Really liked this format Cullen. Really nice to focus on a specific area for a whole video. Very inciteful. Would love to see something similar about the various ways of dealing with skin tones - density, realistic looking skin textures/colours, Black skin.... etc. But whatever.....always a schoold day at Grade School.. Thanks so much for this content Cullen. So appreciated.
Setting a compressor and limiter on your audio for your live broadcasts would be REALLY helpful. The placement of that clip lav means extreme changes in volume as you move your head around, going from almost too quiet to hear to way too loud. For a video as long as this, some simple levelling of that volume range would make listening a lot less painful.
THIS. The video is great, but the audio levels makes it difficult to watch. Gedaly's levels are more or less where they should be, but Cullen's are far too low 95% of the time, except when he's positioned just right. I'd put a compressor and limiter on both tracks separately to help fine tune them individually if the live workflow allows it. For live shows I usually also have a very gentle overall compressor affecting the combined audio, or a very gentle limiter for safety.
Very informative. I was told the hdr wheels should be where balance corrections are done but I’ve always known something looked off.. so thank you for correcting my misunderstanding there.
Hi Cullen, this is really helpful, thanks. I have experimented with using the HDR Global Wheel to adjust exposure. I must say it works very well. It results in a very natural look and also with less need to make other adjustments such as contrast. I will definitely use this method in future.
Absolutely great episode Cullen! Lots of new stuff learned about the Lum Mix and how to preserve those details working in linear. 'll repeat it here like I said in the Discord. You're #1. Period. And I am loving every minute of using Contour. I even created LUT's for my ZV-E1 for my own outdoor naturalistic shootings! Rigorously compensating for my +1.3 ETTR habits ha. Wouldn't have been possible without your knowledge. Can't wait for the next one!
It was an excellent tutorials for someone like me who is learning about colour correction and colour grading. You have really covered the topic which was easy to understand by a nerd like me. Thanks Cullen and looking for many more suchlike great videos from you in future that would help me improve upon my skills at colour grading from a professional like you. Thanks!!
Primary color correction in linear mode works more accurately and predictably. Secondary color correction (grading) is better to work in the logarithmic field. And it's so cool, I put it in the piggy bank and now I'll use linear space more often to align the image
I am a photo retoucher, remains me a time when I was retouching amateur photos for a magazine and inused lab colour, to use the luma curve for exposure while not affecting the colours. Never thought about setting the curve layer in luminosity mode….
I really enjoyed this content and format. It was straight to the point. Thank you Cullen. Could you please do a grade school/ training on tracking windows… I’ve been doing this for a project and although I feel I have the function understood I would love to know how a pro finishes the edges… keeps the window in position so that it doesn’t look to much like a stop motion. Unfortunately, even after using the tracking types I have had to enter the key frames manually. If you look to close the edges move like waves as I have also had to move the window manually… for some reason the auto trackers don’t always work… would like to know your thoughts. Thanks.
Excellent live stream Cullen I enjoyed every bit of this please continue this style of teaching 🔥 I would to see a video on the log wheels I feel like nobody talks about the log wheels but from using them it seems like it brings the highlights down better and more organic and the shadows up better and more organic I’d love to hear your take on it thanks
20:48 thank you for the video but when you start using the HDR controls you didn’t mention whether the nodes gamma was still set to linear?! so basically, when you’re adjusting the global exposure in the HDR controls, are you adjusting it just using the timeline settings in the gamma option?
Thank you again for these useful techniques. I'm curious about the science behind the difference between using Linear LIFT versus Log LIFT for colour balance. I have traditionally used the OFFSET wheel for color balance, but your idea of Linear Gain offering more subtle control proves to be quite useful for my purposes. However, the behaviour of Linear LIFT has caught my attention, and I’m wondering about its impact on the overall split toning. Could you explain how the changes in behavior between Linear and Log LIFT might affect color grading results?
Sure thing! Applying lift in linear can be a a useful operation, but in general it's going to have a much stronger effect than doing the same thing in log. I generally find it less useful than lift in log, but worth playing with for yourself!
