The way that I spent 2 hours at 2 AM doing color checks on all my monitors, then another hour doing checks this morning and then giving up was insanity. Then you drop this video and all of a sudden, I am at peace. Pure. Bliss.
Second thing, I peeped you edit on your MacBook Pro. I also do, what did you do to calibrate your monitor to show the 'correct' colors across the board? This is what drove me insane cause I noticed that the M1 Pros colors are slightly a bit more magenta compared to other external monitors I have used.
I dont touch the color of the screen on the MacBook Pro, bc most people watching anything are not going into their color settings. i have a good color grading monitor that is always on. I sometimes look at stuff on multiple screens. laptop, color calibrated monitor, phone, TV.. they are all different. I cant let it bother me. everyone's screen is different.
@@BlaineWestropp1I'll keep this in mind from here on out when I grade. I appreciate you Blaine. Thanks for always responding too. Joined the discord finally too 😂
I'm an actor but am looking at producing and filming my own work. As someone with no behind the camera experience who was feeling really intimidated and lost, you've given me a lot more confidence in just this one video. Thank you!
Huge respect to you for always teaching something super specific that we all should learn/practice, but often don’t and always making your videos to the point without any bs. I get a lot out of this channel.
Yes! I love using color charts and gray cards, keeps our chops up when we shoot on film. Do you find that exposing digitally you’re always trying to set your exposure in relation to middle gray (18%)? Do you ever try exposing in relation to other percentages of gray? I was trained while exposing on film to reference my exposure choice to a sliding scale of percentage of gray, for a specific reflective light reading or a specific skin tone, depending on the exposure goals of the shot/scene. The exposure choice I’m eventually landing on is related to a measured “key light level” (*primarily this measurement is derived from the key light, but not always.) On digital, I still light/ expose in a similar way (of course keeping in mind the digital cameras capture settings, traits, and tools : colorspace/ gamma, iso, LUTs, monitor calibration, false colors, etc.) I just expose whatever value I’m deciding to reference against middle gray for deciding my exposure of the entire shot. Then I adjust to right (ETTR) a bit to deal with how the log curve captures best/ most within acquisition and in post color - with a bit of some healthy over exposure. This slight over exposure is very helpful and often needed when exposing on negative film as well when exposing on digital in log. I was advised early on at Kodak when it comes to setting my exposure that I should light, meter, in reference to 18% grayand then before you roll change your exposure, setting for slight over exposure closer to 12% gray (1/2 stop difference) but I’ve always found on negative film stock I prefer closer to 2/3 or a full stop of over exposure (9%) As for choosing to expose at different percentages of gray : For instance, a dark candlelit scene might not have light hitting the subjects face that “should” or “ought” to be exposed at a level that is referential of middle grade (18%). I would often spot meter off of gray card in my key light and set my exposure referential to 27% gray (1/2 under)or 36% gray (full stop under) or on the brighter scenes where I might want the exposure setting to sit higher than 18% gray for some reason like 16% 12% or 9% gray Sometimes the photographic exposing tools that we’ve used before the video era, that were based on the needs of other formats -i.e. “18% gray” being a concept, created for the needs of print media- can kind of over complicate things these days. (For example the traditional Adams “zone system” which I find to be completely useless when working on and exposing color video) The false colors reading the Log curve data, while you view your monitoring LUT on a properly calibrated monitor -like you said in another comment -seems to be best for understanding where the exposure sits relative to all other values in the shot, and I’d add not just middle gray (18%). With these false color and histogram digital metering/exposing tools (especially the EL zone system!) exposure practically can be made much more simple, but theoretically tends to get or feels more confusing now. (I think this is because as we add new exposure tools we’re not abandoning some of the old photographic metering tools that were important or necessary from a different era, and also that newer users might not be trained on older systems, and yet professionals continue to reference and include older systems. In summation as long as you are sure your exposure tools are giving you the information for log/raw and not reading your Monitoring LUT, you pretty much can just do everything by eye. Love how you busting out a color chart and gray card in this video in a way that it’s almost a secret to help people understand how they can better conceive and control their digital exposure while shooting and adjusting in resolve. I’ve had some very young people (I’m only 36 btw) laugh, or get confused while I’m using a color chart or a gray card or even a meter on the set. I know it’s not absolutely essential these days, but I love working and thinking about lighting and exposure in these ways. Thanks again!
hey thank you! on digital I just expose by eye, and use false color. if I need certain ratios I will get those ratios with FC or a meter but mostly am going by eye, and often times over exposing with a reduction lut. especially on the Alexa. as long as it isn't clipping in the high end im good. on film I will meter and go a stop or 2 over the meter. definitely more of a simple process on digital as you can actually see the image thats being captures and look at false color, waveform, etc. also, sometimes I use the exposure tools on the monitoring lut. but more often nowadays on the log image. 😎
This is exactly what I promote for white balance. To set white balance in camera is easy to forget. For beginners, this is the best option because anyone can see colours are the same on the chart. Talking false colours, zebras, and histograms is like an alien language to beginners, but a colour chart is so easy to understand.
yep. also with the cameras today, you can push em around so much in post that its okay to be a little off on temp/tint/exposure. but click of a button fix to get to a good starting point with the chart is 👌
Damn it Blaine!! Why is it that every single time you drop a new video and I watch it through I'm looking like this................ 🤯! Thank you for always it breaking it down so well and straight to the point :)
this is pure gold! I never ever really understood how to use and how does it work a colorcheker, so i always thought that was somethinge expensive and not really necessary.. I was DEAD wrong, you explained it so well that i run up and picked an order. I can't wait to have it and use to see how bad was i exposing and how can i improve my shots! You earned a new, really grateful, subscriber. Thank you so much
Generally in the use of colour cards your auto clicking seems to do a fantastic job. If you want to get more into the weeds you can investigate how your card acts on the RGB scopes. For example when the 'negative' has warm temp you will see the red line above the blue line over the grey swatches. The vectorscope has six colour chip targets that should match to the primaries on the card
I love how you split the EXP and BAL. I'm gonna use that. I always shoot checker references, but I feel I haven't been able to utilize them fully. Thanks for the video!
Trying to understand this in premiere 😂 this is one of those fundamentals that can easily be over looked "yeah yeah white balance" but its like music, getting the best recording vs fixing it in the mix. This was helpful and something i will be more mindful of when i am shooting
Definitely nice to get things spot on in camera (besides overexposing which I like to do!) does premiere have built in checker feature? I edit things in premiere but don’t do any color work there.
