Your use of the Bmpcc4k is extraordinarily good. More so, your color grading skills. I’ve watched all your short films and I think you’re one of the best filmmakers here on TH-cam. Thank you so much for this video.
im so thankfull!! i learned so much. the way you approach color grading as an true artist is a joy to see. what i love the most is the factt that you do certain things AFTER rec 709 and some things before. i think people dont appreciate how much luck we have you share this artistic chain with us. im gonna expermient with it i am so motivated. looking forward for your next masterpiece. Hermanos Bander blackmagic design has no idea how many people are inspired to buy blackmagic. they should give you free stuff. i wish you all the best all the way from amsteredam. God bless you
Thank you very much for sharing your feelings with us. It is a pleasure that our work can be useful. It is very motivating to read comments like yours. success and blessings!!!!
Oh God finally! Someone that explain. I am a biginner so I know that I have to study much, but just from this I know where to start studying. Thank you
Whaaaaaattttttt, the results I got are crazyyy. Sure we don't have the same Camera, but the steps gave a different look, I wasn't even expecting what I'm doing to look this good. Thank you very much for the tutorial.
Hi Bro, this is an amazing video.great content and plenty of information for colour grading. Actually I was very much excited after watching ur short film the last canvas. Tat was wonderful. Thank u so much for teaching us with this type of stuffs.
Bro I have been waiting for someone to explain this to me properly for like a year now. I'm going to have to go over this a few times but looks like you may have a good functional workflow here. Exactly what I'm looking for.
this is so good!! it would be nice if you can explain the working mechanism of each node, so that I can really understand how it works, and how can I apply the effect to all my clips? Much appreciated for the masterpiece!
Of course, some processes are best done in a wider color space, so we rescue information and adjust a much wider range of colors, and the contrast for example we prefer to do it on the rec 709 conversion because it gives a different result and sometimes you are looking for that, it is important to define where to make certain adjustments.
Thanks a lot, best color grading tutorial I've seen so far. At first I was puzzled by such many nodes however all makes sense in the end. And explained in 8mins only while some others need 30mins. One thing left for me: not clear why you're doing such many CSTs, maybe you can help me with this.
Thank you so much!! In this case, we use a CST to convert the footage to a larger color space, DWG. The next node converts from DWG to Rec709, giving us our Rec709 output in case we want to use it as is before applying a Print Film Emulation. For this, we use another CST to convert Rec709 to Cineon Film Log so we can apply our Kodak LUT. This means we have absolute control over every process. At any point, we can dial back the Kodak effect and use it as a mask. In this video, it wasn’t necessary, but we always have that option to reduce the Kodak look. We’ll be releasing more simplified tutorials soon.
One thing that i noticed that might not be correct. I thing for cineon film log transfer output transfer from rec709 should be P3-D65 and not rec709 correct me if I'm wrong.
Yes, it could be more technical to use P3-D65 before the LUT, but testing I have noticed that it only affects the saturation, and with the fact of using the kodak 2383 lut we obtain a very desaturated image due to the characteristics of the LUT and if instead of Rec 709 we use P3-D65 the image is even more desaturated, for this reason I simply leave it in Rec 709.
@@hermanosbander i have seen many colorist profisonals are not transferring colorspacees property. Not mentioning to you because i totally got your point and tested rec709 myself as you said is better saturated with kodak film looks. I'm glad that you properly transformed all your colorspaces correctly.
You should use p3 if your output will be cinema theater or HDR rec2020 p3 limited, most of internet content is 709 color space limited, so it turns out less saturated inp3 because colors are out of final color gamut.
Yes we recommend it, it is a tool that gives a slightly different result, with other textures. It all depends on what result you are looking for, soon we will do a tutorial using dehancer.
Before using a print film emulation LUT like the KODAK 2383, it's necessary to convert our space to Cineon film log, which is why we place that CST before the LUT.