Amazing as usual 👌🏼 But I still don't grab the idea of using linear gain while it supposed to control the highest parts of the image, instead of using offset for example
Maybe I'm just slow or stupid, but the concepts all about Resolve are still a bit fuzzy to me. I've been in the film and corp. video fields for years, but it seems that the basic idea of Resolve takes the work that cinematographers did in the field and puts everything now on the colorists and or editors shoulders. Am I correct in that way of thinking? back when film was being shot, of course there was color correcting, but with film and using printer lights. When shooting film, lighting and the use of gels played a bigger role back then. So, it looks as though Resolve is now the digital way of using printer lights and lighting on set with gels. As a cinematographer, I still try and light and expose the best I can, but with all of the color grading going on, it seems that now, they're relying more on this software.
Yep, the relationship between camera and color grade is definitely a complex one. One easy way to think of it is that modern color grading now stands in for not only the work that we used to do with color timing, but ALL the lab work, plus the underlying film chemistry. That's a huge chunk of what defines the image.
Exposure Chart is linked in the description! All you have to do once you've downloaded and loaded it into Resolve is set your Total Steps to 1 and uncheck Show Ramp.
Depends on what you're doing -- for adjusting exposure, linear gain and HDR Global do the exact same thing. For adjusting balance, they do quite different things, with my preference being for linear gain. Hope this helps!
@@CullenKelly as I was watching the stream I heard the answer from you. lol. This is a great help. Another tool I’m adding to my regular node tree. Thanks a bunch.
As a DP the gain wheel seems a very clumsy way to do color balance. Why not stick to the photographic principles you used for exposure? The camera is responding to Kelvin temp - i.e and occasionally under unusual situations (flourescents, bad light, perhaps under green foliage or a poor lens) may need a . These are the tools in a camera and in the world of light outside the camera . Way too easy to add a tint by accident in the wheel. Is there a reaon you don't like those tools in Resolve?
Oh man, so glad you brought this up. The intuition is that temperature and tint in Resolve do the same thing as temperature and tint on a camera, but they don't. Dedicated video on this topic coming soon!
It must be just me but none of this feels helpful and is unbelievably long winded and complicated. Cinematographers don’t think in terms of stops any more unless for a common short hand. Most rely on false colour and simply applying common sense to what is necessary to be seen in the frame. The similar approach is given to dof and this is usually more definitive on acquisition. Creating a scene is about placing light where it’s needed or required for motivation. This idea of working photographically seems unnecessarily limiting. There are so many considerations made intuitively without breaking it down like this. Camera movement editing and character are all aspects of creation that bear no translation to this kind of technical geeky breakdown. I just don’t get this. It’s making something so simple so complicated.
Im wondering. At 31:15 this clip here, you mentioned that it was purposely and intentionally exposed wrong. That the sensor wasnt matching up with the temp of the lights and to be honest im wondering if anyone knows how? When i looked at it, it didnt even occur to me that was the case.
When I say the clip was exposed wrong, I just mean that the key light didn't match the temperature the camera was rated for, hence the very cool color balance
I love this format. Wanna see more of these kind of videos.
Really liked this format Cullen. Really nice to focus on a specific area for a whole video. Very inciteful.
Would love to see something similar about the various ways of dealing with skin tones - density, realistic looking skin textures/colours, Black skin.... etc.
But whatever.....always a schoold day at Grade School.. Thanks so much for this content Cullen. So appreciated.
Setting a compressor and limiter on your audio for your live broadcasts would be REALLY helpful. The placement of that clip lav means extreme changes in volume as you move your head around, going from almost too quiet to hear to way too loud. For a video as long as this, some simple levelling of that volume range would make listening a lot less painful.
THIS. The video is great, but the audio levels makes it difficult to watch. Gedaly's levels are more or less where they should be, but Cullen's are far too low 95% of the time, except when he's positioned just right. I'd put a compressor and limiter on both tracks separately to help fine tune them individually if the live workflow allows it. For live shows I usually also have a very gentle overall compressor affecting the combined audio, or a very gentle limiter for safety.