One trick I like to do on commercial sets is to run two thin strips of velcro on the edges of the clapperboard and that lets me stick a chip chart to something that's already needed infront of the camera. We honestly don't rely on the roll/take data because of digital metadata so a chip chart is much more useful information to have at the start of the take. The only issue with chip charts is secondary reflections. Not all colour casts are 'white balance' problems where the cast is derived from an overall shift in the available light spectum. It can often be because of large or nearby objects bouncing the ambient light+their own colour back into the scene. So in that the chip chart itself can be compromised if you don't know to look out for those situations. You can end up trying your best making global adjustments to the shot (at the expense of all other hues/tones in the shot) to get a white/grey in the scene to actually be neutral without realising it never actually was. This is why a vector scope and waveform are important (and why a chip chart has all those extra chips, too :))
I like it. Also yes of course there can be issues. My strategy is to toss it in front of the camera and if it helps in post great, if not, you don’t have to use it!
Thanks for the reminder on this! It's one of those things I've "known" to do but never did, but I started implementing it this week and am loving the results! I've been playing with a different way to separate the exposure and the color adjustments, and you might find it interesting! In node 1, I have the color checker adjustment, but I set the composite mode to "color" instead of "normal" (right-click on the node > composite mode > color). To my knowledge, that should transfer just the color adjustment onto the next node, which I have set up for exposure adjustments in my node tree. Giving me more granular control over the image. Thanks again, man!
hey thanks so much! I didn't think to use that method but it definitely makes sense. I will test tomorrow. but I do know I most definitely want to separate, most times, the exposure shift from the color checker feature in resolve. if your method does this accurately I am all for it because it eliminates a few steps from my current method!
Nice! Another clear and simple tutorial. I usually have to work super fast and just pick a preset, but sometimes find myself dealing with weirdness in post later on. Better to take the time to get it right in-camera.
A new banger again ;) I've got two questions for you : *If you're aiming for a warm ambiance similar to Blade Runner 2049 in the desert, would you set the white balance to 7000K to establish the desired atmosphere from the start, or would you opt for a neutral white balance to retain greater flexibility in your color grading? *Is there a threshold where excessive overexposure (without clipping) makes it impossible to achieve the desired exposure during color grading?(like one stop over it's ok, 3 stop it's too much) Thanks for your videos Blaine, they stand out from the crowd !
Hey thank you so much!. If you’re aiming for warm you can either do it in camera or in post. Depends on the DP and on the movie. I believe on most cameras that shoot log you can expose pretty hot without clipping and bring it down and have the same look as if you just exposed darker. Maybe some cameras don’t do as well with it but as long as the scene is within the dynamic range of your sensor you should be good, as long as you bring down the exposure in post properly (mapped HDR wheels, using the global wheel).
Ive never used a color checker but today decided to buy a one and your video was very straight to the point on it. Think I'll be using it on serious shoots for doc work and interviews and such. I don't portray myself a cinematographer just a guy with a good mirrorless camera rig but now im looking forward to putting it into the workflow. thanks for the vid tips!
Hey thanks! It’s definitely a useful tool and I use it for a lot of shoots. At a bare minimum, even if you have the exact lighting and color you want, it doesn’t hurt to toss it in for a frame and either use it or not in post. But it definitely creates a great starting point for color. When it arrives, let me know if you have any issues or questions 😎
@@BlaineWestropp1 hey brother just wanted to circle back as I received the passport checker which I felt was too small so I returned it. Apon looking at the one you have it doesn’t have a hardcase which I kind of want to protect it, but the XL version with hardcase apon reading reviews doesn’t come with a white balance card. Can I still white balance with just the color card?
Yo! I’d still go with the one I have with no case. It is the most common checker I see. Ive never even seen the XL in real life. I put it behind the top foam in the camera case. Easy. Affordable. And good size to transport and big enough to use for most shots.
Also to answer your question… you can (kind of) white balance on a white wall or a piece of paper. Though the checker will perform better. If the XL doesn’t have a white side on the other side (I’m not sure) you won’t be able to WB to the front side in camera. Camera will need a square of white, or a full white depending on the camera, or you can just set your camera WB by eye and adjust to the checker in post. I very very rarely white balance the camera. I am either at 5600, 3200, and sometimes around 4000.
@@BlaineWestropp1I didn’t even think about putting it behind the foam in my pelican case! Great idea. Cool man. Thanks so much for the quick reply and insight! Gonna grab the one you have! Def look forward to more content from you!
The color temp in the color checker settings is the temperature of the display, not the color temperature of the video clip. The standard is 6500K, so this is the default value.
DUDE WTF is with your windows with green cast like that! I have an Alexa Mini. Rarely remember to shift the WB from 5500 (shot on Red for 5 years prior) and have never had crazy skew like thaat! Love the channel budd. Always a deep learn from you
hey thank! love it. yeah I definitely use this when shooting on film. I didn't use it shooting on digital for the past many years up until yesterday when I was reminded of it's potency!
Great vid! Just wondering, when you say you use a LUT that makes the image appear darker so you can bring it down in post, is it possible to make a LUT that brings the image down by a stop? I guess not because the stop would be relative? Is your LUT just roughly darker to give you an idea of where you’ll be in the grade? Thanks!
If you like yur 'negative' be full then your exposure at 800 was a correct exposure. The green on the chart made it under to my eye. Thats someone else (the card maker or the camera company) trying to tell you how to expose. they can do one. your thick exposure with no clipping was perfect :)
@@BlaineWestropp1 3 stops over what? you are the DP you rule the exposure. When I learned digital back in the day correct exposrue was to open until clip and then back off a little. This gives the best s/n ratio to the digital capture. Back in the old days with kodak 64 chrome the grey had to be on grey because you were getting back what you shot. Talk of exposing to a mid grey is from the days of kodachrome.. 1994 or so.
@sammorganmoore I oftentimes expose just below clip. That is what I mean by 3 over. I oftentimes will get the brightest exposure I can possibly get without clipping!
@@BlaineWestropp1 Its just a small linguistic thing. Id suggest that exposing just below clip is correct .. it is not 'over'. This small linguistic thing matters because as your work hits post houses they think you 'got it wrong' and 'correcting' your work takes 'extra steps' or maybe is just 'bad'. You dont want that. Im not an expose right zealot. I get there are multiple reasons to allow 'headroom' from the sun coming out during an interview to walking shots. Also you do not need to protect every highlight, you could blow halogen spots in a kitchen.. or a whole snow scape if that is the look you want :)
thank you! on any clip or frame in the color page.. you can hit command+shift+G and it will add a still to the gallery. then you can go to any other clip and click command+W and it will show that still with a wipeable vertical line. you can also have the line horizontal, angled, and a couple other ways to show a reference still. let me know if you need further assistance in making it work.. happy to help!