@@hermanosbander yes ok. But why don't we go straight from Davinci WG / Intermediate to Rec709 Cineon Film Log? When I do it that way i can leave the Rec709 node out and it results in the same way.
Hands down the best easy to follow tutorial on color grading! One question though: I follow your exact instructions. Buit whenever I export my video onto a Macbook the colors are different then what I see in Davinci. My video becomes lighter. I read that you need to export in "Rec709 A", but then I need to redo my coloring. How to export in Output Gamma 2.4 without losing any colors, contrast etc.?
Thank you!! Ok, what happens is that you're doing your color grading with an Apple monitor; these monitors aren't Rec 709. If you don't have a calibrated monitor in Rec 709 gamma 2.4 and you're going to color grading directly on the MacBook, then your timeline should be set to Rec 709-A, and always do your color grading this way. When exporting, your output should also be Rec 709-A. This way, when you export, you'll see the same thing as inside Davinci. Working in Rec 709 gamma 2.4 is only if you're monitoring on a monitor that's properly calibrated in this color space, but I've found that if you're working directly on Apple monitors, Rec 709-A is always the best option.
What’s the point of two consecutive CST nodes before the LUT? Can’t you just convert from Davinci color and gamma directly to Rec.709 and Cineon Log? 🤷🏻♂️
This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.
Amazing video. Beginner here shooting on the bmpcc og shooting raw CDNG. What changes to settings could I do to use this workflow or is just too different?
Thanks!! Using bmpcc footage you should change the settings in the first CST node, adjusting the color and gamma input the same as the settings you have in the RAW window, otherwise you can use the same node structure.
This is remarkable, but how do I do it if I have a GH5? Surely I can't just copy what you're doing here, right? Do I need to stop using Cinelike D and shoot in a log profile? What do you suggest I do?
Correct, ideally you should shoot in a log profile, and in DaVinci Resolve, on the first CST node, change the input to your camera's profile. After that, you can follow the tutorial for everything else
Hi, your work was very good but I had a doubt as to why I went from REC 709 - 2.4 range to rec 709 - fimcine log range. Would it just be lut compatibility?
Hello, thank you!!! Yes, the reason why we convert to cineon film log after converting to rec 709 gamma 2.4 is to be able to use the film emulation lut. Since this type of luts are designed to be applied to cineon film log gamma material.
Thanks!! The node structure can be the same but you must change the settings in the CTS depending on the format in which you have filmed, you must adjust the color and gamma input.
Thank you! The adjustments in a wide color space are perfect to recover and work global tones, as in this case the blue and cyan tones. By putting the warm tones in Rec 709 on a smaller color space, we make sure that those warm tones don't affect the whole tonality of the image again, but rather add a kind of tint which is what we were looking for in this specific look.
When doing color grading, the goal is to achieve an image that conveys something, not necessarily to make everything look technically natural. It all depends on what you're aiming for. If we want to have a natural balance, we can go down that path, but in this specific case, that wasn't our objective. The same applies to skin tones: if the environment has a strong temperature or dominant color, adjusting skin tones for technical correctness can cause them to not blend well in the scene. That's why it all depends on what you're aiming to achieve.
Awesome! I love this videos! I dont have a black magic , I use Nikon Z5 but This gives me ideas. Not even close my results to that but I love the video! Thank you!
Thanks!!! Yes techniques are also applicable to other types of footage, the important thing is to know the strengths of your equipment and keep experimenting.
@@hermanosbander For sure! My dream is have a camera like that one or at least that shoots raw it must be another whole world! Keep the good work matte! Best wishes from Argentina!
Hi bro. loved your work, wanted to ask is input colour space will be the same if the footage coming from a bmpcc 6kpro on the first Cst note? tnx for your feedback.
Thank you! If the footage is from the bmpcc 6k you must change the gamma input in the first CST node, you must select: Black magic pocket design 6k Film
thank you for the lesson, great tutorial, i have one question, why every i add contrast the background/shadow start blink color.? do you have a solution for that? or what it can be happen?
