Here is a simple way to look at it. When creating a master look, sometimes you don’t want it to change the exposure. To make sure of this you can place a manufacturers Lut on the grey scale, find the point at which the line does not move in the waveform. Then make sure your master look also doesn’t move that point. You are matching your look’s contrast pivot point to manufacturers Lut contrast pivot point. You of course don’t have to do any of this.. but it helps when grading a project with lot of clips. I can also post a link to a screen recording where I can show this in more detail if you want!
It's amazing how many colorists do not work this way. Thank you for your civic duty, public service announcement, and contribution to supporting good reality testing.
Incredible stuff! Expanding my mind in real time. I have been running into issues with my grades not looking the way I want between clips, and this pin points exactly why! Now to actually put it into practice on my own stuff!
Your workflow really opened up my mind, i'm doing kinda of what you are doing, but only using clips and barely using the timeline or groups. Your approach is super intuitive and makes a lot of sense, thanks so much for the video Blaine ! Cheers 🇧🇷
Hey thanks so much! Groups and timeline are super great tools. For longer projects if you have the right organization you can save literally weeks on certain projects.
I'm very happy to have found your channel, you are such a fantastic resource. Also stoked to be part of your discord community. Keep up the great work Blaine.
Thanks for this Blaine, that was really clear and gave me some ideas for how I could improve my workflow. I haven't been as careful with mapping my middle greys but from now on I will be!
Just like the guy below me, you go pretty fast. And I assimilate information much more quickly than the average person. You're a mad scientist, lol! Great content! My only advice would be to organize your thoughts into far less words, and slow down the delivery. Cheers, mate, you've earned a sub! Good stuff!
I appreciate you. I try and keep it quick, and I know sometimes it’s hard to follow, but most of this is just a reminder to myself when I need to look this stuff up in 6 months from now. But… I hear you 😇
@@BlaineWestropp1 May I suggest a simple addition to help out those of us less advanced in grading know-how, which is to simply state - in the video or description - any key concepts/functions or prior knowledge that might be pivotal in following the video's ideas? I understood the focus on middle gray, but probably being new to Davinci I was confused at which screens/functions you were flashing on and off... so of course I'll go figure that out now, but a few bullet point nudges in the description would be appreciated. Love the channel...
Thank you! And thank you for the advice. Noted. I will also have some longer, slower, more “here is everything single thing I am doing” videos coming July 1. These will not be posted to this TH-cam channel but they will be easy to find.
Amazing content. Love this channel. How do you find out all these tips and tricks? Is it discovering it yourself or are you homies with a colorist or something haha. Thanks!
Hey thank you! Started my career at a color house. Learned a lot there. Shifted to DP. Spend a lot of time in resolve for the last 12 years. Also occasionally still work in post on certain jobs!
Blowing my mind like always. Question if you apply ARRI Alexa Log C to slog 3 with the exact wb and expose as mini lf can it match 90% of ARRI shot? I know I keep asking similar types of questions but I believe the fx3 if it has A cam as reference then it would be difficult for majority of cinematographers to know it’s not ARRI.
I have a couple videos on this channel testing the 2 cameras. I can link them if you need. Alexa is a little brighter, with all settings matched, but you can match them up pretty nicely. I have a couple looks that get an fx3 to a better starting point. maybe I can share them soon.
@@BlaineWestropp1 thanks 🙏 Blaine, I have watch those two videos you made many times. I guess I just wanted reassurance again. You have blessed so many videographers and cinematographers with your real world experience. You are priceless asset to the TH-cam and discord community. I appreciate your time and response.
thank you for the video, one question : i was aware of the whole color gamma shift when exporting from Premiere, and i recently exported for the first time from Resolve and learned it has the same issue, what's your worklow with sequence gamma, render gamma, i fixed my issue with working and exporting on REC-709 A but would love to have your input on this
hey thanks. I edit and render in premiere, and color in resolve, on a Mac. so I look at both all the time. the premiere viewer is useless (though I love premiere), as it does not show an accurate image (I also never sought out a solution to this, as I color in resolve). in resolve, one of the million ways to set it up is to set your color science to YRGB, and timeline and output color space to 709A. then your render matches what you saw in resolve. let me know if you have further questions.