@BlaineWestropp1 thank you so much for taking the time to explain! Just moved from photography and video into cinematography with my s5ii and I messed up big time exposing v-log on my first attempt at a short film. All this will help me alot in practicing for trial run numero 2
@@BlaineWestropp1 i do but it seems to be brighter than the true footage. I relied on it used a preloaded lut to see what it would look like but it turned out not accurate, ill use false colors next time to ensure it's accurate. (monitor i have is the osee t5+)
Hi Blaine, do you think this is a workflow used in Movie or documentary colorgrade ? The colorgrade studio receive the movie already edited so how could they use the colorchecker board ?
Hey there are 2 ways it can be used on movies. 1) they use it in testing and build their looks, and those looks get applied in color. Or, they can just send the shots to color. More often it is option number 1. Or they could have a few scenes that they use the chart for and sent it to color. The chart really helps when you are in scenarios where there are some elements you can’t control, as well as for scenes/commercials where you really need accurate colors as a starting point.
Any one that is included in davinci resolve does the trick. I try to go for the one with the most colors/shades of white black grey. There is a mini passport version of the one I show in this video that will effectively be the same. Larger is sometimes better as the camera is sometimes further away from the light, but if you get a mini you can just put the checker in the light, bring the camera closer to the chart, get the frame, and you’re good and it’ll do the same exact thing as a larger one!
There are a multitude of different checkers. This one does have “video” in the name but they make checkers for stills. I always go for the one the has the most colors/patches and one that can work in the software I want to use. You can also use them manually but nice to have built in software options.
This headshot of yours - what contax zeiss lens are you using? Also does it cover Alexa's LF without vignetting? Would like to have the same lenses for Komodo and GFX so they should cover at least 33x44 :)
Congrats to those of you who have become proficient at using Davinci. I'm not one of them and will stick with Premiere. I did learn from this video though.
hahah man I dont know why I havent been using this that much. I went many years without using it ever, then just the other day randomly put it in front of the camera and was like whoa.. I forgot about this little secret
Yes! I’d put the checker in both scenes. You don’t have to use the checker for every scene and I don’t really use it outside much, but you definitely can.
@@BlaineWestropp1 I'm on a budget and I saw that it's about 90 dollars. Is it worth the 90 dollars for a budget or is there another one you would recommend?
This might be a silly question but how does this work in an environment where the light isn’t meant to appear white on camera? Like night time or tungsten. I’m having difficulty understanding how to get an accurate balance of colors when naturally many color temperatures would cause colors to shift by default.
hey! while you do not need to use the color checker for every scenario (I dont use it every day, but it helps tremendously in the scene in this video where I am sitting on the couch by the window, and any scenario where you want white to be white), you can utilize the color checker without using the built in color checker feature in resolve. the checker will show you a reference for exposure, skin tones, and colors that you can handle in a variety of different ways. you could just use it for exposure only and manually adjust exposure to middle grey. you can view the vector scope to see where RGB and CMY fall, and manually tune so that when you want a warm image for example, you have that reference to dial it in more specifically, while still keeping it warm. specifically one thing you can do is white balance with the offset, new node, get your hues right, then turn off the offset node. also you could use the color temp feature within the color checker panel (despite it not really being designed to this this, it still works). you can also use it to balance everything, then warm it after that balance many different ways to tackle it, and it is not needed for every single shot/scene. hope this makes sense!
Would using the color and grey card be the same as using it on film? Im doing a shoot in a few weeks on 16mm film and I was wondering if putting the grey card and color chart be a good thing to do as the camera is rolling.
thank you for this, but honestly i feel its too much to do on a pay gig, I get flustered, my goal is to do most of the corrections on camera for faster post work, and i also feel like im doing to much if am in fron of someone that is faster and more experience, if anyone knows a faster way, would love to hear it, i own a expodisc, i bought a vintage minolta color meter and i even downloaded the cine meter II app and bought a spare diffusion dome...I guess i need to get a colorchecker
All you need to do is get a single frame of the color chart. You can definitely make this happen on any shoot. Just stick it in front of the camera for less than a second before you’re ready to roll! It’s not needed for every single shoot or every single scene though!
@@BlaineWestropp1 got it, what you recommend more specifically to run and gun situations where is almost guessing and hoping for the best, lately ive helped experience videographers in private events like sweet 16s, music videos and clubs, they pretty much winging it or they go with what they know, I leave clueless
Can you clarify what you mean when you say what do you recommend? A lot of this just comes with experience. You do one shoot, you learn a little. Repeat. Gain knowledge, learn what works and what doesn’t work. Takes time but you will start to notice things coming together and your skills getting sharper :)
@@BlaineWestropp1 sorry im not trying to be difficult, I guess what I meant is, what would you do in a run and gun situation which you didnt have the colorchecker as above yet still have great colors and exposure...I'm fairly new and trying to learn fast
Oh I gotcha! And don’t apologize you’re not being difficult at all. For run and gun like an event, you don’t need to use it. Everything the color checker does you can do manually, it just makes it much faster. If you’re shooting all day in a studio with only a few lighting setups, use the color checker. Or on a movie where you’re in one location all day, use it. Or for interviews. For run and gun all over the place, I’d just set white balance quickly and get to rolling then try and make the footage look good in post. You can do a custom white balance on a piece of paper or anything white and you should be good to go. Alternatively you could set your white balance to 5600 if you’re outside. Inside you could do somewhere between 3200 and 4200, but only if the lighting is warmer. Some interiors have cooler LED lights and you may be around 4800. You can move around the white balance until the image on the screen looks good to you and you should get to a good starting point. Hope that makes sense.
Resolve noob here. The issue I have with charts is my edit removes them all. How do you keep it organized in a project that’s not test shots and such. Thanks from a n00b
Great question. I’d make a timeline with the chart shots organized and labeled. Or I’d hide them under the scenes in the edit. The organization starts on set for sure. Gets Gm hard when you do some scenes and forget to shoot the chart 😭
I'm sorry but the color match feature on resolve is famously broken. There's a bunch of posts on BM's forums and Reddit talking about this. It might help if you're lucky but it usually doesn't. You *can* use a color chart (especially the X-Rite ones) and manually use the hue-hue curves to get accurate colors but the automatic color match feature is def broken.
@@BlaineWestropp1agree on the usefulness of color charts in general but using basically the same workflow you use and the color match feature you used around 3:30 gave me (sometimes wild) inaccurate colors. Tested from it with slog 3 and vlog footage, using a datacolor spyder chart and an xrite passport video. I thought I was crazy until I looked it up online. Unless davinci fixed it in the last 6 months or so, I won't call it accurate in all situations, even using your workflow.