I like this tutorial, but i wish you had explained why you do as you as i am sure many beginners look also. Why do you for example use exactly those settings on color space tranformation, (such as wide gammut) and which scenes to use it for. Which nodes are allways essential to have to start grading regardless of this grade. There are many questions that one can have here. This would be much more helphful to understand the logic. But thank you..may be i will undertand more later.
Out of curiosity, how come you're not using Rec 709-A even though you're on a Mac? Is there a reason to use 2.4 or 2.2 rather than Rec 709-A? I keep getting mixed answers from Mac users.
Using Rec 709-A is helpful when your monitor is an Apple display, such as a MacBook or a Mac Display, because Apple has its own color space. Rec 709-A applies a sort of correction to display something as close as possible to Rec 709 gamma 2.4. We have a special monitor calibrated to Rec 709 gamma 2.4, which is not an Apple display. Therefore, that should be our project configuration, whether on Windows or Mac. Keep in mind that the most important thing is knowing what monitor you are using and adjusting your project according to the monitoring setup you have.
@ Thanks for the helpful response. In my case, I’m using a Macbook in clamshell mode, and using an external monitor (BENQ PD3225U) that is set to Rec709 mode. In this case, would I want to revert back to using Rec709, Gamma 2.4 rather than Rec709-A? Also, would I want to continue selecting the “Use Mac display profiles for viewers” regardless? Thanks again.
This is amazing - But is there not a way to get a cinematic look without so many nodes? This is a lot of hard work - I love DaVinci - Can you recommend or do a tutorial with less nodes please - like 5 nodes max?
Thank you!! Yes, there are different techniques. This is a structure that allows absolute control over each process, but we will make a tutorial using many fewer nodes.
Hello, thank you for share it, I just wondering why do you use a node to transform to REC 709 and then you change it in another node to convert to Cineon Film log insted of go directly from Davinci WG to Cineon Film Log? Thank you!!
Thank you! Having a dedicated node with the transformation to REC 709 and then another compound node with Cineon Film Log output before applying the LUT allows you to combine the print film emulation effect whenever you want. Sometimes you may only want to apply a hint of the film effect, and this way, it's very easy to adjust the opacity of the effect.
How do you do the kind of video where you notice the transformation of the video from raw to the final result? Like the clip in the beginning...I wanna show the transformation of a clip from raw to color correction...
Inside davinci resolve there are some transitions called Triangle Left, then you place the ungraded video in your timeline and on top of it you place the video already graded, then you place the transition and you get the effect.
This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.
This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.
You can follow the tutorial step by step even if you have footage in Slog3; you just need to change the input in the first CST to match your footage. This way, you'll be working in a color space larger than Slog3. If you want to work directly in Slog3, it's not necessary to have an initial CST, only the CST at the end of your tree node that transforms Slog3 to Rec 709."
Great channel to follow; keep up the excellent work! I'm trying to achieve similar results with my BMD footage and have a question. I've noticed that your footage has blanking, just like mine. However, when I apply blanking of that size, I get extremely low values in my Curves - Custom panel. When I apply a zoom transform, the values increase, but I don't want to use the transform tool. How can I boost the values without using the transform tool? I'd really appreciate any assistance or insight you can provide to help me with this. It's a bit confusing. Thanks!
Thanks!! Our shot has a resolution of 4K DCI, but we made the project in 4096 x 1716 Scope 2.39, so it's a widescreen scene, not the classic 16:9. When exporting in this 2.39 aspect ratio, blanking is automatically generated when played on certain platforms. Working and exporting in this aspect ratio you wouldn't need to zoom or apply black bars or anything of the sort.
Thanks so much!! Sure, you can use the same node structure for slog3. The only thing you need to change is the input in the first CST, set the color space and gamma to slog3, Sgamut3 Cine.
