I think it was on some Skillshare Class about photography, when a teacher there said: "If you want to unterstand luminance and brightness, you have to start working with black/white images. Your video shows this very clear :)
Interesting! I don’t know a lot of people who do it. When adjusting exposure and contrast, I find colours too distracting, so this is just personal preference. But I’d argue it makes it easier, too!
@@iamericlenz I learned quite a lot from a split toning guide for black and white photos. it made me view photography in a different light, because and I quote "Black and white photography is an interpretation of the world around us in differences of luminance." and "This is important because it’s through differences of luminance that we can perceive depth and create depth in an image by adjusting the luminance values. Or in photography language: by differences in light contrasts." - I love this video.
I find color grading videos that focus on a set of rules or the "right" way to do something extremely frustrating. Every video I've seen of yours is nuanced, extremely well explained, and takes into account the creative aspect of color grading, which has made your videos some of the most helpful color grading information I've seen on TH-cam!
The algorithm suggested this video to me a week ago and I ignored it because “I already know what luminance is”. But after the algorithm KEPT SUGGESTING it to me for a week I realized there’s probably something more to this video than the title. The algorithm was right.
I just wanted to let you know that your videos completely changed the way I color my footage. I’ve been working in Final Cut Pro for 8 years now, But after watching your videos, I finally figured out the signal chain hierarchy trick, and it made my C300 Mark III footage look 10 times better! Thanks a million man 🙏❤️ Your videos on color grading in final cut pro is the best and most useful info I have seen from a channel about color grading 👏
Great video! One of the most valuable lessons I’ve learned along the way is that just because you can capture a wide dynamic range doesn’t mean you have to display it. It’s important to capture as many stops as possible to give yourself more flexibility when grading, but the final product may still have crushed blacks or whites, and that’s perfectly fine.
You're a very good teacher, providing relatively complex information in a structured and clear presentation, together with rules and recaps of what has been learnt. And all in a second language!
Here is an intelligent young colour grader with a sensible and artistically grounded overview of his craft. Thank you Eric, you a welcome presence in a market over crowded with hyperbole.
As a creator trying to better his color grading and editing in Final cut pro. I just want to say THANK YOU, and keep them coming. I really enjoy these longer videos.
Waiting to implement the color space transform in order to fully maximize the LOG footage was such a genius tip that I can’t believe I have never noticed before
7:45 so true. I loved this parallel. Videography and photography as an art is capturing a cross section of reality and not reality itself. It’s a magic trick and the actual reality behind it would spoil it entirely.
Fantastic video! Instant sub. I love that you are highlighting the importance of the creative intent behind colouring. I think that since colour management is such a rabbit hole of technical information that it's easy to get hyper-focused on the science behind it, but we need to remember that it's also a form of art.
This was a truly useful and inspiring video. Thanks so much. I have been avoiding using Final Cut because of the lack of a built in scene referred workflow. But after seeing how you used an adjacent layer to apply the rec709 lut, it makes perfect sense. Thanks so much!
Amazing. You have completely retaught everything I thought I knew about color grading video. I am a photographer first hand and am just getting into videography and looking around in TH-cam I’ve never really understood the seemingly over complicated workflows with cst’s, rec 709, log, luts, etc. Editing footage never felt the same as editing images. Your videos have really cleared up everything and I finally feel like I can color grade my videos like my photos.
I recently watched a movie that was shot mostly in wide angle, which made it uncomfortable to watch for a long time because it became too distracting. I wasn't sure what the movie wanted me to look at or focus on. Everything was in focus. You're spot on with the importance of leaving things out intentionally, rather than having the opposite goal.
another valuable information as always! I am guilty to color grading by the values and sometimes I find myself spending so much time fixing things that don't really need fixing. Your approach of working first with luma only to adjust the tone of the scene is such a breath of fresh air to me. Thank you very much!
The knowledge and expertise of video guys are on a whole another level, compared to the photo guys. As a photographer, I admire it and often find myself learning from such gems of channels like yours and trying to apply the knowledge to my photography. Good work.
@@iamericlenz colour grading is quite a fascination for me, but I don't know all the 'science' behind everything that's going on. So it's crazy to see you sorted all that out just using black and white 😯 I'm quite mind-blown actually
Absolutely excellent video. So refreshing to see someone focusing on the creative decision making. There are way to many video production people that don't seem to have any other background in other art forms. It's so important for people to expand their perspective beyond simple technicality. No good artist is following "the rules".