I’m not positive but I think davinci made some fixes. Also it is important to keep the targets the same as what the footage was shot in. Targeting rec709 doesn’t work.
When you're purposefully overexposing how do you make sure nothing is clipping? Does your false colour apply to the -2stop lut or the underlying image??
when I overexpose like this I have the false color look at the log image. so on monitor im looking at whatever I want in terms of look/lut, then I hit FC and it shows me what the log is doing. this is the way when you want to overexpose and drop it down in post.
Depends on the camera/monitor, how you set up the SDI feed (if using exposure tools on monitor) and the camera. If you can’t use exposure tools on the lot imagine on your camera, but you can send a log image through SDI or HDMI you can do it on an external monitor like smallhd for example. I can help ya out if you need. Just let me know!
@@BlaineWestropp1 I realize that indoors exposing WB using this method is a good idea. The same when shooting outdoors during the day. But, I want to understand how to best capture the colors I see during blue hour and golden hour
The way that I spent 2 hours at 2 AM doing color checks on all my monitors, then another hour doing checks this morning and then giving up was insanity. Then you drop this video and all of a sudden, I am at peace. Pure. Bliss.
Second thing, I peeped you edit on your MacBook Pro. I also do, what did you do to calibrate your monitor to show the 'correct' colors across the board? This is what drove me insane cause I noticed that the M1 Pros colors are slightly a bit more magenta compared to other external monitors I have used.
haha perfect timing!
I dont touch the color of the screen on the MacBook Pro, bc most people watching anything are not going into their color settings. i have a good color grading monitor that is always on. I sometimes look at stuff on multiple screens. laptop, color calibrated monitor, phone, TV.. they are all different. I cant let it bother me. everyone's screen is different.
@@BlaineWestropp1I'll keep this in mind from here on out when I grade. I appreciate you Blaine. Thanks for always responding too. Joined the discord finally too 😂
Thank you. And welcome to the party hahah
Straight to the point, no nonsense and huge educational value. This should be the gold standard. Thanks and keep em coming.
Thank you 🫡 more to come.
I'm an actor but am looking at producing and filming my own work. As someone with no behind the camera experience who was feeling really intimidated and lost, you've given me a lot more confidence in just this one video. Thank you!
Hey thanks so much. Happy to be of assistance. Let me know if you ever have any questions. 😎
There's literally no one doing it like you blaine, thank you
🫡🫡 thank you thank you!
Huge respect to you for always teaching something super specific that we all should learn/practice, but often don’t and always making your videos to the point without any bs. I get a lot out of this channel.
🫡 thank you, more to come!
I think the most impressive things is that you are answering every comment, that's not obvious! Thank you so much!
it aint easy.. but im tryin 🫡
Never saw color checkers explained so compact an perfect! Thank you for your channel, the only better toll than color checkers is your channel.
Hey thank you so much. That means a lot to me :)
@@BlaineWestropp1I like to watch your videos so much it’s such a different take on how you educate that is inspiring!
Thank you thank you ☺️
INSANELYYY helpful video wow. Thank you Blaine honestly you've got to be like top 5 most helpful channels on all of youtube for video. Great stuff man
Thank you so much Alex! ☺️☺️ more to come
Perfection. These are so useful for matching different cameras too
I love it. Can’t believe I spent a few years not using it!
Always delivering on the useful info without any BS. Love this channel!
Yo! Thank you so much!
Yes! I love using color charts and gray cards, keeps our chops up when we shoot on film.
Do you find that exposing digitally you’re always trying to set your exposure in relation to middle gray (18%)? Do you ever try exposing in relation to other percentages of gray?
I was trained while exposing on film to reference my exposure choice to a sliding scale of percentage of gray, for a specific reflective light reading or a specific skin tone, depending on the exposure goals of the shot/scene. The exposure choice I’m eventually landing on is related to a measured “key light level” (*primarily this measurement is derived from the key light, but not always.)
On digital, I still light/ expose in a similar way (of course keeping in mind the digital cameras capture settings, traits, and tools : colorspace/ gamma, iso, LUTs, monitor calibration, false colors, etc.)
I just expose whatever value I’m deciding to reference against middle gray for deciding my exposure of the entire shot. Then I adjust to right (ETTR) a bit to deal with how the log curve captures best/ most within acquisition and in post color - with a bit of some healthy over exposure.
This slight over exposure is very helpful and often needed when exposing on negative film as well when exposing on digital in log. I was advised early on at Kodak when it comes to setting my exposure that I should light, meter, in reference to 18% grayand then before you roll change your exposure, setting for slight over exposure closer to 12% gray (1/2 stop difference) but I’ve always found on negative film stock I prefer closer to 2/3 or a full stop of over exposure (9%)
As for choosing to expose at different percentages of gray : For instance, a dark candlelit scene might not have light hitting the subjects face that “should” or “ought” to be exposed at a level that is referential of middle grade (18%). I would often spot meter off of gray card in my key light and set my exposure referential to 27% gray (1/2 under)or 36% gray (full stop under) or on the brighter scenes where I might want the exposure setting to sit higher than 18% gray for some reason like 16% 12% or 9% gray
Sometimes the photographic exposing tools that we’ve used before the video era, that were based on the needs of other formats -i.e. “18% gray” being a concept, created for the needs of print media- can kind of over complicate things these days. (For example the traditional Adams “zone system” which I find to be completely useless when working on and exposing color video)
The false colors reading the Log curve data, while you view your monitoring LUT on a properly calibrated monitor -like you said in another comment -seems to be best for understanding where the exposure sits relative to all other values in the shot, and I’d add not just middle gray (18%). With these false color and histogram digital metering/exposing tools (especially the EL zone system!) exposure practically can be made much more simple, but theoretically tends to get or feels more confusing now. (I think this is because as we add new exposure tools we’re not abandoning some of the old photographic metering tools that were important or necessary from a different era, and also that newer users might not be trained on older systems, and yet professionals continue to reference and include older systems.
In summation as long as you are sure your exposure tools are giving you the information for log/raw and not reading your Monitoring LUT, you pretty much can just do everything by eye.
Love how you busting out a color chart and gray card in this video in a way that it’s almost a secret to help people understand how they can better conceive and control their digital exposure while shooting and adjusting in resolve. I’ve had some very young people (I’m only 36 btw) laugh, or get confused while I’m using a color chart or a gray card or even a meter on the set. I know it’s not absolutely essential these days, but I love working and thinking about lighting and exposure in these ways.