This is because once we have our conversion to REC 709, then we can work towards achieving a natural image. By having both a CST and a LUT, we can easily combine this film print effect. It's mainly about having control and organization over each process and being able to easily revert to a more natural look.
That looks awesome, great tutorial. Got a Black Magic 6K full frame arriving soon. Any chance you could export the node tree and send it to me please ?
Thank you! You can make the node tree as it is in the tutorial, as long as you have Davinci resolve studio you will have no problem to create it following the steps
Hi, why have a CST to REC 709, Gamma 2.4 and then another CST node straight after changing the gamma to Cineon Film Log, Why not just have 1 node going from Davinci WG to Rec 709 and Cineon Film Log?
Of course it can be done without the rec 709 conversion, but it is our way of having everything in sections, so if we decide to combine the transformation with the Kodak lut we can do it without any problem, in this case we do not lower the intensity of the kodak effect, but in some other cases we do it.
Best tutorial i ever seen. Subscribe for You ! I have question what did u put into project settings/color management? 1. Color science: davinci yrgb managed? 2. Auto: off ? 3. Color processing: hdr DWGI? 4. Output rec709 scene? Thank You if u could naswer me on that quick question !!
By performing the transformation in the first node, we are completely reducing the color space and gamma, leaving us with no range to alter colors and luminosity. Rec709 is a very small color space. By following the tutorial's approach, we ensure that we are leveraging a very wide color space with ample range to recover information and alter tones
No me lo puedo creer 😮 lo hiciste!! Muchas gracias por adelantado y gracias también por escuchar a tus subscriptores. Me compré la BMPCC 4K pero no consigo un color bueno ya nose que hacer. Espero que con tu vídeo tutorial aprenda de manera profesional, LOVE!
It’s a cool look, I just think that I’d avoid put any look defining adjustments into the balance node. Imo Balance should only be used for… well balancing the colors
Are you referring to the Kodak LUT? I think this is also available in the free version, what might be exclusive to the Studio version is the CST plugin.
You must go to the start, choose the input and the gamma with which your material was filmed, so you prepare your footage to work in the color space in which you set your project. And at the end of the node chain you place another CST to give it an output, depending on where your exported material will be played, the standard is a rec 709 gamma 2.4 output. In this tutorial there is an extra process in which we make a conversion to cineon film log to later use a lut, but it is an extra step, not essential. Also in this tutorial there are some processes that are applied after the output CST, but it is optional.
@@hermanosbander will be super helpful if you do another tutorial about this.. for example why (intermediate why not film) its abot black magic. and what bout sony and what about arri. and how do you know which one when use ? Thank you!
you just need one CST from DWG to Rec709 cineon, don't need to convert to 709 2.4 and after cineon, and your last corrections after out are in display referred
Of course it can be done without the rec 709 conversion, but it is our way of having everything in sections, so if we decide to combine the transformation with the Kodak lut we can do it without any problem, in this case we do not lower the intensity of the kodak effect, but in some other cases we do it.
I have never seen any Color grade Step-by-step proper process like this ever. Awesome video bro. No hidden stuff.. Really appreciate your effort bro.
Thanks for commenting, I'm glad you find our content helpful!! :)
@hermanosbander hey bro, Could please explain why we need to convert to cinelog ? I am blank about that
😍😍
hell, I have bmpcc 4k, and i have never come to this level of grading. i need to learn more from this channel.
🤣🤣🤣
Your use of the Bmpcc4k is extraordinarily good. More so, your color grading skills. I’ve watched all your short films and I think you’re one of the best filmmakers here on TH-cam. Thank you so much for this video.