Hi Eric, I just wanted to say that this is an incredible video. Your technical skills and precision really stand out, and it’s such a huge asset to your channel. Yours is one of the few that truly shows how to handle raw video effectively-well done! If I may, I’d like to suggest an idea that could benefit many of your viewers: a separate video, shorter, specifically on the process of importing camera raw footage into Final Cut Pro. You covered it well in this video, but I remember searching for that kind of instruction a month ago and couldn’t find a clear explanation. I think a video like this would not only help a lot of people but also enhance your channel’s appeal even further. Another topic I’d love to see is how to create an effective Day for Night effect using footage shot in full daylight. It’s a technique I’ve always been curious about, and I’m sure others would find it valuable too. I hope these don’t come across as suggestions for what you should create-I simply wanted to share what I personally would find helpful. I know how much I appreciate specific video requests on my own channel, so I simply thought I’d ask. Thanks again for the amazing content-keep up the great work!
There seems to be a fear of contrast these days. We can shoot 15 stops and apparently nobody wants to get rid of any of that. Rec709 was never meant to see 15 stops. The s curve is too extreme in a lot of modern cases. I have personally started to have a resurgence of shooting standard camera profiles for this very reason. Or at the least using it as a basis of comparison a bit more when shooting log. Those standard profiles look the way they do for a reason. It’s a realistic level of contrast and brightness. Ironically when people talk about the film look a lot of film stocks were a baked in contrasty look. Film stocks in the 80’s which is the golden age of a lot of film for many of us had about 8 stops. Yet it still looks like film to all of us today. Flat is not a film look. More modern film stocks can have a lot more range today but they do not sacrifice contrast. This is why HDR is so important and yet Hollywood has warped its purpose because of their fear of changing and how bad HDR is handled in a theater. HDR allows us to keep a lot more range like 12 stops and keep the normal looking contrast. There is this misconception that HDR should be dark and used more like a EDR format to extend range. So it might still be 12 stops but all of that is packed in a very small portion of what HDR can handle and all in the shadows. HDR is designed to go up to 10,000 nits for a reason however. Because in real life brightness can be bright. Looking into the sun is bright. Having a cop shine a flashlight in your face at night is bright. We feel that brightness in real life. HDR to me means if a camera can capture 12 stops we don’t need to make it flat to keep those 12 stops. We can see those 12 stops as normal contrast. It’s like shooting standard profile in a camera without those easily clipped highlights. Sadly I think a lot of people miss out on that potential of HDR. I agree that we need to get back to emphasizing the look and feel and not making sure we don’t throw any of those yummy 15 stops we captured away. It’s neat we can capture so much range today but it can also be a curse. A curse that makes us afraid to throw anything away. Myself included at times. We have all been taught for decades that clipping is naughty.
in the final result you can clip HL or Shadows and that is ok, having the advantage of capturing more than you will use is key for manipulating the images in post (and yes do not clip your highlights), in HDR as you say the goal is always to get more contrast. as for SDR the goal is to keep things fairly contrasted with the output of only 100nits.
I agree with a lot of your points! It's just sad that HDR is such a hot mess when it comes to specifications and adaptations. This is one of the reasons I just don't care about it (yet). Nevertheless, I'd always argue for proper contrast!
Hey! Amazing video, as always. One critical step you take is that you apply the Rec.709 conversion in an adjustment layer and then work on the correction/grading in the original clip that still has the LOG-footage. What is your position on Premiere now offering the auto-detect feature that converts the clip(s) to Rec.709 automatically and subsequently apply the conversion directly onto the clip itself. Consequently, I don't have the ability to layer and, by default, lose the option to adjust the LOG clip(s) before the conversion. Would love your take on this! Many thanks in advance!
The „optical illusion“ brightness part is really interesting. I think this is why also in photos sometimes I make parts of the image a certain brightness but it feels off, as in comparison to the surrounding it might look brighter or darker than the RGB values suggest. Grading by feel should get past that but I guess there can be problems as well, if you do not check the histograms at all. Thank you!