Thanks again!
hey thank you! on digital I just expose by eye, and use false color. if I need certain ratios I will get those ratios with FC or a meter but mostly am going by eye, and often times over exposing with a reduction lut. especially on the Alexa. as long as it isn't clipping in the high end im good. on film I will meter and go a stop or 2 over the meter. definitely more of a simple process on digital as you can actually see the image thats being captures and look at false color, waveform, etc. also, sometimes I use the exposure tools on the monitoring lut. but more often nowadays on the log image. 😎
This is exactly what I promote for white balance. To set white balance in camera is easy to forget. For beginners, this is the best option because anyone can see colours are the same on the chart. Talking false colours, zebras, and histograms is like an alien language to beginners, but a colour chart is so easy to understand.
yep. also with the cameras today, you can push em around so much in post that its okay to be a little off on temp/tint/exposure. but click of a button fix to get to a good starting point with the chart is 👌
Damn it Blaine!! Why is it that every single time you drop a new video and I watch it through I'm looking like this................ 🤯!
Thank you for always it breaking it down so well and straight to the point :)
😇😇
Amazing content. Very concise and straight forward. No nonsense.
Subscribed and liked.
Thank you thank you 🫡
this is pure gold! I never ever really understood how to use and how does it work a colorcheker, so i always thought that was somethinge expensive and not really necessary.. I was DEAD wrong, you explained it so well that i run up and picked an order. I can't wait to have it and use to see how bad was i exposing and how can i improve my shots! You earned a new, really grateful, subscriber. Thank you so much
Hey thank you so much. Glad to be of assistance!! 😇
Such an insightful video. Thanks for sharing that
Thank you 🫡
I'm more grateful for the time and effort you put into making these videos for us... I really appreciate
I appreciate that. I love making them. More to come..
Great video, man. Very well explained and succinct 👍
Hey thanks so much!
Generally in the use of colour cards your auto clicking seems to do a fantastic job. If you want to get more into the weeds you can investigate how your card acts on the RGB scopes. For example when the 'negative' has warm temp you will see the red line above the blue line over the grey swatches. The vectorscope has six colour chip targets that should match to the primaries on the card
Yes the auto clicking is great, but there are so many other ways to use this without clicking the auto button! That’s a whole other video!
Excellent breakdown. I need to have one of these with me, especially trying to match footage from various sources.
Hey thank you. I like to keep it in the camera pelican.
@superbmediacontentcreator Just started doing that. I learn very slowly.
He does it again!
Definitely taking that color match and hdr node structure and adding it my powergrades
😎👌
@superbmediacontentcreator or just use false color?
Glad that I stayed up late and came cross this video 🙏
I’m glad too :)
I love how you split the EXP and BAL. I'm gonna use that. I always shoot checker references, but I feel I haven't been able to utilize them fully. Thanks for the video!
that is the way! hope it is useful :)
Just when I thought I could retire my ColorChecker... You drop a video and suddenly, its back on my desk haha
Hahah love it.
Trying to understand this in premiere 😂 this is one of those fundamentals that can easily be over looked "yeah yeah white balance" but its like music, getting the best recording vs fixing it in the mix. This was helpful and something i will be more mindful of when i am shooting
Definitely nice to get things spot on in camera (besides overexposing which I like to do!) does premiere have built in checker feature? I edit things in premiere but don’t do any color work there.
AMAZING MAN! Thank you!
Thank you! 🫡
One trick I like to do on commercial sets is to run two thin strips of velcro on the edges of the clapperboard and that lets me stick a chip chart to something that's already needed infront of the camera. We honestly don't rely on the roll/take data because of digital metadata so a chip chart is much more useful information to have at the start of the take.
The only issue with chip charts is secondary reflections. Not all colour casts are 'white balance' problems where the cast is derived from an overall shift in the available light spectum. It can often be because of large or nearby objects bouncing the ambient light+their own colour back into the scene. So in that the chip chart itself can be compromised if you don't know to look out for those situations. You can end up trying your best making global adjustments to the shot (at the expense of all other hues/tones in the shot) to get a white/grey in the scene to actually be neutral without realising it never actually was. This is why a vector scope and waveform are important (and why a chip chart has all those extra chips, too :))
I like it. Also yes of course there can be issues. My strategy is to toss it in front of the camera and if it helps in post great, if not, you don’t have to use it!
Thanks for the reminder on this! It's one of those things I've "known" to do but never did, but I started implementing it this week and am loving the results! I've been playing with a different way to separate the exposure and the color adjustments, and you might find it interesting! In node 1, I have the color checker adjustment, but I set the composite mode to "color" instead of "normal" (right-click on the node > composite mode > color). To my knowledge, that should transfer just the color adjustment onto the next node, which I have set up for exposure adjustments in my node tree. Giving me more granular control over the image.
Thanks again, man!
hey thanks so much! I didn't think to use that method but it definitely makes sense. I will test tomorrow. but I do know I most definitely want to separate, most times, the exposure shift from the color checker feature in resolve. if your method does this accurately I am all for it because it eliminates a few steps from my current method!
@@BlaineWestropp1 Sure thing! I love digging in to this kind of stuff. Love the channel too! Keep doing your thing👍
Me too! Thanks so much :)
Honestly my biggest takeaway from this is that Resolve is a godsend lol Good stuff man 🍻
yeah resolve is amazing
Logical, rational, and to the point. Thanks!
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Another banger from Blaine 👏🏼
Thank u 😊😊
I’m watching for the first time and I’m shocked to see that you only have 25k subs. Definitely subbing❤
Thank you ☺️
This is brilliant, thank you. New subscriber.
Thank you thank you :)
Nice! Another clear and simple tutorial. I usually have to work super fast and just pick a preset, but sometimes find myself dealing with weirdness in post later on. Better to take the time to get it right in-camera.
I don't think you need to use this for every shot/scene, but it comes in very handy in certain scenarios and all ya need is one frame of it.
also.. thank you!
@@BlaineWestropp1 true! but for some reason your last two videos address the exact things I've been working on this week lol.
@@rizzo-films haha perfect timing. love it!
this quite literally blew my mind. Amazing presentation.
Thank you thank you 😎
A new banger again ;)
I've got two questions for you :
*If you're aiming for a warm ambiance similar to Blade Runner 2049 in the desert, would you set the white balance to 7000K to establish the desired atmosphere from the start, or would you opt for a neutral white balance to retain greater flexibility in your color grading?
*Is there a threshold where excessive overexposure (without clipping) makes it impossible to achieve the desired exposure during color grading?(like one stop over it's ok, 3 stop it's too much)
Thanks for your videos Blaine, they stand out from the crowd !
Hey thank you so much!. If you’re aiming for warm you can either do it in camera or in post. Depends on the DP and on the movie. I believe on most cameras that shoot log you can expose pretty hot without clipping and bring it down and have the same look as if you just exposed darker. Maybe some cameras don’t do as well with it but as long as the scene is within the dynamic range of your sensor you should be good, as long as you bring down the exposure in post properly (mapped HDR wheels, using the global wheel).