I shot, edited, and uploaded this entire thing in under 3 hours, so.. I am here to answer any questions you may have if I wasn't totally clear in the video :)
You literally solved a question I've had for several months, or even years, with this one. I couldn't understand what mid-grey and the term "preserving mid-grey" meant. I was grading a project and had the same thought-why one shot looked perfect with the color grading while another looked a little off. When I tried what you suggested in this video, every shot was on point; I just had to adjust the exposure. I have a doubt about the procedure in DaVinci Color Management while using Dehancer. It looks like mid-grey is a little off and I have to control or adjust it with print exposure-that's what I found as a solution. What is your take on it? Do you think Dehancer's workflow is not preserving the mid-grey? Or maybe I am wrong --- Let me know if you have a take on this and if possible a video would help others as well if it’s possible.
hey glad it is working for you! I shot, edited, and published this video in under 3 hours so I should clarified a few things. my take is that it is not as important to preserve mid grey, as it is to pick an anchor point, to revolve your master look around. on some cameras, like the Alexa it does help to have that anchor point at middle grey. since dehancer is giving you looks that are already designed, you do not need to worry about it too much. when you are creating your own looks, then it becomes more important to design them properly so that they can be versatile and work on a lot of footage. regarding dehancer, i am looking at it right now on Alexa footage and it is retaining middle grey. if it is not, you can put a node before your dehancer node, map the HDR wheels, and change the exposure until dehancer is retaining middle grey. then that exposure node is part of your master look. does this make sense?
Thank you! I had an MKE 400 on the table in front of me. Recorded to a zoom F2 lav recorder 😇 I’ve said it once I’ll say it again… 32 bit float is the GOAT
@@BlaineWestropp1 cool cool... People always talk about shotgun mics being poor choices for indoor recording in untreated spaces, but can't argue with your results. *32-bit float is everywhere now, but I heard it first from your F2 video 🙌
Haha the early days of this channel! I really dont know much about audio. Sometimes I think I will get a top quality mic, but not there yet. The MKE400 is totally great and affordable. But.. I only have it bc it was the only mic that the store down the street had at the time of needing a mic for TH-cam.
i have difficulty understanding the concept. I summarize, correct me if I'm wrong: The concept is to create a look in the Timeline nodes and make sure this look retains the middle grey. Then work on the clip level to adjust the individual clips according to the scene?!
Yes kind of. Where you place your master look depends on your project, but you can build a look and place it on the timeline, and depending on how complex your project is, it can be wise in certain scenarios to have your look not change the exposure. The way to determine that it is not changing exposure is by considering middle grey or the contrast pivot of a properly made manufacturers Lut, or a proper color space transform to rec709.
If you dropped this June 30 for Australians, you may gain a few extra purchases as June 30 is EOFY for us, and many are looking to make last minute purchases to reduce tax payables for the year... Aussies are special ;-)
I'm a bit confused because it jumped back and forward a bit. What node is where now and which is activated when. What. But feels like something super important to know, I'll come here again
basically when I am creating a master look for a project, I don't want it to shift middle grey point. you can test what your look is doing on a greyscale gradient map. I know it is slightly confusing. and also.. you dont HAVE to do any of this. it just makes grading an entire project with many clips much easier. happy to answer any questions
in the edit page of resolve, click effects (top left). in the toolbox, click generators. find the grey scale. drag to timeline. in the timeline, right click on it and then click new compound node 😎
The method of determining middle grey using a manufacturers 709 LUT and a grey ramp is not recommended. Middle grey for many BT.1886 intended transforms is not the same as middle grey for many intermediate log transfer functions. So you will actually see middle grey shift. Its still maintained, but mapped appropriately. One common target for SDR is 0.10 in display linear light (~38%) but they vary a bunch. To make the point obvious, try that method with ARRI's LogC4 to Gamma 2.4 LUT (middle grey of ~28% for LogC4). What works for you here is that "coincidentally" LogC3 middle grey is ~39% which is similar to ARRI's target for BT.1886. Another example is BMDFilm being 38.4% with the target for the Blackmagic Camera SDR display LUTs/transforms being ~41%.
yes for cameras that have vastly different 709 targets than log MGs you want to be careful. mostly just trying to hit the point that this is all in an effort to (sometimes) not change the exposure when creating a master look, to be in tune with what happened during capture, and to find an "anchor" in the master look dev, wherever that anchor may be. during capture you have a lut, a lot of times it is manufacturer lut, on the camera. so to get a sense of what was happening in capture, I find that it helps tremendously to have a master look that does similar things as what your show lut does on camera, and then under that you can correct the whole show. technically you can pick any point from 0-100 to be your anchor.
additionally, the manufacturer lut or the CST is just a way to see what a "proper" transform does and to find a place to anchor your look development to some point from 0-100. you can view where the gradient doesn't change, and then you anchor your looks to that, regardless of middle grey.