Great explanation, editing, and presentation. Not to mention, some people think you can't grade footage in FCPX, and this demonstrates they don't know what they're doing, lol
Thank you! Log footage offers a lot of freedom, though, one needs to know how to work with it properly. Many people fear contrast because they think they need to keep all of the dynamic range.
Love to see other creators using Final Cut for coloring. Your workflow seems very similar to the workflow I've developed over the years. I've also experimented with where to put certain looks or LUTS. If you put them before the main transformation, you get some really interesting results!
I tried myself to make FCP work for me but the fact that you can't define the input color space on the custom LUT effect outside of the display standards (709, HDR) is annoying. It makes it so that any transform LUT from a log profile to an output display profile can't be correctly interpreted. In short, it's lacking in color management options.
@tyler_cine Yes and no. If used correctly, you can still get there. I made a whole video on that: Pro - Settings for HLG Log & Raw th-cam.com/video/bLUO2jnyvvw/w-d-xo.html
I think this is a really great video for many reasons. I tend to look at luminance ( or luma ) from the perspective of black level being darkness and any thing above the black level is shadow. I also think of the term exposure in the aspect of dark being black and raising the exposure is adding light which actually gets brighter with stops ( twice the light ) so when you mentioned the camera exposure, and the whole waveform getting brighter - I honestly think that it is more intuitive to see the brightness come as you would see a dimmer on a light. The point being that the black ( total lack of light ) if the light doesn't hit that, it will still be black - adding light exposes the shadow - or in the case of your video there in the one shot the detail ( texture ) of the dark rocks and the guys hair. This is why my advice to people is to set the black and then lock off the middle grey ( the exposure ) and if you want to have a crushed look - push the greys down to the black level which will give less contrast between dark grey and light grey- which gives you a cleaner crushed look and will always pass QC. But everything you did makes sense and is great info for people. Just commenting so people actually be aware that texture in shadows and texture in whites are there from the contrast of luma just above black and just below pure whites. I see people lowering offsets and losing detail - if black is black - pushing it down doesn't make it blacker. The suggestion to look at film grabs and such is a great suggestion and I concur completely. Great job Eric
Wow! You are awesome!! Thank you so much for this video. So refreshing and new. In fact I was thinking about these things myself pritty much recently and I’m happy that you addressed them. Good stuff
Mein neuer Lieblingslehrer schlägt wieder zu… man hätte ich dich vor 8 Jahren oder so schon gebraucht 🙈 Starkes Video und was zum testen, da freue ich mich. Danke!!
Best advice I was ever given is never make a technical decision you can’t justify with a creative decision. Have the technology serve your creativity not your creativity be limited by your technology.
I learned a lot from the book Cinematography by Blaine brown who talks about the black and white zone system. This has reminded me to use that when grading
Thankm you sooo much for doing this!! it is these Essentials, that most of the "filmakers" lag. Basic stuff i want to understand in order to know what i want to achieve rather than just guessing! maybe it is because im german, but i like to deeply understand the things im trying to learn and you helf a ton! keep up the good work :)
This guy figured out how to make final cut work like resolve. Bravo 😂👏👏. Can i get some input on how to make it work in Premiere? My company is stuck on adobe. But im secretly grading everything out in vinci. Also how would you use DWG specific luts
@ wow I'll try it🥹🥹 I'm actually Korean and not good at English. So I can barely understand what you're saying. But I'm planning to watch all of your videos and buy your online course when I get paid working at burger king😉😉 I just let you know that so many people feel great thankful to you. And I'm the one of them.
Interesting take, as much as I agree with creative aspects of intended color grade, I think I would dissagree with the technical numbers and here is why. It is extremely important what delivery medium are you color grading for. TV, Cinema, Phones, Laptop screens etc. As you mentioned, relatively how bright situation will the video be watched in. Example, in Cinema things gotta be much darker due to the brightness level in the room. It was not some random dude on TH-cam who told about IREs, it dates back to Ansel Adams who is now credited but people earlier knew this too. Also, when taking the screenshot of your favorite movie and analyisg in your operating system, you do not have the correct values because you only taking a screenshot of the video player which is displaying the file.