@@BlaineWestropp1 alright, thanks for your advice man ;)
Sure thing!
"baby get in here, new blaine dropped."
Laygo!
This is insanely helpful. Thank you.
thank you, im glad 🫡
Ive never used a color checker but today decided to buy a one and your video was very straight to the point on it. Think I'll be using it on serious shoots for doc work and interviews and such. I don't portray myself a cinematographer just a guy with a good mirrorless camera rig but now im looking forward to putting it into the workflow. thanks for the vid tips!
Hey thanks! It’s definitely a useful tool and I use it for a lot of shoots. At a bare minimum, even if you have the exact lighting and color you want, it doesn’t hurt to toss it in for a frame and either use it or not in post. But it definitely creates a great starting point for color. When it arrives, let me know if you have any issues or questions 😎
@@BlaineWestropp1 hey brother just wanted to circle back as I received the passport checker which I felt was too small so I returned it. Apon looking at the one you have it doesn’t have a hardcase which I kind of want to protect it, but the XL version with hardcase apon reading reviews doesn’t come with a white balance card. Can I still white balance with just the color card?
Yo! I’d still go with the one I have with no case. It is the most common checker I see. Ive never even seen the XL in real life. I put it behind the top foam in the camera case. Easy. Affordable. And good size to transport and big enough to use for most shots.
Also to answer your question… you can (kind of) white balance on a white wall or a piece of paper. Though the checker will perform better. If the XL doesn’t have a white side on the other side (I’m not sure) you won’t be able to WB to the front side in camera. Camera will need a square of white, or a full white depending on the camera, or you can just set your camera WB by eye and adjust to the checker in post. I very very rarely white balance the camera. I am either at 5600, 3200, and sometimes around 4000.
@@BlaineWestropp1I didn’t even think about putting it behind the foam in my pelican case! Great idea. Cool man. Thanks so much for the quick reply and insight! Gonna grab the one you have! Def look forward to more content from you!
so good! thank you for this tutorial.
hey thank you! 🫡
I dont even use Davinci and you got me watching this full thing to completion
yummy content
Haha thank you! Davinci is nice!
so simple, so good.
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Very nice explanation 🎉🎉🎉🎉
Thanks a lot 😊
Welcome 🤗
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you're the man!
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Excellent video!
Thank you 😊
Let's go bagel boy!!
Love it.
Thank you thank you 😊
This is incredible
its such a nice tool!
@@BlaineWestropp1is the timeline LUT just a 709 transform or is there a look applied at the timeline level
There is a look!
@@BlaineWestropp1special sauce
More on that soon :)
You are amazing. So underrated
Thank you :)
thanks so much for this!
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This is dope, ty
Thank you!
Great vid thanks. Does it matter what colour space you’re working in?
hey thank you. you can utilize this in any color space!
Very helpful when testing lenses too, my eyes have lied to me before. Color chips dont lie
Yeppp
The color temp in the color checker settings is the temperature of the display, not the color temperature of the video clip. The standard is 6500K, so this is the default value.
Yes! I know I should have clarified this.
DUDE WTF is with your windows with green cast like that!
I have an Alexa Mini. Rarely remember to shift the WB from 5500 (shot on Red for 5 years prior) and have never had crazy skew like thaat!
Love the channel budd. Always a deep learn from you
Hey thanks! New modern windows I suppose! My camera may be a little green as well. When I shot with this one and a mini, this one was more green.
Hey Blaine , Great Video ! Curious , would the same principles apply if I were to use , say a xrite ColorChecker Passport Photo 2? Thank you!
Hey thanks! As long as there is a built in feature in resolve you’ll be good to use the automatic process. If not, you can still do manually!
Damn, this is so cool! Had no idea you could do this on Resolve. Just curious, would you use the color chart workflow while shooting on film as well?
hey thank! love it. yeah I definitely use this when shooting on film. I didn't use it shooting on digital for the past many years up until yesterday when I was reminded of it's potency!
I love that framed art piece on your wall, is that a print from somewhere?
Hey thanks! It is a print. It is called idyllic summer and it was purchased from mcgeeandco
Great vid! Just wondering, when you say you use a LUT that makes the image appear darker so you can bring it down in post, is it possible to make a LUT that brings the image down by a stop? I guess not because the stop would be relative? Is your LUT just roughly darker to give you an idea of where you’ll be in the grade? Thanks!
hey thanks. I use luts that I created for this purpose!
@@BlaineWestropp1 is it possible to make a LUT that shows the image a stop darker, exactly? Or not because a stop will be relative to exposure?
Yes. I created them for multiple cameras and use them all the time. I will put them online tomorrow. Stay tuned for link.
If you like yur 'negative' be full then your exposure at 800 was a correct exposure. The green on the chart made it under to my eye. Thats someone else (the card maker or the camera company) trying to tell you how to expose. they can do one. your thick exposure with no clipping was perfect :)
Yep I like the thick exposure. I will often expose 3-4 stops over. Love it.
@@BlaineWestropp1 3 stops over what? you are the DP you rule the exposure. When I learned digital back in the day correct exposrue was to open until clip and then back off a little. This gives the best s/n ratio to the digital capture. Back in the old days with kodak 64 chrome the grey had to be on grey because you were getting back what you shot. Talk of exposing to a mid grey is from the days of kodachrome.. 1994 or so.
@sammorganmoore I oftentimes expose just below clip. That is what I mean by 3 over. I oftentimes will get the brightest exposure I can possibly get without clipping!
@@BlaineWestropp1 Its just a small linguistic thing. Id suggest that exposing just below clip is correct .. it is not 'over'. This small linguistic thing matters because as your work hits post houses they think you 'got it wrong' and 'correcting' your work takes 'extra steps' or maybe is just 'bad'. You dont want that. Im not an expose right zealot. I get there are multiple reasons to allow 'headroom' from the sun coming out during an interview to walking shots. Also you do not need to protect every highlight, you could blow halogen spots in a kitchen.. or a whole snow scape if that is the look you want :)
Yep. Agree with ya!
thank u!!
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Amazing, what camera and lens were you using :)
Thanks! Alexa mini LF and 28mm + 135mm Contax zeiss lenses.
This is great! But now I’m wondering how you get the color chart shot to the colorist in post when the editing is done 🤔
You would send them a correction LUT, or just send them frames of the chart!
Thanks Blaine! I assume the same principals apply to the passport video color checker?
Yes!
@@BlaineWestropp1 I thought so! I’m having some trouble though. Should I be doing the color checker on the log image then applying a CST and/or LUT?
