@@EdProsser I followed it quite easily tho. Not many people have the Lumix S5 and do a subtle but purposeful grading like you. You're actually the one who influenced me to get my own S5. All the best for your future work!
Really excited for this series. Thank you for sharing your tips and for your partner who is clearly very patient! Looking forward to your resolve workflow.
Haha, she is, I'm very lucky. Yeah I'm keen to do a range of stuff including workflows without any third party plug ins or LUTs. When grading in FCPX it's usually faster turn around stuff so rely more on quick processes.
This was super helpful! You don't see too many videos on v-log and fcpx, so I really really appreciate it. Definitely trying some of this in my workflow.
This is the best Vlog grading walkthrough I’ve found on youtube. I’ve been wasting so much time drawing a mask on faces for skin tones. Colour mask has been sitting there the whole time and I didn’t know😂
It's a GREAT cam isn't it! I think where the Komodo comes into its own is in the flexibility in post. Also the S5 needs a fair bit of manipulation to get it here, but the fact that you can is a testament to the little thing!
My pleasure - I think I'll learn a lot from making these - they're already making me tidy up my chaotic grading work flows so that I can teach something useful 😂
great tutorial.. I have a question though. Why did not you use Vectorscope for the skin tone confirmation. Don't get me wrong. It looks fabulous. But just to confirm. Please reply..
Great tutorial. Your s5 clips made me purchase the camera yet in struggling with white balance. Do you have any rules of thunb or favorite K values for shots like this one and the ones outside? Would be really helpful, thanks
The next two eps will cover Davinci workflows! I'm gonna do my best to get one out next week before I finish for the Xmas break... Finger crossed I can squeeze in in
Honestly I don't really use zebras, but yes would usually expose a little to the right, just eyeballing where shadows / highlights are and just checking skin tones are looking good
Hi watching this for like the 10th time lol I bought the kino luts and where you explain that the kino luts crushes the image, that is because you have selected the log version of the lut which includes a rec709 conversion. The nicest709 lut is your conversion and then added a second conversions causes to image to crush. I tested both versions of the kino luts and the non log version of the luts works like anything else. I know you switched to DR but maybe it's helpful to other fcp users. Now continuing the video lol Thanks man!!
Hey Chris yes you are absolutely right it does come in two flavours and I don't really explain it here, but I always preferred working with the LOG version and dialing it back as it was more aggressive, that's just the weird process I ended up with when working with this LUT
@@EdProsser yeah I am playing around with both and also with the new updated filmconvert I can dial in vibrancy and saturation apart from film color and luma. Can get grungy really quick lol the luts play well. Defintely worth the $20 for sure!
@@ChrisFlores22 I haven't used FilmConvert for ages but have seen they've updated with halation recently. Keen to give it another spin. I have been testing out Dehancer recently, honestly I'm not in love with it, I prefer the control of dialing stuff in with nodes in resolve... But I need more time with it.
@@EdProsser dehancer v2 is more click and go from the presets but you still can go in and dial it to your hearts content. Dehancer Is great but with the new update to film convert it just runs smoother on my Mac than dehancer so it makes sense to use it more often than dehancer.
@@EdProsser bro so far not regretting the eva1 lol I’ve shot 2 projects on it and I can see how the colors are just richer idk how to describe it. Like the image is heavy compared to my experience with the s1h & gh6. Gonna do a side by side soon to make sure it’s not my head telling me so lol
I am mostly working in Resolve - so will often use a CST node, or I'm really liking the Phantom LUTs. Generally I use the FilmVision Powergrade from Serr (google it) - this has a CST that converts to an ArriLog colour space and then applies his LUT at the end - that's for more grungey film emulation stuff!
@@EdProsser I’ve been using cinematch to convert vlog to Arri and then use arri conversion lut. Looks great but sometimes I want my s1h/gh6 to look like the Varicam. (I like it more for skin tones 🤷🏻♂️) that’s where I struggle because I’m still on the hunt for a proper conversion. Thanks 🙏🏻
@@EdProsser phantom luts are great but they turn footage to emulate arri. I Can do that with cinematch. Just want a solid rec709 conversion lut for vlog lol most luts out there make the reds look orange meaning it didn’t bring vlog into a proper rec709 space.
thanks for sharing! There are many different opinions about where to put the correction in FCP before or after Correction LUT - Most poeple say you have to put the LUT in the end (thats how you do it in DaVinci - the LUT at the right side and the other nodes on the left side) but in FCP I often prefer the results when I put the LUT first and do the fine tuning corrections "under" the LUT. You do some corrections above and some under the LUTs - what is your rule for this?