@@BlaineWestropp1 I agree with the premise of using a reference transform, but can I suggest an alternate method rather than checking where the slope doesn't change? Instead of a gradient ramp use the solid color tool in Resolve, edit the colour and go into the greyscale option and set brightness to 18% (I'm on Mac). Turn that into a compound clip then in colour page add a CST that transforms from Linear to the manufacturer log. Disable tonemapping and turn off any OOTF checkboxes that may come on. Now you have a nice horizontal line in the scopes for middle grey in the log transfer function. Grab a still of this and label. Then in the next node add the 709 LUT and again you have a new horizontal line on scopes for where middle grey is mapped to in the output transform. Grab a still and now you have a reference for the log function and output transform which will be useful anchors for many tasks, including building a look LUT. No external tools needed either. Hope that helps!
@CrossCory this was a joker1600/joleko. There were also white v flats pretty close to her. That + the joker being somewhat closer to her could make it feel a little softer.
I watched the video 5 times and understood the concept (I think). You basically want to adjust the exposure at the camera's middle gray point for every clip. Really cool way to do it. But I can't replicate the whole thing, especially, how you check if the middle gray is still on there or not, also the mapping HDR map completely lost me, you just clicked bunch of things haha. Do you have to use the HDR wheels to achieve this check? the shortcuts you used and things you clicked you didn't really tell us what exactly you clicked, so it's kinda hard to follow. It's not a beginner tip, I get that. I'm not a beginner user, still can't quite follow the steps 😆
hey! you do not need to adjust the exposure for every clip. the method is to simply make sure your master look is not changing exposure. a way to check this is by looking at middle grey, or the standard manufacturers 709 contrast pivot point. if your master look has the same pivot point, you are good. this does not NEED to be done but it can help certain projects. mapping the HDR wheels to your camera gamma and color space allows you to photographically adjust the exposure in post. this way the exposure changes pretty much the same as it would if you changed the exposure when shooting, so it is a good way to adjust exposure in post. let me know if you need further clarification. happy to assist!
Picker is very.. auto. Sometimes it’s great. Sometimes you may hit some noise and have it be off. Also, offset is good for when you just want to dial in a look that feels right, regardless of whether or not you want white to be white.
I'm not joking just 30 mins ago I was done developing my own film emulation powergrade/look for the next projects (I don't wanna buy one/dehancer is overrated 🤫) I was thinking about the mid gray of ACES with the rec.709 ODT, split toning using mid gray and general analysis of the signal. Then this video pops up 💀 oh boyyy am I glad!
in the edit page of resolve, click effects (top left). in the toolbox, click generators. find the grey scale. drag to timeline. in the timeline, right click on it and then click new compound node 😎
I should have shown this. It is within the effects in the edit page. Just drag to timeline and then compound it and it’ll show up in the color page (for some reason you have to compound it for it to work)
Often think color science is only talked about by camera TH-camrs who need to make content. When talking to someone who wants a wedding or clinets they never ask about color science. It's funny how TH-camrs spend 80% of what they do talking to the camera yet think they preach about colour grading and color science
@@BlaineWestropp1 in what industry? The youtube industry? There isn't a Oscar for best color grading. A film cab have really good colors but if its boring it will flop. If you do client work how often has your clinet ask you about color grading or how many have sent you back a video saying 'yeah it's good but can I get more color grading and please '. Any camera TH-camr who does a video about color grading is doing what I call 'cheap ' content. Doing a video due based on lacking a creative idea.
respectfully.. do you work in the film industry? i am asking because it is a major part of the post process. I currently work in the film industry. I am a DP. I started in post.. at a color house. all of the projects that I work on, literally every single one, go to color, and have a review/revision/approval process. I post tests and videos to TH-cam, including techniques I have picked up along the way. others who are in the industry, or trying to get into the industry go to TH-cam to learn/watch things. this is not a video on how to color grade your TH-cam videos, though you can use what is shown in this video for that if you wish. this is a video, on TH-cam, that shows a technique that you can use, or not, when color grading something that you want to look good, and not have a nightmare organizing. it is free knowledge for those that want it.