Yes. I find nice results when doing it on the log image and making the outputs still be log. Just like I showed in the video!
@@BlaineWestropp1 thanks dude! I appreciate the response.
Do we choose the same source, target and color space options that you did in this video? Or do we choose them based on the camera that we use? @3:21
choose based on camera used!
Subscribed! Would've loved to know a little more about how u used a still to compare as a newbie but otherwise I learnt alone about exposure
thank you! on any clip or frame in the color page.. you can hit command+shift+G and it will add a still to the gallery. then you can go to any other clip and click command+W and it will show that still with a wipeable vertical line. you can also have the line horizontal, angled, and a couple other ways to show a reference still. let me know if you need further assistance in making it work.. happy to help!
@BlaineWestropp1 thank you so much for taking the time to explain! Just moved from photography and video into cinematography with my s5ii and I messed up big time exposing v-log on my first attempt at a short film. All this will help me alot in practicing for trial run numero 2
All part of the process :) do you have external monitor?
@@BlaineWestropp1 i do but it seems to be brighter than the true footage. I relied on it used a preloaded lut to see what it would look like but it turned out not accurate, ill use false colors next time to ensure it's accurate. (monitor i have is the osee t5+)
May just need to turn down the brightness of the monitor!
Hi Blaine, do you think this is a workflow used in Movie or documentary colorgrade ? The colorgrade studio receive the movie already edited so how could they use the colorchecker board ?
Hey there are 2 ways it can be used on movies. 1) they use it in testing and build their looks, and those looks get applied in color. Or, they can just send the shots to color. More often it is option number 1. Or they could have a few scenes that they use the chart for and sent it to color. The chart really helps when you are in scenarios where there are some elements you can’t control, as well as for scenes/commercials where you really need accurate colors as a starting point.
Any other budget small size color checker you’d recommend.
Any one that is included in davinci resolve does the trick. I try to go for the one with the most colors/shades of white black grey. There is a mini passport version of the one I show in this video that will effectively be the same. Larger is sometimes better as the camera is sometimes further away from the light, but if you get a mini you can just put the checker in the light, bring the camera closer to the chart, get the frame, and you’re good and it’ll do the same exact thing as a larger one!
Is this card specifically for video? I'm wondering if it works with photography too cause i want to get a good grey/color card.
There are a multitude of different checkers. This one does have “video” in the name but they make checkers for stills. I always go for the one the has the most colors/patches and one that can work in the software I want to use. You can also use them manually but nice to have built in software options.
Great tip! But I often (a) forget to pack this colour chart and (b) when I have it on set I’m so wired I forget to use it!!
Yep I 100% feel ya.
Are you shooting on an alexa for TH-cam? 😂 i mean awesome! Finally someone makes up a fight against MKBHD who is shooting on a RED for years
Haha now all I need is a collab with mkbhd!
This headshot of yours - what contax zeiss lens are you using? Also does it cover Alexa's LF without vignetting? Would like to have the same lenses for Komodo and GFX so they should cover at least 33x44 :)
Hi. The lens is a 28mm f2.8 contax zeiss!
@@BlaineWestropp1 thank you, great rendering they have. I see you having 100k subs in no time. BTW. You have some Ben Affleck vibe ;))
Hahah thank you! I need that TH-cam plaque so I can parade it around town. I do get the occasional Ben affeck comment 😂
Congrats to those of you who have become proficient at using Davinci. I'm not one of them and will stick with Premiere. I did learn from this video though.
I still use premiere to edit, but color in resolve is the way.
might have to switch to DaVinci just so I can apply Blaines knowledge to my videos
you dont need to switch to it... but you should most definitely use it for any color work! free download.
The side used for white balance, can that be used for exposure too? Or is that diff from middle grey
I’m 90% sure it’s brighter than middle grey and used for white balance. I’m not sure how different it is but let me take a look in a little.
do you think this is worth buying for narrative films, since usually they are color graded after being color corrected
Yes I think it’s worth it!
Hey, how accurate is color matching in DaVinci if the workflow is in HDR rec2020 and not SDR rec709?
Should be equally useful regardless of final delivery. It’s kind of like the white balance picker in resolve, it just looks at more colors!
idk how but everytime you show off a tool like this I'm like, "why have I never tried to use one of those?!" and then I usually end up buying one lol
hahah man I dont know why I havent been using this that much. I went many years without using it ever, then just the other day randomly put it in front of the camera and was like whoa.. I forgot about this little secret
@@BlaineWestropp1 it’s like so simple but so handy 🤷🏼♂️ guess I gotta order one now
So simple.
the contax lenses are the best man
I love them
Use them on my FX9 a ton, they are so clean @@BlaineWestropp1
👌👌 I need to expand my collection
@@BlaineWestropp1 me and my buddy got 21, 28, 35, 50, 85, 100 if you ever wanna try em
Ooo nice! I want that 21! Where are ya based? NYC?
Cute dog !
Trying to get him more screen time.
Would you use it the same if one of your clips was indoors and the other outdoors?
Yes! I’d put the checker in both scenes. You don’t have to use the checker for every scene and I don’t really use it outside much, but you definitely can.
@@BlaineWestropp1 I'm on a budget and I saw that it's about 90 dollars. Is it worth the 90 dollars for a budget or is there another one you would recommend?
Any of them will work. You could get the mini. $90 is pretty good though, I got mine for like $130 😭
This might be a silly question but how does this work in an environment where the light isn’t meant to appear white on camera? Like night time or tungsten. I’m having difficulty understanding how to get an accurate balance of colors when naturally many color temperatures would cause colors to shift by default.
hey! while you do not need to use the color checker for every scenario (I dont use it every day, but it helps tremendously in the scene in this video where I am sitting on the couch by the window, and any scenario where you want white to be white), you can utilize the color checker without using the built in color checker feature in resolve. the checker will show you a reference for exposure, skin tones, and colors that you can handle in a variety of different ways. you could just use it for exposure only and manually adjust exposure to middle grey. you can view the vector scope to see where RGB and CMY fall, and manually tune so that when you want a warm image for example, you have that reference to dial it in more specifically, while still keeping it warm. specifically one thing you can do is white balance with the offset, new node, get your hues right, then turn off the offset node. also you could use the color temp feature within the color checker panel (despite it not really being designed to this this, it still works). you can also use it to balance everything, then warm it after that balance many different ways to tackle it, and it is not needed for every single shot/scene. hope this makes sense!
Would using the color and grey card be the same as using it on film? Im doing a shoot in a few weeks on 16mm film and I was wondering if putting the grey card and color chart be a good thing to do as the camera is rolling.
Yes color chart very good for film. I use a light meter to expose film, and toss a color chart in on first roll.