It's a good question, I definitely don't have any hard rules. Generally I'd do corrections before 709 conversion as you're working in the log colour space. Then I'd do the creative treatment... If you're using a LUT or Film convert as part of your creative treatment then that will depend where it goes, most creative LUTS are calibrated for a REC.709 image so makes sense to use those after and then maybe a layer to tweak them. If you're doing you're whole creative grade manually it may be better to apply your Rec709 LUT right at the end.
Best video I've seen so far, thank you very much, helps a lot!
Ah I'm glad to hear that!
Have been waiting for this!
Hope it's useful, still learning how to do tutorials, esp. as my grading in FCPX isn't always very organised!
@@EdProsser I followed it quite easily tho. Not many people have the Lumix S5 and do a subtle but purposeful grading like you. You're actually the one who influenced me to get my own S5. All the best for your future work!
Ah that's nice to know, I hope you have fun with it!
Really excited for this series. Thank you for sharing your tips and for your partner who is clearly very patient! Looking forward to your resolve workflow.
Haha, she is, I'm very lucky. Yeah I'm keen to do a range of stuff including workflows without any third party plug ins or LUTs. When grading in FCPX it's usually faster turn around stuff so rely more on quick processes.
This was super helpful! You don't see too many videos on v-log and fcpx, so I really really appreciate it. Definitely trying some of this in my workflow.
No problem! Resolve is definitely where it's at! But I only moved over at the end of last year, so still grade faster turn around projects in FCPX.
Amazing tutorial
Hope it's helpful, will be more to come...
This is the best Vlog grading walkthrough I’ve found on youtube. I’ve been wasting so much time drawing a mask on faces for skin tones.
Colour mask has been sitting there the whole time and I didn’t know😂
Thanks Curtis! Yes I remember when they finally added that tool to FCPX - it was great! There will be more tutorials to follow!
This looks as good as the Red footage you posted before. The Lumix S5 is a beast.
It's a GREAT cam isn't it! I think where the Komodo comes into its own is in the flexibility in post. Also the S5 needs a fair bit of manipulation to get it here, but the fact that you can is a testament to the little thing!
Thank you for making this!
My pleasure - I think I'll learn a lot from making these - they're already making me tidy up my chaotic grading work flows so that I can teach something useful 😂
Have you ever tried the new Lumix "Phantom Luts"? They are craazy amazing
I know of them but never tried them! Maybe I'll check em out with a tutorial soon. Got some Gamut.io LUTs to demo in a future tutorial soon.
great tutorial.. I have a question though. Why did not you use Vectorscope for the skin tone confirmation. Don't get me wrong. It looks fabulous. But just to confirm. Please reply..
I probably did the first time round I set this grade up for the tutorial (I would on a professional job) - but for ease of time, I would eyeball it.
Really nice edit!!🔥
wow.. this is the best..
Great tutorial. Your s5 clips made me purchase the camera yet in struggling with white balance. Do you have any rules of thunb or favorite K values for shots like this one and the ones outside? Would be really helpful, thanks
Generally set to 5600K or the ☀️ preset. If cloudy could use the ☁️ preset. I sometimes push the tint up a little towards the green as well.
@@EdProsser thanks man, again - lovely stuff!
@@diskomiks no worries thanks for checking out the channel, good luck with the S5 - it's still a killer cam
Amazing!!! Please do more Vlog in DaVinci also :) Love your videos
The next two eps will cover Davinci workflows!
I'm gonna do my best to get one out next week before I finish for the Xmas break... Finger crossed I can squeeze in in
How you expose for vlog on the s5ii, ettr with zebras at 80%?