@@BlaineWestropp1 i have been on film sits and understand how to light a scene and what to use to show the mood of that scene. Since you DP you will know that every films often have soomeone who is does the color grading . That's on movies and films. Big production. Read through your comments you will see that some people will find what your saying confusing and complicated. There is so many color vidoes done on TH-cam preaching that's it's something every video needs to have to look good. When that's not the case. A film or music video can have the best colour science or colour grading but if the content isn't good then that film will be nothing. Colour isn't everything. Before colour there was black and white and some black a white films are outstanding not based on colour but the content of it. What's important is the content the story. You as a DP should know this.
I guess where my confusion falls is that I am in no way saying color is everything. I am even saying that you don’t even need to do what I am showing in this video, bc it is more advanced. I have a technique I use, I post about it on TH-cam. That’s all this is really. If I were a writer I may be posting videos about writing stories! for those that are confused in the comments.. I reply to all of them and help them understand and as you can see always mention that I am here to help if they need further clarification. just bc stories are important and B&W films existed doesn't mean that we can't discuss color on TH-cam!
I feel like I need to watch this 3 times to fully wrap my head around it 😂
Grab some popcorn
the same here 😍
Second watch and still not fully there
more like 5 here 🏎
Here is a simple way to look at it. When creating a master look, sometimes you don’t want it to change the exposure. To make sure of this you can place a manufacturers Lut on the grey scale, find the point at which the line does not move in the waveform. Then make sure your master look also doesn’t move that point. You are matching your look’s contrast pivot point to manufacturers Lut contrast pivot point. You of course don’t have to do any of this.. but it helps when grading a project with lot of clips. I can also post a link to a screen recording where I can show this in more detail if you want!
Changing lives one node at a time🙏🏻
😂😂 this is good.
Needs to be on a t-shirt
It's amazing how many colorists do not work this way. Thank you for your civic duty, public service announcement, and contribution to supporting good reality testing.
😊😊 thank you. More to come
i literally watch every video you post cuz i learn so much everytime😭🔥
Thank you :) more in the pipe 🤓
Incredible stuff! Expanding my mind in real time. I have been running into issues with my grades not looking the way I want between clips, and this pin points exactly why! Now to actually put it into practice on my own stuff!
thank you! hopefully it helps in your look making process :)
The more I watch your videos, the more I realize that I don’t know jack shit
😂😂 well… the more you know.. the more you know you don’t know.
The amount of stuff that I learned from you is amazing. Been subbed for awhile now, and I'm really glad I did. Keep up the great work Blaine
Thank you kindly ☺️
Your workflow really opened up my mind, i'm doing kinda of what you are doing, but only using clips and barely using the timeline or groups. Your approach is super intuitive and makes a lot of sense, thanks so much for the video Blaine ! Cheers 🇧🇷
Hey thanks so much! Groups and timeline are super great tools. For longer projects if you have the right organization you can save literally weeks on certain projects.
Great stuff as always. I saw a lot of things I already do and I learned something new. :) Keep up the great work!
thank you 😊
Thanks for sharing your colour grading process! So many great gems of knowledge.
thank you, more to come!
Loved the logic of this. I've thought about it before but didn't realise you could map it out so precisely. Thanks for this Blaine ✌
Thank you 😎
Just found your channel. Thank you for these amazing insights on your videos! Like my older brother I'm learning from 🙏 Thanks big bro!
☺️☺️ thanks so much. More to come!
I'm very happy to have found your channel, you are such a fantastic resource. Also stoked to be part of your discord community. Keep up the great work Blaine.
Hey thank you so much and thank you for being in the discord. It is a magical place and I’m happy that you are there. More to come 😊
Thanks for this Blaine, that was really clear and gave me some ideas for how I could improve my workflow. I haven't been as careful with mapping my middle greys but from now on I will be!
Thank ya! It’s not something that always has to be done, but it can help in the grading process!
Always a blast to learn new stuff even when i think there is nothing left to learn
hahah I know it. there are certain things I am positive I know everything about.. and then I learn a new thing and love it
I feel lucky to be a consistent viewer of your criminally under-viewed content haha. Can’t wait for f1 😮
thank you ☺️ grinding on F1 final admin right now. gonna be a long night!