Very informative. I was told the hdr wheels should be where balance corrections are done but I’ve always known something looked off.. so thank you for correcting my misunderstanding there.
Hi Cullen, this is really helpful, thanks. I have experimented with using the HDR Global Wheel to adjust exposure. I must say it works very well. It results in a very natural look and also with less need to make other adjustments such as contrast. I will definitely use this method in future.
Absolutely great episode Cullen! Lots of new stuff learned about the Lum Mix and how to preserve those details working in linear. 'll repeat it here like I said in the Discord. You're #1. Period. And I am loving every minute of using Contour. I even created LUT's for my ZV-E1 for my own outdoor naturalistic shootings! Rigorously compensating for my +1.3 ETTR habits ha. Wouldn't have been possible without your knowledge. Can't wait for the next one!
This was really great man! I love this format of the Live Training!!
This was absolutely awesome! Super fun to have you diving into the ideas, then responding to the team's thoughts...seriously amazing!
Really liked the format. Learned a bit and reinforced some past lessons bringing it all together even more. Thanks Cullen!
This was reeeeeeeeeeally cool. First time to your channel, and what an introduction!
It was an excellent tutorials for someone like me who is learning about colour correction and colour grading. You have really covered the topic which was easy to understand by a nerd like me. Thanks Cullen and looking for many more suchlike great videos from you in future that would help me improve upon my skills at colour grading from a professional like you. Thanks!!
Thanks for this video!
Very precise technique for both exposure and balance. Thanks for sharing.
Primary color correction in linear mode works more accurately and predictably. Secondary color correction (grading) is better to work in the logarithmic field. And it's so cool, I put it in the piggy bank and now I'll use linear space more often to align the image
I am a photo retoucher, remains me a time when I was retouching amateur photos for a magazine and inused lab colour, to use the luma curve for exposure while not affecting the colours. Never thought about setting the curve layer in luminosity mode….
really appreciate this format!
I love this format. Nice content
Might've found a great teacher. When I make my first movie, I'll send it to you.
I really enjoyed this content and format. It was straight to the point. Thank you Cullen. Could you please do a grade school/ training on tracking windows… I’ve been doing this for a project and although I feel I have the function understood I would love to know how a pro finishes the edges… keeps the window in position so that it doesn’t look to much like a stop motion. Unfortunately, even after using the tracking types I have had to enter the key frames manually. If you look to close the edges move like waves as I have also had to move the window manually… for some reason the auto trackers don’t always work… would like to know your thoughts. Thanks.
Wow that's the only word that comes to my mind. Really mind opening.
Learned so much, thank you!
I try to work in linear for exp and balancing and in log for ratio and i can say i had faster and better results thanks mate
thank you. love your content.
The results chaiiiii lovely
Lovely... Great lesson
Excellent live stream Cullen I enjoyed every bit of this please continue this style of teaching 🔥 I would to see a video on the log wheels I feel like nobody talks about the log wheels but from using them it seems like it brings the highlights down better and more organic and the shadows up better and more organic I’d love to hear your take on it thanks
Love the format, btw.
Love it! Thank you.
These videos are great! Super informative
That was great Cullen!
great format
This was life changing!
Really good Grade School... very, very useful. I like the 'tuition' format 👍 Many thanks... enjoy the rest of the day 😎
Amazing. Thanks Cullen!
20:48 thank you for the video but when you start using the HDR controls you didn’t mention whether the nodes gamma was still set to linear?! so basically, when you’re adjusting the global exposure in the HDR controls, are you adjusting it just using the timeline settings in the gamma option?
beautiful content! Thanks
What do you think about using black offset for ratio in the HDR palette? The little, often missed field at the bottom right.
Hey Cullen, you definitely interview DPs on your show.
Love the format!
Thank you again for these useful techniques. I'm curious about the science behind the difference between using Linear LIFT versus Log LIFT for colour balance. I have traditionally used the OFFSET wheel for color balance, but your idea of Linear Gain offering more subtle control proves to be quite useful for my purposes. However, the behaviour of Linear LIFT has caught my attention, and I’m wondering about its impact on the overall split toning. Could you explain how the changes in behavior between Linear and Log LIFT might affect color grading results?