Also.. that’s dope you have a project coming up on 16mm! Love it. Hope it goes well.
Sweet jesus thank you
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ROAR! No speak into lapel mic. Nek Minut.....lolololol xoxox
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subscribed
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hi sir. iam noob can you please explain what u mean there is a look on the timeline underneath colors accurate ? u mean lut applied ?
Hi! On the timeline, above the area we are looking at, is a LUT. The exposure changes I was showing happen below (before) that! Does that make sense?
@@BlaineWestropp1 sorry im not able to grasp it, if u dnt mind can you explain further
Was that EL Zone false color or Arri's?
arri!
I'd liek to know how to do it by adjusting the cameras colors, how do you do that? So I don't have to do the post?
Which camera?
@@BlaineWestropp1 Well I've got a Panasonic BHG1 and then a nikon d850E which I'm matching colors for
And when you have more than one color temperature, does it also make sense ?
Yes!
can i do this with the small passport COLOR CHECKER in davinci ?
Yep!
I think…
thank you for this, but honestly i feel its too much to do on a pay gig, I get flustered, my goal is to do most of the corrections on camera for faster post work, and i also feel like im doing to much if am in fron of someone that is faster and more experience, if anyone knows a faster way, would love to hear it, i own a expodisc, i bought a vintage minolta color meter and i even downloaded the cine meter II app and bought a spare diffusion dome...I guess i need to get a colorchecker
All you need to do is get a single frame of the color chart. You can definitely make this happen on any shoot. Just stick it in front of the camera for less than a second before you’re ready to roll! It’s not needed for every single shoot or every single scene though!
@@BlaineWestropp1 got it, what you recommend more specifically to run and gun situations where is almost guessing and hoping for the best, lately ive helped experience videographers in private events like sweet 16s, music videos and clubs, they pretty much winging it or they go with what they know, I leave clueless
Can you clarify what you mean when you say what do you recommend? A lot of this just comes with experience. You do one shoot, you learn a little. Repeat. Gain knowledge, learn what works and what doesn’t work. Takes time but you will start to notice things coming together and your skills getting sharper :)
@@BlaineWestropp1 sorry im not trying to be difficult, I guess what I meant is, what would you do in a run and gun situation which you didnt have the colorchecker as above yet still have great colors and exposure...I'm fairly new and trying to learn fast
Oh I gotcha! And don’t apologize you’re not being difficult at all. For run and gun like an event, you don’t need to use it. Everything the color checker does you can do manually, it just makes it much faster. If you’re shooting all day in a studio with only a few lighting setups, use the color checker. Or on a movie where you’re in one location all day, use it. Or for interviews. For run and gun all over the place, I’d just set white balance quickly and get to rolling then try and make the footage look good in post. You can do a custom white balance on a piece of paper or anything white and you should be good to go. Alternatively you could set your white balance to 5600 if you’re outside. Inside you could do somewhere between 3200 and 4200, but only if the lighting is warmer. Some interiors have cooler LED lights and you may be around 4800. You can move around the white balance until the image on the screen looks good to you and you should get to a good starting point. Hope that makes sense.
you do not need to shoot in slog when using color checker?
I would always shoot in log. You can use this for any type of gamma though. Some may require manual adjustment in the color grade.
@@BlaineWestropp1 thanks, still learning and struggling with slog shooting, thanks for the videos
Resolve noob here. The issue I have with charts is my edit removes them all. How do you keep it organized in a project that’s not test shots and such. Thanks from a n00b
Great question. I’d make a timeline with the chart shots organized and labeled. Or I’d hide them under the scenes in the edit. The organization starts on set for sure. Gets Gm hard when you do some scenes and forget to shoot the chart 😭
I'm sorry but the color match feature on resolve is famously broken. There's a bunch of posts on BM's forums and Reddit talking about this. It might help if you're lucky but it usually doesn't. You *can* use a color chart (especially the X-Rite ones) and manually use the hue-hue curves to get accurate colors but the automatic color match feature is def broken.
Not in the way that this video shows. Additionally, the built in feature is only one of an immense amount of ways to use a color checker in post!
@@BlaineWestropp1agree on the usefulness of color charts in general but using basically the same workflow you use and the color match feature you used around 3:30 gave me (sometimes wild) inaccurate colors. Tested from it with slog 3 and vlog footage, using a datacolor spyder chart and an xrite passport video. I thought I was crazy until I looked it up online.
Unless davinci fixed it in the last 6 months or so, I won't call it accurate in all situations, even using your workflow.
I’m not positive but I think davinci made some fixes. Also it is important to keep the targets the same as what the footage was shot in. Targeting rec709 doesn’t work.
When you're purposefully overexposing how do you make sure nothing is clipping? Does your false colour apply to the -2stop lut or the underlying image??
should be able to see clipping in the waveform/histogram, some cameras also have a "peaking" feature to visualize clipping highlights/shadows
when I overexpose like this I have the false color look at the log image. so on monitor im looking at whatever I want in terms of look/lut, then I hit FC and it shows me what the log is doing. this is the way when you want to overexpose and drop it down in post.
Yes! thank you for the response@@BlaineWestropp1 , you totally understood my question, I've been having difficulty getting advice on this. Thanks mate
thanks @nightsbeatswitchgood , but do these features normally take their reading off the lut or the underlying image
Depends on the camera/monitor, how you set up the SDI feed (if using exposure tools on monitor) and the camera. If you can’t use exposure tools on the lot imagine on your camera, but you can send a log image through SDI or HDMI you can do it on an external monitor like smallhd for example. I can help ya out if you need. Just let me know!
Do you have to use the white card for WB when shooting in the blue hour or golden hour?
No you don’t have to. WB can be anything you want, but setting it right in camera helps in certain scenarios.
@@BlaineWestropp1 What WB do you set when shooting in blue hour/gold hour?
@@BlaineWestropp1 I realize that indoors exposing WB using this method is a good idea. The same when shooting outdoors during the day. But, I want to understand how to best capture the colors I see during blue hour and golden hour
@timopiano 5600 and tune in post!
@@BlaineWestropp1 thank you!!
I always refused to use a colorchecker, since 10 minutes i really want a colorchecker 🤣
Hehe
What are your favourite LUTs to work on set with?
Hi! I typically just use the manufacturers standard Lut. Sometimes I will toggle an F1 Lut :)
@@BlaineWestropp1 thank you!
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Yes but keep in mind that this will work fine with a 444 16 Bit format. With 422 10 Bit this will cause trouble.
The footage I used this on was prores422 and it was fine.
@@BlaineWestropp1 Good to know. I try it with XAVC - I. I will see.
Also tested on fx3 footage and it is looking good.
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