@@BlaineWestropp1 Is it out yet? Excited for this one.
Amazing tips, as always super interesting content.
Thank you 😎
"Not all LUTS are created equal" with the face sent me 😂
Good stuff man good stuff. Congrats on the F1 launch!
😂😂 thank you Garrett
Always learning dude, well done.
Can't wait for F1
thank you Jon ❤️
I’ve only ever been used to “game changing” on TH-cam… Blaine bringing that life changing content. I’m here for it!
Hah! ☺️☺️
very informative....an extremely underrated channel in my opinion.
new to Davinci Resolve and this helps big time
Thank you 😇🫡
So stoked!!! Hoping it’ll work good with slog3 and gen5
It will!
That first sentence earned you an instant like! Haha love it, and before watching I already know this is gonna be a good one
Hahah thank you Steven!
I watched it and it did not disappoint. I’ll probably need to watch it again a couple times like another commenter said haha. Such good stuff man!
thank you! let me know if you have any questions :)
Doing the Colour Lords work. Thank you!
😇🫡
Just like the guy below me, you go pretty fast. And I assimilate information much more quickly than the average person. You're a mad scientist, lol! Great content! My only advice would be to organize your thoughts into far less words, and slow down the delivery. Cheers, mate, you've earned a sub! Good stuff!
I appreciate you. I try and keep it quick, and I know sometimes it’s hard to follow, but most of this is just a reminder to myself when I need to look this stuff up in 6 months from now. But… I hear you 😇
@@BlaineWestropp1 May I suggest a simple addition to help out those of us less advanced in grading know-how, which is to simply state - in the video or description - any key concepts/functions or prior knowledge that might be pivotal in following the video's ideas? I understood the focus on middle gray, but probably being new to Davinci I was confused at which screens/functions you were flashing on and off... so of course I'll go figure that out now, but a few bullet point nudges in the description would be appreciated. Love the channel...
Thank you! And thank you for the advice. Noted. I will also have some longer, slower, more “here is everything single thing I am doing” videos coming July 1. These will not be posted to this TH-cam channel but they will be easy to find.
May I ask what lens do you use for this video. I really like this look.
Hey! Do you mean for the shots of me talking? That was an atlas mercury 36mm. My new fav.
Amazing content. Love this channel. How do you find out all these tips and tricks? Is it discovering it yourself or are you homies with a colorist or something haha. Thanks!
Hey thank you! Started my career at a color house. Learned a lot there. Shifted to DP. Spend a lot of time in resolve for the last 12 years. Also occasionally still work in post on certain jobs!
Cool vid bro, what lens were you using on the a-roll? Are you shooting this all on the alexa as well?
Thank you! That was an atlas mercury 36mm. I did shoot this and most on the Alexa
Blowing my mind like always. Question if you apply ARRI Alexa Log C to slog 3 with the exact wb and expose as mini lf can it match 90% of ARRI shot? I know I keep asking similar types of questions but I believe the fx3 if it has A cam as reference then it would be difficult for majority of cinematographers to know it’s not ARRI.
I have a couple videos on this channel testing the 2 cameras. I can link them if you need. Alexa is a little brighter, with all settings matched, but you can match them up pretty nicely. I have a couple looks that get an fx3 to a better starting point. maybe I can share them soon.
@@BlaineWestropp1 thanks 🙏 Blaine, I have watch those two videos you made many times. I guess I just wanted reassurance again. You have blessed so many videographers and cinematographers with your real world experience. You are priceless asset to the TH-cam and discord community. I appreciate your time and response.
hey thank you so much. more to come... :)
thank you for the video, one question : i was aware of the whole color gamma shift when exporting from Premiere, and i recently exported for the first time from Resolve and learned it has the same issue, what's your worklow with sequence gamma, render gamma, i fixed my issue with working and exporting on REC-709 A but would love to have your input on this
hey thanks. I edit and render in premiere, and color in resolve, on a Mac. so I look at both all the time. the premiere viewer is useless (though I love premiere), as it does not show an accurate image (I also never sought out a solution to this, as I color in resolve). in resolve, one of the million ways to set it up is to set your color science to YRGB, and timeline and output color space to 709A. then your render matches what you saw in resolve. let me know if you have further questions.
When are you dropping WSTRPP Hair Tutorial?
HAH! That’s phase 2 of my YT channel. Soon to come.