Sure thing! Applying lift in linear can be a a useful operation, but in general it's going to have a much stronger effect than doing the same thing in log. I generally find it less useful than lift in log, but worth playing with for yourself!
Great session but what's with the number of TH-cam commercials?
Amazing as usual 👌🏼
But I still don't grab the idea of using linear gain while it supposed to control the highest parts of the image, instead of using offset for example
Gain doesn't work the same way in linear in terms of only affecting the high end -- it uniformly affects the entire image
@@CullenKelly got it !
Thank you 🙌🏼
Hi, can you tell me if the Ratio node is also linear space?
Nope, it's in log.
51:31 is your prim node set to luminosity ?
Nope, though you can experiment with doing this!
Maybe I'm just slow or stupid, but the concepts all about Resolve are still a bit fuzzy to me. I've been in the film and corp. video fields for years, but it seems that the basic idea of Resolve takes the work that cinematographers did in the field and puts everything now on the colorists and or editors shoulders. Am I correct in that way of thinking? back when film was being shot, of course there was color correcting, but with film and using printer lights. When shooting film, lighting and the use of gels played a bigger role back then. So, it looks as though Resolve is now the digital way of using printer lights and lighting on set with gels. As a cinematographer, I still try and light and expose the best I can, but with all of the color grading going on, it seems that now, they're relying more on this software.
Yep, the relationship between camera and color grade is definitely a complex one. One easy way to think of it is that modern color grading now stands in for not only the work that we used to do with color timing, but ALL the lab work, plus the underlying film chemistry. That's a huge chunk of what defines the image.
Could we get a link for that power grade/DCTL middle grey?
I would like the link as well. Or how to make it myself
Exposure Chart is linked in the description! All you have to do once you've downloaded and loaded it into Resolve is set your Total Steps to 1 and uncheck Show Ramp.
@@CullenKelly thank you
What is the difference of gain linear and hdr global exposure adjustment?
Depends on what you're doing -- for adjusting exposure, linear gain and HDR Global do the exact same thing. For adjusting balance, they do quite different things, with my preference being for linear gain. Hope this helps!
@@CullenKelly as I was watching the stream I heard the answer from you. lol. This is a great help. Another tool I’m adding to my regular node tree. Thanks a bunch.
What's the tldr?
Thinking and grading photographically is awesome!
As a DP the gain wheel seems a very clumsy way to do color balance. Why not stick to the photographic principles you used for exposure? The camera is responding to Kelvin temp - i.e and occasionally under unusual situations (flourescents, bad light, perhaps under green foliage or a poor lens) may need a . These are the tools in a camera and in the world of light outside the camera . Way too easy to add a tint by accident in the wheel. Is there a reaon you don't like those tools in Resolve?
Oh man, so glad you brought this up. The intuition is that temperature and tint in Resolve do the same thing as temperature and tint on a camera, but they don't. Dedicated video on this topic coming soon!
❤️🔥
It must be just me but none of this feels helpful and is unbelievably long winded and complicated. Cinematographers don’t think in terms of stops any more unless for a common short hand. Most rely on false colour and simply applying common sense to what is necessary to be seen in the frame. The similar approach is given to dof and this is usually more definitive on acquisition. Creating a scene is about placing light where it’s needed or required for motivation. This idea of working photographically seems unnecessarily limiting. There are so many considerations made intuitively without breaking it down like this. Camera movement editing and character are all aspects of creation that bear no translation to this kind of technical geeky breakdown. I just don’t get this. It’s making something so simple so complicated.
Im wondering. At 31:15 this clip here, you mentioned that it was purposely and intentionally exposed wrong. That the sensor wasnt matching up with the temp of the lights and to be honest im wondering if anyone knows how? When i looked at it, it didnt even occur to me that was the case.
When I say the clip was exposed wrong, I just mean that the key light didn't match the temperature the camera was rated for, hence the very cool color balance