Thank you very much for commenting! we appreciate it very much!
what do we do with our gopros? damnn pricess
This is the craziest davinci edit I've seen so far - INSANE - I'm stealing this for sure!!!
im so thankfull!! i learned so much. the way you approach color grading as an true artist is a joy to see. what i love the most is the factt that you do certain things AFTER rec 709 and some things before. i think people dont appreciate how much luck we have you share this artistic chain with us. im gonna expermient with it i am so motivated. looking forward for your next masterpiece. Hermanos Bander blackmagic design has no idea how many people are inspired to buy blackmagic. they should give you free stuff. i wish you all the best all the way from amsteredam. God bless you
Thank you very much for sharing your feelings with us. It is a pleasure that our work can be useful. It is very motivating to read comments like yours. success and blessings!!!!
Oh God finally! Someone that explain. I am a biginner so I know that I have to study much, but just from this I know where to start studying. Thank you
:) thank you
Whaaaaaattttttt, the results I got are crazyyy. Sure we don't have the same Camera, but the steps gave a different look, I wasn't even expecting what I'm doing to look this good.
Thank you very much for the tutorial.
How awesome that our tutorial helped you nail that result!
Why I didn’t der this channel before in my life?? Subscribed here !!! 👏🏼👏🏼👏🏼👏🏼
Thank you :)
By far the best color grade tutorial I’ve seen . We have two different cameras but I still followed the same steps and results was amazing thank you!
Great!! Thanks!!
Man i ever seen a video like this i watch from the beginning to end very carefully ❤.
Thanks you!!!!
Crei que era imposible que llegara este dia. Lo hiciste !!! 🎉🎉🎉
what is the name of the program?
which program, you mean Davinci Resolve?
Yes🎉🎉🎉yes🎉🎉🎉 very good tutorial on DaVinci résolve and the color grading 🎉🎉
Thanks!!!
@@hermanosbander ok fine make again more of tutorial on DaVinci résolve and the color grading 😊
how to acheive this look in Sony a7 iv, can you help?
We have not worked especially with the Sony a7 but we have done color grading in Sony S log, soon we will do a tutorial.
Hi Bro, this is an amazing video.great content and plenty of information for colour grading. Actually I was very much excited after watching ur short film the last canvas. Tat was wonderful. Thank u so much for teaching us with this type of stuffs.
Many thanks to you bro, we'll keep sharing more of what we do!!!
Bro I have been waiting for someone to explain this to me properly for like a year now. I'm going to have to go over this a few times but looks like you may have a good functional workflow here. Exactly what I'm looking for.
I'm glad bro :)
This is crazy.Thank you so much for this tutorial
Thanks!!
After this tutorial am definitely a Pro. Much appreciated 👍🏾👍🏾👍🏾
Thank you!! We will soon make more simplified tutorials.
this is so good!! it would be nice if you can explain the working mechanism of each node, so that I can really understand how it works, and how can I apply the effect to all my clips? Much appreciated for the masterpiece!
Thank you so much!!! We will soon make more tutorials where we will explain the processes in more detail.
Thank you so much, I didn't skipped 1 second
this channel should be in millions tier of subs.. great job and keep it up..
Thanks so much!! :)
thank you for the tutorial,is there a reason why u adjusted colors and contrast after the lut instead of before?
Of course, some processes are best done in a wider color space, so we rescue information and adjust a much wider range of colors, and the contrast for example we prefer to do it on the rec 709 conversion because it gives a different result and sometimes you are looking for that, it is important to define where to make certain adjustments.
This vidéo is a masterclass !!! The
Thanks!!!
This is great, made my footage come to a whole new level following this.
I'm glad it was useful and that you can get results using this technique!!
Awesome video, very new to Davinci and this definitely helped me understand things a little more! Thank you.
Thanks :)
Thanks a lot, best color grading tutorial I've seen so far. At first I was puzzled by such many nodes however all makes sense in the end. And explained in 8mins only while some others need 30mins. One thing left for me: not clear why you're doing such many CSTs, maybe you can help me with this.
