a chance to check them out -- though they look cool! I think I'd want to know a bit more about the creator and the color science used before entrusting my projects to them.
@CullenKelly I only mention them because on social media they are quite famous and have a good reputation, so it's interesting what a professional colorist thinks about them. And the good thing is they are specifically designed for certain cameras and color spaces like only a few from Sony, BMD and Canon I believe. I haven't used them aswell but that's already a good starting point. I'm a bit unsure if they are worth ~50$ or ~80$ for both packages. Thanks for sharing your thoughts!
If you feel as though certain shots need an exposure and/or balance pass before you can evaluate different looks properly, it is ok to do so. Good question!
Using nodes at the time line level as suggested have yielded undesirable results such as color shifts etc. on assets/graphics/text provided by clients/collaborators in my experience. Are you bypassing timeline node adjustments in some way on individual clips in these situations?
Thank you for this, it also raises a question. When using a time line look and there are 2 or 3 clips only that we do not want to have that timeline look, is there a possibility to get those 3 clips without the timeline look? For instance if all clips are Raw but 3 clips are low quality stock footage.
This is exactly why I use Group Post-Clip in place of Timeline. Just add every clip to the group and it behaves the same way, but then you have the option to remove specific clips from that group if necessary. It's also nice if you want multiple looks for different scenes in the same timeline.
@@aaronwalterscheid4496 Sound good, only you loose any group you want to make i use groups al the time. Makes me think if in the edit page we can, place those clips on a different timeline and combine 2 timelines.....? one with the look and one without? (maybe a dumb thought)
@@appu1336 very subtle, but that is probably how it should be. I thought that the powergrade will be the nodes with exact settings but these are just another luts from the pro parts which are element of the essential pack. I trust Cullen so my grading ocd is relaxed when I apply them. The logic that they are davinci wide gamut environment makes sense. I grade only the slog3 so maybe I am not the best reviewer. I think they are great for the greatness the lut can give. I’d rather want subtle luts which I can use in wide range of projects for long time than super sensational promising extreme luts which you cannot really use
I grew up with my life revolving around art. So I am a bit more old school with the terminology of the macro /micro - I like that, but it implies only two possible motives. I have always referred to it in the oil painting reference that has been around artists for centuries - to use a broad brush or a small brush. If you have ever watched a painter create a painting - they tend to start with a broad brush ( like a wall paint brush ) and without much attention to any detail they make big move to lay out the foundation of a painting. Sometimes, if you watch them, it's even hard to recognize what exactly they are painting.
Then they progressively, add detail with smaller brushes, with the 3d distance, use a smaller brush on the foreground to perceptually show what our eyes do naturally - being more and more granular, where they want the viewer to look.
This concept, I apply to the macro/micro - But your terms sounds so much more techy. If I talk to someone that I now perceive as technical thinking - I now use your terms - but the old artsy people like me, get the oil panting analogy.
Cullen, I think your links are broken. They dont lead to an existing page.
Hey Joshua! The links are updated and should be working now!
That 2383 lut is legendary. I use it on everything and just adjust the percentage of it as needed. So cool. Thanks for your expertise!
RIGHT?
Wow! So creative and simple!! I’ll get your Luts!!! Thank you!
Hey Cullen, I watch almost all of your video and I learn and signficantly improved alot. I even bought ur Colorist 10 commandments ebook!
Tho I have a question, what is the proper workflow for colorist to grade a project that involved Motion Graphics, Compositing and 3D elements?
Do I grade the clip first and then send it off to the compositor artist or let them blend the animation, then only send it back to me?
Do we export out as EXR and received it again in EXR?
Thanks!
Hey, maybe I can answer your question as I'm a compositor who has worked in the vfx industry. Typically, you would send the raw plates to the compositor along with a temporary Look LUT which will be applied for viewing purposes only. When the compositing is finished, you will get the work back in the original colorspace of the plate and then you can do the color grading. In professional pipelines, ACES is often used for the color management workflow, that means the raw plates are first converted to ACEScg, sent to Compositing and then sent back and converted to e.g. ACEScct for color grading. Hope this helps! :)
As I binge your videos the more I appreciate them. In certain aspects such as NR, I don't completely agree with your approach, but for the vast majority of everything you do and primarily for you philosophy of keeping things organic, not only do I agree, but your videos centre me and ground me, often when I'm lost with what I should do with a clip/s.
Its amazing seeing someone so passionate, and articulate. There is not one video in which your eyes don't boyantly light up with passion, and their is not a single video that gets boring. Your ability to demonstrate your passion for this craft, is uncontainable and contagious.
Thank you Cullen, Wish you all the best on your journey ahead, and I'm excited to not only for what it brings for you, but what you bring to it.