Great video, Eric! I used to approach brightness adjustments in a very technical way, but you’ve shown me that *intentionally leaving out details* in highlights or shadows can be a powerful choice when editing in Final Cut Pro. Thanks for that insight! Quick question: it looks like you're using a *trackball device* -what model is it? I'm looking for a way to quickly adjust brightness, shadows, and similar settings per clip directly on the FCP timeline, and that device seems like a great tool for it.
I'm enjoying your videos for sure. Great topics are being covered. That said, I've watched a number of your videos now, and on the post production level I feel like your halation FX is a bit on the heavy side. You're getting a strong red aberration on all your edges. It jumps out at you. If there's any way to dial that back or at least lower the saturation of your halated edges I think this would look more integrated into your overall frame. Also, soft edges need to correspond with halation, so if you have added an halation FX but your edges are still tack sharp it's going to counterbalance each other and look, and more Importantly subconsciously feel unnatural or CG. Just some friendly advice.
Another amazing video thank you. Just to confirm, what ever effect you add into an adjustment layer above the clip, final cut will firstly apply anything you have added to the clip directly, before it looks at the adjustment layer above? Think this is correct, thank you!
If you have downloaded the guide, there is a graphic in there. The inspector goes from top to bottom and adjustment layers are processed from bottom to top. :)
Take screenshots from whatever you like. Gather references and train your understanding. 👊
you're a super handsome fluffy fluffy man hahaha
I think it was on some Skillshare Class about photography, when a teacher there said: "If you want to unterstand luminance and brightness, you have to start working with black/white images. Your video shows this very clear :)
Interesting! I don’t know a lot of people who do it. When adjusting exposure and contrast, I find colours too distracting, so this is just personal preference. But I’d argue it makes it easier, too!
@@iamericlenz I learned quite a lot from a split toning guide for black and white photos. it made me view photography in a different light, because and I quote "Black and white photography is an interpretation of the world around us in differences of luminance." and "This is important because it’s through differences of luminance that we can perceive depth and create depth in an image by adjusting the luminance values. Or in photography language: by differences in light contrasts." - I love this video.
I find color grading videos that focus on a set of rules or the "right" way to do something extremely frustrating. Every video I've seen of yours is nuanced, extremely well explained, and takes into account the creative aspect of color grading, which has made your videos some of the most helpful color grading information I've seen on TH-cam!
The quality of your work is really above what we find on youtube. Congratulations and thank you for sharing it.
Wow, thank you! :)
Grading videos in black and white is like mixing music in mono. So crazy to think that the same methodology applies!
Exactly!
The algorithm suggested this video to me a week ago and I ignored it because “I already know what luminance is”. But after the algorithm KEPT SUGGESTING it to me for a week I realized there’s probably something more to this video than the title.
The algorithm was right.
Oh man, same here! Glad I clicked on.
I just wanted to let you know that your videos completely changed the way I color my footage. I’ve been working in Final Cut Pro for 8 years now, But after watching your videos, I finally figured out the signal chain hierarchy trick, and it made my C300 Mark III footage look 10 times better! Thanks a million man 🙏❤️
Your videos on color grading in final cut pro is the best and most useful info I have seen from a channel about color grading 👏
Thank you! I’m so happy to help! :)
What a fantastic instructor. You are a gifted teacher. Thank you.
Thank you very much!
Great video! One of the most valuable lessons I’ve learned along the way is that just because you can capture a wide dynamic range doesn’t mean you have to display it. It’s important to capture as many stops as possible to give yourself more flexibility when grading, but the final product may still have crushed blacks or whites, and that’s perfectly fine.
You bring a lot of knowledge for FCP community. Thanks for for everything you do and can’t wait for your new plugin release 🤝🏼
Thank you very much! Me too, hahaha :D
For the first time time in my life when I click on the video to check the remaining time , hoping for more. Captivating ❤
Thank you very much!
You're a very good teacher, providing relatively complex information in a structured and clear presentation, together with rules and recaps of what has been learnt.
And all in a second language!
You're very welcome! Thank you! :)
Here is an intelligent young colour grader with a sensible and
artistically grounded overview of his craft. Thank you Eric, you a welcome presence in a market over crowded with hyperbole.
Few people know what they are talking about. You clearly know a LOT with a great understanding. Well done
As a creator trying to better his color grading and editing in Final cut pro. I just want to say THANK YOU, and keep them coming. I really enjoy these longer videos.
