Before I mention how I handle skin tones, I'd like to add that lenses can also affect skin tone. I can swap out two 35mm lenses from different manufacturers on the same camera, and they differ. One more magenta on one, and the other not -- As to the skin tones, I use 10 year old cameras, 8-bit footage, and do as much as I can to nail it in-camera, because as I'm sure you know, 8-bit footage breaks down quickly when you push it around... in the skin tones in particular. So, I tweak with the combination of lighting, camera and lens. But know too that I really enjoy the challenge. -- Now, for doing commercial work, I'd use different cameras, lenses... and Eric's LUT's... for sure. -- Another well-done video, Harv.
Are these standard LUTs that can be used in Premiere Pro or other tools? For the sake of completeness, could you explain the difference, and pro/con, of using these LUTs to visually adjust versus using canonical scopes and other tools that are analytical and not based on needing a calibrated monitor? Is this an artistic tool (aka "color grading") versus the analytical tools (aka "color correction") or a bit of both?
Actually there is no such thing as perfect skin tone, quite simply because its context dependent, on the mood, lighting, creative decisions etc. You can use various methods to get averaged skin tone values, but that does not mean they will be perfect for every scene or look you may or may not be looking for. Average is just that, average. Sometimes its what you need and sometimes it is not. Hence you are the creative individual making those decisions. Relaying on automated tools is something that can be used to speed up workflow or compensate for lack of experience, but I would not rely on it entirely. If you are shooting in a mid gray room and you treat skin tone as if they were pantone swatch, than this process works well, otherwise, you have to make artistic decision that is most appropriate for the story you are telling.
Yes, everything is context dependent. However, for a fairly neutral scene like most creators’ talking head set up, they’re still pretty useful. Furthermore, you can use them to get consistency from shot to shot. :)
@@iamericlenz For a talking head with consistent, standard "neutral" lighting set up, perhaps you are right. Consistency is also true if you want the same scene that does not change and you want the same look. Maybe that is what "TH-cam" want. And for that, similar tools to what was shown here including that one, can be used, I agree. I should be noted that its is well.... context dependent.
Harv, thank you so much for supporting so much of my work! ❤️
These LUTS are very useful! I find it very difficult to expose skin hues and this will be a lifesaver.
Before I mention how I handle skin tones, I'd like to add that lenses can also affect skin tone. I can swap out two 35mm lenses from different manufacturers on the same camera, and they differ. One more magenta on one, and the other not -- As to the skin tones, I use 10 year old cameras, 8-bit footage, and do as much as I can to nail it in-camera, because as I'm sure you know, 8-bit footage breaks down quickly when you push it around... in the skin tones in particular. So, I tweak with the combination of lighting, camera and lens. But know too that I really enjoy the challenge. -- Now, for doing commercial work, I'd use different cameras, lenses... and Eric's LUT's... for sure. -- Another well-done video, Harv.
I couldn't help noticing that the white in Harv's beard was as blue as his shirt… I mean, that's a hue, right?
It seems geared toward Final Cut Pro. Will the luts work the same in Premiere Pro?
They should. They are just luts. That's not specific to any software.
Will work :)
Are these standard LUTs that can be used in Premiere Pro or other tools? For the sake of completeness, could you explain the difference, and pro/con, of using these LUTs to visually adjust versus using canonical scopes and other tools that are analytical and not based on needing a calibrated monitor?
Is this an artistic tool (aka "color grading") versus the analytical tools (aka "color correction") or a bit of both?
Actually there is no such thing as perfect skin tone, quite simply because its context dependent, on the mood, lighting, creative decisions etc. You can use various methods to get averaged skin tone values, but that does not mean they will be perfect for every scene or look you may or may not be looking for. Average is just that, average. Sometimes its what you need and sometimes it is not. Hence you are the creative individual making those decisions. Relaying on automated tools is something that can be used to speed up workflow or compensate for lack of experience, but I would not rely on it entirely. If you are shooting in a mid gray room and you treat skin tone as if they were pantone swatch, than this process works well, otherwise, you have to make artistic decision that is most appropriate for the story you are telling.
Yes, everything is context dependent. However, for a fairly neutral scene like most creators’ talking head set up, they’re still pretty useful. Furthermore, you can use them to get consistency from shot to shot. :)
@@iamericlenz For a talking head with consistent, standard "neutral" lighting set up, perhaps you are right. Consistency is also true if you want the same scene that does not change and you want the same look. Maybe that is what "TH-cam" want. And for that, similar tools to what was shown here including that one, can be used, I agree. I should be noted that its is well.... context dependent.
Agreed! :)
But does these luts workout with every different log format...??@@iamericlenz
@@santoshamin7982 Yes, for sure. :) Though, you will get best visibility when putting them after your conversion to rec709 :)