I've watched this once and feel confused, getting some popcorn to wrap my head around this haha
I shot, edited, and uploaded this entire thing in under 3 hours, so.. I am here to answer any questions you may have if I wasn't totally clear in the video :)
This was very helpful Blaine! July 1st marked on the calendar 🔥🫡
Thank you 🎉🎉
You literally solved a question I've had for several months, or even years, with this one. I couldn't understand what mid-grey and the term "preserving mid-grey" meant. I was grading a project and had the same thought-why one shot looked perfect with the color grading while another looked a little off. When I tried what you suggested in this video, every shot was on point; I just had to adjust the exposure.
I have a doubt about the procedure in DaVinci Color Management while using Dehancer. It looks like mid-grey is a little off and I have to control or adjust it with print exposure-that's what I found as a solution. What is your take on it? Do you think Dehancer's workflow is not preserving the mid-grey? Or maybe I am wrong
---
Let me know if you have a take on this and if possible a video would help others as well if it’s possible.
hey glad it is working for you! I shot, edited, and published this video in under 3 hours so I should clarified a few things. my take is that it is not as important to preserve mid grey, as it is to pick an anchor point, to revolve your master look around. on some cameras, like the Alexa it does help to have that anchor point at middle grey. since dehancer is giving you looks that are already designed, you do not need to worry about it too much. when you are creating your own looks, then it becomes more important to design them properly so that they can be versatile and work on a lot of footage. regarding dehancer, i am looking at it right now on Alexa footage and it is retaining middle grey. if it is not, you can put a node before your dehancer node, map the HDR wheels, and change the exposure until dehancer is retaining middle grey. then that exposure node is part of your master look. does this make sense?
What is the F1? lut?
Great.
thank you :)
Super helpful thanks man
thank you! more to come :)
What's your audio situation in this video? Sounds great
Thank you! I had an MKE 400 on the table in front of me. Recorded to a zoom F2 lav recorder 😇 I’ve said it once I’ll say it again… 32 bit float is the GOAT
@@BlaineWestropp1 cool cool... People always talk about shotgun mics being poor choices for indoor recording in untreated spaces, but can't argue with your results. *32-bit float is everywhere now, but I heard it first from your F2 video 🙌
Haha the early days of this channel! I really dont know much about audio. Sometimes I think I will get a top quality mic, but not there yet. The MKE400 is totally great and affordable. But.. I only have it bc it was the only mic that the store down the street had at the time of needing a mic for TH-cam.
Sorry, was distracted by the pup. Missed the instructions.
They can’t not go on the couch when I roll 😂
thank you
🫡
i have difficulty understanding the concept. I summarize, correct me if I'm wrong: The concept is to create a look in the Timeline nodes and make sure this look retains the middle grey. Then work on the clip level to adjust the individual clips according to the scene?!
Yes kind of. Where you place your master look depends on your project, but you can build a look and place it on the timeline, and depending on how complex your project is, it can be wise in certain scenarios to have your look not change the exposure. The way to determine that it is not changing exposure is by considering middle grey or the contrast pivot of a properly made manufacturers Lut, or a proper color space transform to rec709.
The second look reminds me of the good old James bond style of grading.
ill take it! love the second look. I may start pushing contrast more!
@@BlaineWestropp1 ye I dig it. Your explanations are insane.
If you dropped this June 30 for Australians, you may gain a few extra purchases as June 30 is EOFY for us, and many are looking to make last minute purchases to reduce tax payables for the year... Aussies are special ;-)
let me see what I can do lol
❤🔥
❤️❤️
July 1 !!!
lfg!
I'm a bit confused because it jumped back and forward a bit. What node is where now and which is activated when. What. But feels like something super important to know, I'll come here again
basically when I am creating a master look for a project, I don't want it to shift middle grey point. you can test what your look is doing on a greyscale gradient map. I know it is slightly confusing. and also.. you dont HAVE to do any of this. it just makes grading an entire project with many clips much easier. happy to answer any questions
How do you pull this grayscale (gradient ramp) image? Looking forward to 1/7.
in the edit page of resolve, click effects (top left). in the toolbox, click generators. find the grey scale. drag to timeline. in the timeline, right click on it and then click new compound node 😎
@@BlaineWestropp1 You rock man, thanks a lot. I was looking in the color page and only found "color generator".