6:33 in and I thought to myself, I'm subscribing to this guy. Great work, style and quality. Hope to see more!
Waiting to implement the color space transform in order to fully maximize the LOG footage was such a genius tip that I can’t believe I have never noticed before
7:45 so true. I loved this parallel. Videography and photography as an art is capturing a cross section of reality and not reality itself.
It’s a magic trick and the actual reality behind it would spoil it entirely.
Quality Stuff mate truly educational and to the point (No BS).
Your videos are amazing...thank you for all the work!
This was very well explained. Bravo!
Great advice as always! In this video the difference between a true colorist and a TH-cam-colorgrader become very clear.
You are incredible, Eric. Thank youuuu
Fantastic video! Instant sub. I love that you are highlighting the importance of the creative intent behind colouring. I think that since colour management is such a rabbit hole of technical information that it's easy to get hyper-focused on the science behind it, but we need to remember that it's also a form of art.
This was a truly useful and inspiring video. Thanks so much. I have been avoiding using Final Cut because of the lack of a built in scene referred workflow. But after seeing how you used an adjacent layer to apply the rec709 lut, it makes perfect sense. Thanks so much!
Fantastic video Eric! I think we all start off learning the rules, then spend the rest of our lives learning how to break them. Keep up the good work!
Absolutely! Thank you very much, Glen! :)
Amazing. You have completely retaught everything I thought I knew about color grading video. I am a photographer first hand and am just getting into videography and looking around in TH-cam I’ve never really understood the seemingly over complicated workflows with cst’s, rec 709, log, luts, etc. Editing footage never felt the same as editing images.
Your videos have really cleared up everything and I finally feel like I can color grade my videos like my photos.
You're very welcome! Thank you! :)
Love your content man - the effort you put in to these videos really reflects in the output. Hope your channel will continue to grow!!
Thank you! I hope so, too! :D
This channel is gonna blow up for sure, top notch quality and information! Thank you! 🙏
Thank you so much!
I recently watched a movie that was shot mostly in wide angle, which made it uncomfortable to watch for a long time because it became too distracting. I wasn't sure what the movie wanted me to look at or focus on. Everything was in focus. You're spot on with the importance of leaving things out intentionally, rather than having the opposite goal.
great video! thank you so much for this insight!
Glad you enjoyed it!
Wonderful video and explaining of concepts! Thanks for sharing.
I thank algorithm for suggesting this valuable channel.
Outstanding ❤
another valuable information as always! I am guilty to color grading by the values and sometimes I find myself spending so much time fixing things that don't really need fixing. Your approach of working first with luma only to adjust the tone of the scene is such a breath of fresh air to me. Thank you very much!
The knowledge and expertise of video guys are on a whole another level, compared to the photo guys. As a photographer, I admire it and often find myself learning from such gems of channels like yours and trying to apply the knowledge to my photography. Good work.
Thank you very much! Adapting and integrating knowledge is the most important thing no matter the domain.
Fantastic video Eric, thank you so much for pouring out more genuine information! I think I will share this over on discord
Awesome, thank you so much! :)
Sheesh... This was such an eye-opener!
Thank you!
@@iamericlenz colour grading is quite a fascination for me, but I don't know all the 'science' behind everything that's going on. So it's crazy to see you sorted all that out just using black and white 😯 I'm quite mind-blown actually
Sehr schönes Video, das ist genau die Art von Erklärung die TH-cam braucht 😊
Danke dafür!
Vielen Dank! :)
I learned so much even from a DaVinci user’s perspective. Thanks a lot ♥️
Great stuff man, wish you well!
Absolutely excellent video. So refreshing to see someone focusing on the creative decision making. There are way to many video production people that don't seem to have any other background in other art forms. It's so important for people to expand their perspective beyond simple technicality. No good artist is following "the rules".
Thank you so much! I think my new motto will be "Let's learn concepts - not pushing buttons" haha :D
Another great video. Thank you.
Thank you, Stefan! All the best! 👊
well done mate. Enjoyed this heaps
Hi Eric,
I just wanted to say that this is an incredible video. Your technical skills and precision really stand out, and it’s such a huge asset to your channel. Yours is one of the few that truly shows how to handle raw video effectively-well done!
