Good stuff. I tend to over complicate my color workflow due to myself formerly being the head colorist at a post house in NYC. I am now the senior admin and a professor in the film department at an art school and I'm trying to figure out ways to explain concepts without exceeding my students' skill level.
I love that you can color grade from the multicam timeline. I didn't know you could do that and have it pass through to the multicam edit. Some other great side tips I didn't know. Thanks for this. -H
I appreciate the video Marcel and your intro and outro are top notch. I have to watch it again but it would sure help if you showed how you were going back and forth with the screen capture and clip to compare. Not sure what you were doing with the mouse or keyboard to slide back and forth.
This was so helpful. I’m all in with Resolve now and use two cameras often (both Sony) 8-bit. The general advice seems to be to shoot in cine2 or HLG3 on 8-bit cameras, rather than log. Would you go along with that?
Glad this helps! This has been a big debate for years whether it is worth it to shoot LOG without 10-bit. In my experience Sony can tend to fall apart in the skin tones when shooting 8-bit log so I will agree with this as long as you don't need to match to other cameras shooting in log or raw.... When I don't have to match to other brands with my Panasonic I film in Standard mode all the time because I love the look. Good question thans for the comment
Thanks for this. The way I had seen before was a lot more simplistic and not as good probably using the grabbed still and pasting to the other footage. This is still a tad confusing, particularly the cst but I'll get better.
This is a great tutorial. Many people use high end cameras as an “A” cam and then something smaller as a “B”. So this really helps. Does this apply to all BRAW setups matching with LOG like c-log 3 with canon?
Thank you for the comment! There have actually been some great updates since I made this video. I am going to make an updated tutorial with new tips 👊✌️
HLG is like Log's little brother but it is not technically Log. For best results I would shoot SLog on Sony and Vlog on Panasonic when planning to match them together.
Is it true when grading 8 but footage you shouldn't use qualifiers, use primaries over secondaries, use hsl curves for secondaries and you should use grain to cover up banding
Some might say that is true but that is a rule I have never followed. I mainly shoot RAW these days but for years I used the qualifier with 8bit footage. You may not be able to push it as far but you can absolutely stoll use it. Thanks for the comment 👊✌
Why don’t you just use the colour space transform on both cameras, converting to the output colour space? Rather than converting one to the other then using a LUT. CST is not accurate than the LUT
Good stuff. I tend to over complicate my color workflow due to myself formerly being the head colorist at a post house in NYC. I am now the senior admin and a professor in the film department at an art school and I'm trying to figure out ways to explain concepts without exceeding my students' skill level.
I love that you can color grade from the multicam timeline. I didn't know you could do that and have it pass through to the multicam edit. Some other great side tips I didn't know. Thanks for this. -H
Happy to help! Thanks for the kind words my friend 🙏👊✌️
I appreciate the video Marcel and your intro and outro are top notch. I have to watch it again but it would sure help if you showed how you were going back and forth with the screen capture and clip to compare. Not sure what you were doing with the mouse or keyboard to slide back and forth.
This was so helpful. I’m all in with Resolve now and use two cameras often (both Sony) 8-bit. The general advice seems to be to shoot in cine2 or HLG3 on 8-bit cameras, rather than log. Would you go along with that?
Glad this helps! This has been a big debate for years whether it is worth it to shoot LOG without 10-bit. In my experience Sony can tend to fall apart in the skin tones when shooting 8-bit log so I will agree with this as long as you don't need to match to other cameras shooting in log or raw.... When I don't have to match to other brands with my Panasonic I film in Standard mode all the time because I love the look. Good question thans for the comment
Thank you for the tutorial. Great job!
Wow this is amazing! Literally my gh5 footage matches my p4k defo use Vlog to get it 99% bang on
Happy to help! The color space transform shocks me every time 🤣 thanks for the comment Connor! 👊✌️
Hey! Thank you so much for this!
What are the Color Managment settings that you use before you start working on the footage?
This is a very good tutorial
Thanks my man
Thanks for this. The way I had seen before was a lot more simplistic and not as good probably using the grabbed still and pasting to the other footage. This is still a tad confusing, particularly the cst but I'll get better.
This is a great tutorial. Many people use high end cameras as an “A” cam and then something smaller as a “B”. So this really helps. Does this apply to all BRAW setups matching with LOG like c-log 3 with canon?
Thank you! I appreciate the kind words 🙌 and yes this would apply to mixing almost any Cameras 👊✌️
Best for multicam video
This was great! Thanks. Was able to grade a gh5 10bit with a 10bit fs7 Great,
That's awesome! The GH5 and FS7 match really well with this technique. Thanks for the comment 👊✌️
Cool guy. Thanks for making it simple to match shots from two different cameras.
Thanks for this😊
Thank you for this! helped me a lot.
Much appreciated man 🙏🏻
Thank you Gary! 👊✌
@@TheModernFilmmaker Thank YOU sir for the constant grind and amazing tutorials 🤟
This us excellent. You didnt explain how to collapse the multicams back into the timeline.
Thank you for the comment! There have actually been some great updates since I made this video. I am going to make an updated tutorial with new tips 👊✌️
@@TheModernFilmmaker Seriously though, how do you collapse it back into the timeline??
thanks, I want a second camera now)
Lol I started with 1 and now have 3 and a drone. You can do it Fedor! 👊✌
thank you for sharing, What lens do you use?
Thanks for the comment! I am a big fan of the Sigma 18-35 and 50-100 f1.7.... Great lenses for the price
What a great tut! I tried a similar workflow but with Davinci color managed and the effect wasn't even half close to yours!
Thanks bro
great!!!
Thank you 👊 ✌️
I just shot a video with a Sony a73 in Vlog and a GH5 in HLG3 was that a mistake or should I have both in Log?
HLG is like Log's little brother but it is not technically Log. For best results I would shoot SLog on Sony and Vlog on Panasonic when planning to match them together.
@@TheModernFilmmaker Thank you. I have been watching your videos for a while. Great Information everytime.
Is it true when grading 8 but footage you shouldn't use qualifiers, use primaries over secondaries, use hsl curves for secondaries and you should use grain to cover up banding
Some might say that is true but that is a rule I have never followed. I mainly shoot RAW these days but for years I used the qualifier with 8bit footage. You may not be able to push it as far but you can absolutely stoll use it. Thanks for the comment 👊✌
I tend to get more 8 bit footage then anything else are there any other helpful hints or rules we should follow when grading 8 bit?
Idk if I'm going crazy, but the skintones still feel "off" between both angles.
Maybe it's just my phone screen.
You lost me completely at 4:30. How do I know what to pick? Was this something that had to be done before I even got my footage? Very unclear
Wall behind does not match.
Pop quiz: what is the difference?
Why don’t you just use the colour space transform on both cameras, converting to the output colour space? Rather than converting one to the other then using a LUT. CST is not accurate than the LUT
I was thinking the same exact thing.
Thank you
thanks!