@@lulumink0 🫡
Brother you are precius 🙏
😇☺️🫡
The method of determining middle grey using a manufacturers 709 LUT and a grey ramp is not recommended. Middle grey for many BT.1886 intended transforms is not the same as middle grey for many intermediate log transfer functions. So you will actually see middle grey shift. Its still maintained, but mapped appropriately. One common target for SDR is 0.10 in display linear light (~38%) but they vary a bunch. To make the point obvious, try that method with ARRI's LogC4 to Gamma 2.4 LUT (middle grey of ~28% for LogC4). What works for you here is that "coincidentally" LogC3 middle grey is ~39% which is similar to ARRI's target for BT.1886. Another example is BMDFilm being 38.4% with the target for the Blackmagic Camera SDR display LUTs/transforms being ~41%.
yes for cameras that have vastly different 709 targets than log MGs you want to be careful. mostly just trying to hit the point that this is all in an effort to (sometimes) not change the exposure when creating a master look, to be in tune with what happened during capture, and to find an "anchor" in the master look dev, wherever that anchor may be. during capture you have a lut, a lot of times it is manufacturer lut, on the camera. so to get a sense of what was happening in capture, I find that it helps tremendously to have a master look that does similar things as what your show lut does on camera, and then under that you can correct the whole show. technically you can pick any point from 0-100 to be your anchor.
additionally, the manufacturer lut or the CST is just a way to see what a "proper" transform does and to find a place to anchor your look development to some point from 0-100. you can view where the gradient doesn't change, and then you anchor your looks to that, regardless of middle grey.
@@BlaineWestropp1 I agree with the premise of using a reference transform, but can I suggest an alternate method rather than checking where the slope doesn't change? Instead of a gradient ramp use the solid color tool in Resolve, edit the colour and go into the greyscale option and set brightness to 18% (I'm on Mac). Turn that into a compound clip then in colour page add a CST that transforms from Linear to the manufacturer log. Disable tonemapping and turn off any OOTF checkboxes that may come on. Now you have a nice horizontal line in the scopes for middle grey in the log transfer function. Grab a still of this and label. Then in the next node add the 709 LUT and again you have a new horizontal line on scopes for where middle grey is mapped to in the output transform. Grab a still and now you have a reference for the log function and output transform which will be useful anchors for many tasks, including building a look LUT. No external tools needed either. Hope that helps!
I say this more for the benefit of your viewers/followers FYI. Perhaps another video could show this alternate method?
I'ma take some time today to watch this until It's second nature to me. :) Let us pre-order F1 sir.
😊😊 pre order… would love to but have to wait until July 1 :)
Love the lighting on the girl with white backdrop
Same! That was near when I entered my hard light phase.
@@BlaineWestropp1how did you light her? Is it the same as your other video with a 300d? Looks subtly diffuser but not much.
@CrossCory this was a joker1600/joleko. There were also white v flats pretty close to her. That + the joker being somewhat closer to her could make it feel a little softer.
I watched the video 5 times and understood the concept (I think). You basically want to adjust the exposure at the camera's middle gray point for every clip. Really cool way to do it. But I can't replicate the whole thing, especially, how you check if the middle gray is still on there or not, also the mapping HDR map completely lost me, you just clicked bunch of things haha. Do you have to use the HDR wheels to achieve this check? the shortcuts you used and things you clicked you didn't really tell us what exactly you clicked, so it's kinda hard to follow. It's not a beginner tip, I get that. I'm not a beginner user, still can't quite follow the steps 😆
hey! you do not need to adjust the exposure for every clip. the method is to simply make sure your master look is not changing exposure. a way to check this is by looking at middle grey, or the standard manufacturers 709 contrast pivot point. if your master look has the same pivot point, you are good. this does not NEED to be done but it can help certain projects. mapping the HDR wheels to your camera gamma and color space allows you to photographically adjust the exposure in post. this way the exposure changes pretty much the same as it would if you changed the exposure when shooting, so it is a good way to adjust exposure in post. let me know if you need further clarification. happy to assist!
@@BlaineWestropp1 You are so helpful Blaine! Love your content. I understood it now! Looking forward to 1/7 :) Thank you!
yay! thank you! let me know if you have any further questions :)
bookmarking this video for when i actually learn how to use davinci haha just made the switch 2 days ago
:)
why wb with the offset vs the picker? is there a time your recommend using one over the other?