If I may, I’d like to suggest an idea that could benefit many of your viewers: a separate video, shorter, specifically on the process of importing camera raw footage into Final Cut Pro. You covered it well in this video, but I remember searching for that kind of instruction a month ago and couldn’t find a clear explanation. I think a video like this would not only help a lot of people but also enhance your channel’s appeal even further.
Another topic I’d love to see is how to create an effective Day for Night effect using footage shot in full daylight. It’s a technique I’ve always been curious about, and I’m sure others would find it valuable too.
I hope these don’t come across as suggestions for what you should create-I simply wanted to share what I personally would find helpful. I know how much I appreciate specific video requests on my own channel, so I simply thought I’d ask.
Thanks again for the amazing content-keep up the great work!
Great video! Very well explained!
Awesome video mate, nailed it.
There seems to be a fear of contrast these days. We can shoot 15 stops and apparently nobody wants to get rid of any of that. Rec709 was never meant to see 15 stops. The s curve is too extreme in a lot of modern cases.
I have personally started to have a resurgence of shooting standard camera profiles for this very reason. Or at the least using it as a basis of comparison a bit more when shooting log. Those standard profiles look the way they do for a reason. It’s a realistic level of contrast and brightness.
Ironically when people talk about the film look a lot of film stocks were a baked in contrasty look. Film stocks in the 80’s which is the golden age of a lot of film for many of us had about 8 stops. Yet it still looks like film to all of us today. Flat is not a film look. More modern film stocks can have a lot more range today but they do not sacrifice contrast.
This is why HDR is so important and yet Hollywood has warped its purpose because of their fear of changing and how bad HDR is handled in a theater. HDR allows us to keep a lot more range like 12 stops and keep the normal looking contrast. There is this misconception that HDR should be dark and used more like a EDR format to extend range. So it might still be 12 stops but all of that is packed in a very small portion of what HDR can handle and all in the shadows. HDR is designed to go up to 10,000 nits for a reason however. Because in real life brightness can be bright. Looking into the sun is bright. Having a cop shine a flashlight in your face at night is bright. We feel that brightness in real life.
HDR to me means if a camera can capture 12 stops we don’t need to make it flat to keep those 12 stops. We can see those 12 stops as normal contrast. It’s like shooting standard profile in a camera without those easily clipped highlights. Sadly I think a lot of people miss out on that potential of HDR.
I agree that we need to get back to emphasizing the look and feel and not making sure we don’t throw any of those yummy 15 stops we captured away. It’s neat we can capture so much range today but it can also be a curse. A curse that makes us afraid to throw anything away. Myself included at times. We have all been taught for decades that clipping is naughty.
This deserves a pin
in the final result you can clip HL or Shadows and that is ok, having the advantage of capturing more than you will use is key for manipulating the images in post (and yes do not clip your highlights), in HDR as you say the goal is always to get more contrast. as for SDR the goal is to keep things fairly contrasted with the output of only 100nits.
I agree with a lot of your points! It's just sad that HDR is such a hot mess when it comes to specifications and adaptations. This is one of the reasons I just don't care about it (yet).
Nevertheless, I'd always argue for proper contrast!
@@iamericlenz go for hdr, you wont regret it
Finally someone explained the "why". We need more "why" videos.
That's exactly what I'm here for!
Hey! Amazing video, as always. One critical step you take is that you apply the Rec.709 conversion in an adjustment layer and then work on the correction/grading in the original clip that still has the LOG-footage. What is your position on Premiere now offering the auto-detect feature that converts the clip(s) to Rec.709 automatically and subsequently apply the conversion directly onto the clip itself. Consequently, I don't have the ability to layer and, by default, lose the option to adjust the LOG clip(s) before the conversion. Would love your take on this! Many thanks in advance!
The „optical illusion“ brightness part is really interesting. I think this is why also in photos sometimes I make parts of the image a certain brightness but it feels off, as in comparison to the surrounding it might look brighter or darker than the RGB values suggest.
Grading by feel should get past that but I guess there can be problems as well, if you do not check the histograms at all. Thank you!
Thank you ❤❤
You're welcome 😊
Great explanation, editing, and presentation. Not to mention, some people think you can't grade footage in FCPX, and this demonstrates they don't know what they're doing, lol
Finally somebody is telling why and not how! Thanks! Im waiting for more videos like this!