Is there anywhere where you have a portfolio? I would like to see some of the projects you've been apart of/ some of the work you've contributed too.
This is an absolutely great method to build up a look. I love the gentle way of creating a look, instead of slapping a LUT that never really works.
I've been a long time viewer of your channel, and it's time to give back, to purchase some products from you. However the links do not work at the moment. How can we get to them and to the E-book?
As far as I am aware it is not possible to bypass the timeline look, so everything even title and credits can get effected. Also, different scenes call for different levels of any look, it is better practice to group and to apply looks to a post-group workflow, this enables one to skip credits etc and to refine the level of a look at a scene by scene basis. At least thats my two cents worth.
Post-group is the right decision
I had the same problems with different cameras and especially when I inserted pictures into the timeline. I'm definitely new to this whole process, but I learned from Cullen to use Color Space Transforms in nodes and assign each camera to a different group. I left the images alone so they were never altered as the LUTs and other look adjustments were done in the timeline for each group; they did not have a group. Again, I am new at this and it's just my experience and hope I'm not giving bad information.
This is what I am doing right now :) CST node-based colour management + film look on the post-group, as I must bypass the look on the presentation slides inserts. The solution was offered on the Black Magic forum by Walter Volpatto.
@@BlackWinterProduction We are in good hands then, though, to be honest, Davinci is built this way and the purpose of the post-group is this more or less. What is stranger is that there isn't a bypass timeline button, it would not be very difficult to implement.
Awesome video as always! Is there a place to grab your 3510 lut as well?
Idk if your intent with this video was to sell your lutpack, but I’m buying it now. Long time viewer here btw. Love the channel!
Well done! Gr8 looking lots…
How much is ur lut pack?
Cullen, what’s your opinion on the Phantom LUTs?
I wasn't familiar with these LUTs before you mentioned them, so haven't had a chance to check them out -- though they look cool! I think I'd want to know a bit more about the creator and the color science used before entrusting my projects to them.
@CullenKelly I only mention them because on social media they are quite famous and have a good reputation, so it's interesting what a professional colorist thinks about them.
And the good thing is they are specifically designed for certain cameras and color spaces like only a few from Sony, BMD and Canon I believe. I haven't used them aswell but that's already a good starting point. I'm a bit unsure if they are worth ~50$ or ~80$ for both packages.
Thanks for sharing your thoughts!
10:18 If you add an overall look like you did in this video, should all the affected clips be color corrected before adding this overall look?
If you feel as though certain shots need an exposure and/or balance pass before you can evaluate different looks properly, it is ok to do so. Good question!
Using nodes at the time line level as suggested have yielded undesirable results such as color shifts etc. on assets/graphics/text provided by clients/collaborators in my experience. Are you bypassing timeline node adjustments in some way on individual clips in these situations?
the links don't work
Thank you for this, it also raises a question. When using a time line look and there are 2 or 3 clips only that we do not want to have that timeline look, is there a possibility to get those 3 clips without the timeline look? For instance if all clips are Raw but 3 clips are low quality stock footage.
This is exactly why I use Group Post-Clip in place of Timeline. Just add every clip to the group and it behaves the same way, but then you have the option to remove specific clips from that group if necessary. It's also nice if you want multiple looks for different scenes in the same timeline.
@@aaronwalterscheid4496 Sound good, only you loose any group you want to make i use groups al the time. Makes me think if in the edit page we can, place those clips on a different timeline and combine 2 timelines.....? one with the look and one without? (maybe a dumb thought)
I see that 3510 LUT hanging out up there... 🎉
Links not working buddy.
The links have been updated. Should be working now!
Hey, Cullen 🙂All of your links from description aren't working for some reason🤔
The links should now be good to go!
Bought the voyager pack today 🎉😅
How is it ?
@@appu1336 very subtle, but that is probably how it should be. I thought that the powergrade will be the nodes with exact settings but these are just another luts from the pro parts which are element of the essential pack. I trust Cullen so my grading ocd is relaxed when I apply them. The logic that they are davinci wide gamut environment makes sense. I grade only the slog3 so maybe I am not the best reviewer. I think they are great for the greatness the lut can give. I’d rather want subtle luts which I can use in wide range of projects for long time than super sensational promising extreme luts which you cannot really use
@@RafalGendarz Ohh Okay thank you 😊
Hi, link for Kodak 2383 film print LUT for DWG and ACES not work :/
Hey Martin! Should be working now!
Thank u so much sir♥
Awesome 🎉🎉🎉
hi cullen , please fix the link .. thanks alot
The links should be updated!
great
...and then there´s a night scene... Dont do that people
huh?
the links don't work