Picker is very.. auto. Sometimes it’s great. Sometimes you may hit some noise and have it be off. Also, offset is good for when you just want to dial in a look that feels right, regardless of whether or not you want white to be white.
@@BlaineWestropp1 appreciate you!
🫡
I was wondering if you are actually an very skilled engineer 😊
😎👽
I'm not joking just 30 mins ago I was done developing my own film emulation powergrade/look for the next projects (I don't wanna buy one/dehancer is overrated 🤫)
I was thinking about the mid gray of ACES with the rec.709 ODT, split toning using mid gray and general analysis of the signal.
Then this video pops up 💀 oh boyyy am I glad!
Hehe 🫡 let me know when it’s done. I bought every look/Lut online I’m ready for another 😂
@@BlaineWestropp1 Where can I get your email? I can send it for you to test and if possible I'd love some feedback
Where can I send it? You'd be a good fit to try it out and give some feedback
Westropp.YT at gmail dot com
@@BlaineWestropp1 just sent the drive link to you
Haaaa F1 ❤❤❤❤❤
😇
You should start a course and I’m someone who has never bought a course lol
July 1 something special happens :)
🏎️🏎️🏎️🏎️🏎️🏎️
😉
360p. Im early.
proud of you
blaine > film school
hehe
how you add the gradient map?
in the edit page of resolve, click effects (top left). in the toolbox, click generators. find the grey scale. drag to timeline. in the timeline, right click on it and then click new compound node 😎
@@BlaineWestropp1 thanks!❤️
🫡
What's happening July 1 Blaine? What is F1?
The LUT to beat all LUTs
@@cleverghostchili Oh that sounds sexy...
We shall see 😇
@@cleverghostchili Oh well that sounds sexy...
GH8 announcement.
3:10 can we have the gradient ramp file
I should have shown this. It is within the effects in the edit page. Just drag to timeline and then compound it and it’ll show up in the color page (for some reason you have to compound it for it to work)
I feel like a groupie commenting on every video. but the pivot tip is great!
hahah keep them coming 😇
Often think color science is only talked about by camera TH-camrs who need to make content. When talking to someone who wants a wedding or clinets they never ask about color science. It's funny how TH-camrs spend 80% of what they do talking to the camera yet think they preach about colour grading and color science
I’m confused. Color grading is a significant industry, and a significant part of the post process lol.
@@BlaineWestropp1 in what industry? The youtube industry? There isn't a Oscar for best color grading. A film cab have really good colors but if its boring it will flop. If you do client work how often has your clinet ask you about color grading or how many have sent you back a video saying 'yeah it's good but can I get more color grading and please '. Any camera TH-camr who does a video about color grading is doing what I call 'cheap ' content. Doing a video due based on lacking a creative idea.
respectfully.. do you work in the film industry? i am asking because it is a major part of the post process. I currently work in the film industry. I am a DP. I started in post.. at a color house. all of the projects that I work on, literally every single one, go to color, and have a review/revision/approval process. I post tests and videos to TH-cam, including techniques I have picked up along the way. others who are in the industry, or trying to get into the industry go to TH-cam to learn/watch things. this is not a video on how to color grade your TH-cam videos, though you can use what is shown in this video for that if you wish. this is a video, on TH-cam, that shows a technique that you can use, or not, when color grading something that you want to look good, and not have a nightmare organizing. it is free knowledge for those that want it.
@@BlaineWestropp1 i have been on film sits and understand how to light a scene and what to use to show the mood of that scene. Since you DP you will know that every films often have soomeone who is does the color grading . That's on movies and films. Big production. Read through your comments you will see that some people will find what your saying confusing and complicated. There is so many color vidoes done on TH-cam preaching that's it's something every video needs to have to look good. When that's not the case. A film or music video can have the best colour science or colour grading but if the content isn't good then that film will be nothing. Colour isn't everything. Before colour there was black and white and some black a white films are outstanding not based on colour but the content of it. What's important is the content the story. You as a DP should know this.
I guess where my confusion falls is that I am in no way saying color is everything. I am even saying that you don’t even need to do what I am showing in this video, bc it is more advanced. I have a technique I use, I post about it on TH-cam. That’s all this is really. If I were a writer I may be posting videos about writing stories! for those that are confused in the comments.. I reply to all of them and help them understand and as you can see always mention that I am here to help if they need further clarification. just bc stories are important and B&W films existed doesn't mean that we can't discuss color on TH-cam!