More to come! :)
Great tut, man!
Thank you very much!
Watched the whole thing and as always top quality content. 9:32 is an absolute eye opener. Thanks a lot, as always, Eric 🙏🏻
My pleasure! Thank you so much and I’m happy I could help! :)
Such a great video
I needed this, thanks
Very helpful! Gonna be going through all of your videos to get all this great information.
Great artistic story telling driven approach, can be applied to any grading software. Subscribed!
Very well explained. Lots of great info, thank you
Glad you enjoyed it!
This is eye opening, some how i feel like log is making many make mistakes cause they don't fully understand what you have explained
Thank you! Log footage offers a lot of freedom, though, one needs to know how to work with it properly. Many people fear contrast because they think they need to keep all of the dynamic range.
este video es información valiosísima. muchas gracias por compartirla aquí!
Perhaps the BEST tutorial on how to see exactly what I'm doing. THANK YOU
You're very welcome! Thank you!
Love to see other creators using Final Cut for coloring. Your workflow seems very similar to the workflow I've developed over the years. I've also experimented with where to put certain looks or LUTS. If you put them before the main transformation, you get some really interesting results!
I’m working on a system for FCP that will simplify this. Will be out this year! :)
I tried myself to make FCP work for me but the fact that you can't define the input color space on the custom LUT effect outside of the display standards (709, HDR) is annoying.
It makes it so that any transform LUT from a log profile to an output display profile can't be correctly interpreted.
In short, it's lacking in color management options.
@tyler_cine Yes and no. If used correctly, you can still get there. I made a whole video on that: Pro - Settings for HLG Log & Raw
th-cam.com/video/bLUO2jnyvvw/w-d-xo.html
I think this is a really great video for many reasons. I tend to look at luminance ( or luma ) from the perspective of black level being darkness and any thing above the black level is shadow. I also think of the term exposure in the aspect of dark being black and raising the exposure is adding light which actually gets brighter with stops ( twice the light ) so when you mentioned the camera exposure, and the whole waveform getting brighter - I honestly think that it is more intuitive to see the brightness come as you would see a dimmer on a light.
The point being that the black ( total lack of light ) if the light doesn't hit that, it will still be black - adding light exposes the shadow - or in the case of your video there in the one shot the detail ( texture ) of the dark rocks and the guys hair.
This is why my advice to people is to set the black and then lock off the middle grey ( the exposure ) and if you want to have a crushed look - push the greys down to the black level which will give less contrast between dark grey and light grey- which gives you a cleaner crushed look and will always pass QC.
But everything you did makes sense and is great info for people. Just commenting so people actually be aware that texture in shadows and texture in whites are there from the contrast of luma just above black and just below pure whites. I see people lowering offsets and losing detail - if black is black - pushing it down doesn't make it blacker. The suggestion to look at film grabs and such is a great suggestion and I concur completely.
Great job Eric
Thank you Jim! Much appreciated!
Wow! You are awesome!! Thank you so much for this video. So refreshing and new. In fact I was thinking about these things myself pritty much recently and I’m happy that you addressed them. Good stuff
You are so welcome! :)
Thanks for sharing your knowledge
My pleasure!
THANK YOU. this is the type of education that is missing from countless of "youtube tutorials"
Thank you very much!
Mein neuer Lieblingslehrer schlägt wieder zu… man hätte ich dich vor 8 Jahren oder so schon gebraucht 🙈
Starkes Video und was zum testen, da freue ich mich. Danke!!
Vielen Dank! Freut mich, dass ich helfen kann! :)
Best advice I was ever given is never make a technical decision you can’t justify with a creative decision. Have the technology serve your creativity not your creativity be limited by your technology.
Great vids, sir, thanks big fan - so ultimately technology serves vision between 0 and 100
Excellent 🙏... Thorough, clear and informative.. added kudos for using the word 'minimalist' not minimal like every other TH-camr...🤷♂️.. 😊
Very useful video. Thanks for the information, beautifully presented. Also: I love Final Cut: so simple yet so powerful!
Thank you! That’s my saying!