Honestly I don't really use zebras, but yes would usually expose a little to the right, just eyeballing where shadows / highlights are and just checking skin tones are looking good
Hi watching this for like the 10th time lol I bought the kino luts and where you explain that the kino luts crushes the image, that is because you have selected the log version of the lut which includes a rec709 conversion. The nicest709 lut is your conversion and then added a second conversions causes to image to crush. I tested both versions of the kino luts and the non log version of the luts works like anything else. I know you switched to DR but maybe it's helpful to other fcp users. Now continuing the video lol Thanks man!!
Hey Chris yes you are absolutely right it does come in two flavours and I don't really explain it here, but I always preferred working with the LOG version and dialing it back as it was more aggressive, that's just the weird process I ended up with when working with this LUT
@@EdProsser yeah I am playing around with both and also with the new updated filmconvert I can dial in vibrancy and saturation apart from film color and luma. Can get grungy really quick lol the luts play well. Defintely worth the $20 for sure!
@@ChrisFlores22 I haven't used FilmConvert for ages but have seen they've updated with halation recently. Keen to give it another spin. I have been testing out Dehancer recently, honestly I'm not in love with it, I prefer the control of dialing stuff in with nodes in resolve... But I need more time with it.
@@EdProsser dehancer v2 is more click and go from the presets but you still can go in and dial it to your hearts content. Dehancer
Is great but with the new update to film convert it just runs smoother on my Mac than dehancer so it makes sense to use it more often than dehancer.
@@EdProsser bro so far not regretting the eva1 lol I’ve shot 2 projects on it and I can see how the colors are just richer idk how to describe it. Like the image is heavy compared to my experience with the s1h & gh6. Gonna do a side by side soon to make sure it’s not my head telling me so lol
Great, thanks for sharing!
No problem
Still recommend the nicest 709 conversion lut? Is there another conversion lut you prefer now?
I am mostly working in Resolve - so will often use a CST node, or I'm really liking the Phantom LUTs. Generally I use the FilmVision Powergrade from Serr (google it) - this has a CST that converts to an ArriLog colour space and then applies his LUT at the end - that's for more grungey film emulation stuff!
@@EdProsser I’ve been using cinematch to convert vlog to Arri and then use arri conversion lut. Looks great but sometimes I want my s1h/gh6 to look like the Varicam. (I like it more for skin tones 🤷🏻♂️) that’s where I struggle because I’m still on the hunt for a proper conversion. Thanks 🙏🏻
@@EdProsser phantom luts are great but they turn footage to emulate arri. I Can do that with cinematch. Just want a solid rec709 conversion lut for vlog lol most luts out there make the reds look orange meaning it didn’t bring vlog into a proper rec709 space.
thanks for sharing! There are many different opinions about where to put the correction in FCP before or after Correction LUT - Most poeple say you have to put the LUT in the end (thats how you do it in DaVinci - the LUT at the right side and the other nodes on the left side) but in FCP I often prefer the results when I put the LUT first and do the fine tuning corrections "under" the LUT. You do some corrections above and some under the LUTs - what is your rule for this?
It's a good question, I definitely don't have any hard rules. Generally I'd do corrections before 709 conversion as you're working in the log colour space. Then I'd do the creative treatment... If you're using a LUT or Film convert as part of your creative treatment then that will depend where it goes, most creative LUTS are calibrated for a REC.709 image so makes sense to use those after and then maybe a layer to tweak them.
If you're doing you're whole creative grade manually it may be better to apply your Rec709 LUT right at the end.
you dont use DaVinci ??
I use both! Depends on the job. I prefer to edit in FCPX though. I've started editing projects in Resolve but will be a while until I do a full move.
@@EdProsser i just subscribed to you channel,. Hope to see a lot of those DaVinci grading technique .. all the best
Thanks for the sub! I've got a few resolve tutorials up already th-cam.com/video/ZLFOBiC_1yc/w-d-xo.html
@@EdProsser thanks so much I will see it !! Thanks
whats your pc spec ???
I have a 2020 M1 13" MBP with 16GB RAM. I've provided the downloadable clip in Pro Res - so that should help folks with slower machines.
@@EdProsser thanks mate
Thanks for shareing
my pleasure
Great video! Unfortunately, the nicest conversion LUT isn't there anymore 🥲
Thanks for letting me know looks like link changed, I have updated the description - pro-av.panasonic.net/en/cinema_camera_varicam_eva/support/lut/