I learned a lot from the book Cinematography by Blaine brown who talks about the black and white zone system. This has reminded me to use that when grading
Pure gold
Great f🎉 video! I'll share it with some ppl to show them what i've been trying to explain for so long...
Thank you very much! :)
thank you so much!
Great video! How would you set this up in premier/after effects? Or just use the global color settings and then grade clip by clip? Cheers!
Thankm you sooo much for doing this!! it is these Essentials, that most of the "filmakers" lag. Basic stuff i want to understand in order to know what i want to achieve rather than just guessing! maybe it is because im german, but i like to deeply understand the things im trying to learn and you helf a ton!
keep up the good work :)
Great video thank you for your knowledge - but an off-topic question: What song did you use at 6:26 in the transition to Chapter Four?
I can't recall exactly. But usually, I just use piano chords. :)
@@iamericlenz Oh okay, thank you :)
Damn, this is hidden gem! Thankyou for sharing your knowledge
Thank you so much!
Fwiw, I made a spreadsheet a while back that calculate the gamma curves and stuff so you can convert light meter measurements to ire, srgb, etc
I love your sweater.
Thanks a lot!
This guy figured out how to make final cut work like resolve. Bravo 😂👏👏. Can i get some input on how to make it work in Premiere? My company is stuck on adobe. But im secretly grading everything out in vinci. Also how would you use DWG specific luts
It's what i've wonder. Thank you soooo much.
I wanna know how did you compose this 4:30 setup in FCP !!
Love your work😃😃
Glad you liked it! Do you mean my workspace? You can switch the scopes from vertical to horizontal in the little drop down. :)
@ wow I'll try it🥹🥹
I'm actually Korean and not good at English. So I can barely understand what you're saying. But I'm planning to watch all of your videos and buy your online course when I get paid working at burger king😉😉
I just let you know that so many people feel great thankful to you. And I'm the one of them.
Nice video, thank you.
Thank you! :)
This helps so much-thank you!
Dope video and shirt!
Amazing idea! How to do it in Davinci resolve ?
nice, great videos. Thanks!
Interesting take, as much as I agree with creative aspects of intended color grade, I think I would dissagree with the technical numbers and here is why. It is extremely important what delivery medium are you color grading for. TV, Cinema, Phones, Laptop screens etc. As you mentioned, relatively how bright situation will the video be watched in. Example, in Cinema things gotta be much darker due to the brightness level in the room. It was not some random dude on TH-cam who told about IREs, it dates back to Ansel Adams who is now credited but people earlier knew this too. Also, when taking the screenshot of your favorite movie and analyisg in your operating system, you do not have the correct values because you only taking a screenshot of the video player which is displaying the file.
Great video, Eric! I used to approach brightness adjustments in a very technical way, but you’ve shown me that *intentionally leaving out details* in highlights or shadows can be a powerful choice when editing in Final Cut Pro. Thanks for that insight!
Quick question: it looks like you're using a *trackball device* -what model is it? I'm looking for a way to quickly adjust brightness, shadows, and similar settings per clip directly on the FCP timeline, and that device seems like a great tool for it.
Thank you! It's the tangent ripple. :) You can make it work using command post. :)
Great presentation. What hardware are you using?
I'm enjoying your videos for sure. Great topics are being covered.
That said, I've watched a number of your videos now, and on the post production level I feel like your halation FX is a bit on the heavy side. You're getting a strong red aberration on all your edges. It jumps out at you.
If there's any way to dial that back or at least lower the saturation of your halated edges I think this would look more integrated into your overall frame.
Also, soft edges need to correspond with halation, so if you have added an halation FX but your edges are still tack sharp it's going to counterbalance each other and look, and more Importantly subconsciously feel unnatural or CG.
Just some friendly advice.
Thank you
Great video Eric! I got completely mesmerized by the quality of your mic btw. What mic is it, if you dont mind saying?
Rode M3 just out of frame :)
Another amazing video thank you. Just to confirm, what ever effect you add into an adjustment layer above the clip, final cut will firstly apply anything you have added to the clip directly, before it looks at the adjustment layer above? Think this is correct, thank you!
If you have downloaded the guide, there is a graphic in there. The inspector goes from top to bottom and adjustment layers are processed from bottom to top. :)
Very nice video, thank you
Thank you too!
This is so good
Thank you so much!