Thank you so much!! In this case, we use a CST to convert the footage to a larger color space, DWG. The next node converts from DWG to Rec709, giving us our Rec709 output in case we want to use it as is before applying a Print Film Emulation. For this, we use another CST to convert Rec709 to Cineon Film Log so we can apply our Kodak LUT. This means we have absolute control over every process. At any point, we can dial back the Kodak effect and use it as a mask. In this video, it wasn’t necessary, but we always have that option to reduce the Kodak look. We’ll be releasing more simplified tutorials soon.
You JUST changed my life. Thank you
Thank you!
Thank you so much for this lesson! Very interesting techinique you are achieving with the parallel node with softlight! Thank you for your time
Thank you!! :)
Homem, não sei como seu video apareceu pra mim, mas eu AMEI! KKKKKKKKKKKKKKKKKKKKK
Obrigado!
Amazing bro ! Cant wait to get my pyxis and implement this look
Nice!! :)
One thing that i noticed that might not be correct. I thing for cineon film log transfer output transfer from rec709 should be P3-D65 and not rec709 correct me if I'm wrong.
Yes, it could be more technical to use P3-D65 before the LUT, but testing I have noticed that it only affects the saturation, and with the fact of using the kodak 2383 lut we obtain a very desaturated image due to the characteristics of the LUT and if instead of Rec 709 we use P3-D65 the image is even more desaturated, for this reason I simply leave it in Rec 709.
@@hermanosbander i have seen many colorist profisonals are not transferring colorspacees property. Not mentioning to you because i totally got your point and tested rec709 myself as you said is better saturated with kodak film looks. I'm glad that you properly transformed all your colorspaces correctly.
You should use p3 if your output will be cinema theater or HDR rec2020 p3 limited, most of internet content is 709 color space limited, so it turns out less saturated inp3 because colors are out of final color gamut.
Amazing result in my video, thanks so much!.
Great!! :)
Damn the bm 4k has amazing picture quality
i was searching for the CST to blackmagic for a long time big thanks for you ❤
Great!! :)
Do you recommend getting a plug-in like Dehancer or is your style very similar?
Yes we recommend it, it is a tool that gives a slightly different result, with other textures. It all depends on what result you are looking for, soon we will do a tutorial using dehancer.
Great tutorial, hope you can make same tutorial for iPhone Log footage, or these steps and effects works good as well? Thanks
Thank you so much!! Of course, we will keep that in mind.
Isn't the Rec709 CST useless bc the Kodak LUT converts our footage in Rec709?
Before using a print film emulation LUT like the KODAK 2383, it's necessary to convert our space to Cineon film log, which is why we place that CST before the LUT.
@@hermanosbander yes ok. But why don't we go straight from Davinci WG / Intermediate to Rec709 Cineon Film Log?
When I do it that way i can leave the Rec709 node out and it results in the same way.
Hands down the best easy to follow tutorial on color grading!
One question though: I follow your exact instructions. Buit whenever I export my video onto a Macbook the colors are different then what I see in Davinci. My video becomes lighter. I read that you need to export in "Rec709 A", but then I need to redo my coloring. How to export in Output Gamma 2.4 without losing any colors, contrast etc.?
Thank you!! Ok, what happens is that you're doing your color grading with an Apple monitor; these monitors aren't Rec 709. If you don't have a calibrated monitor in Rec 709 gamma 2.4 and you're going to color grading directly on the MacBook, then your timeline should be set to Rec 709-A, and always do your color grading this way. When exporting, your output should also be Rec 709-A. This way, when you export, you'll see the same thing as inside Davinci. Working in Rec 709 gamma 2.4 is only if you're monitoring on a monitor that's properly calibrated in this color space, but I've found that if you're working directly on Apple monitors, Rec 709-A is always the best option.
@@hermanosbander Alright, I get it! Thank you for the feedback!
What’s the point of two consecutive CST nodes before the LUT? Can’t you just convert from Davinci color and gamma directly to Rec.709 and Cineon Log? 🤷🏻♂️
This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.
@@hermanosbander got it! Thanks
Good Morrin Hermanos Thanks i have the Bmpcc6k lookin forward to my next project the way you set up your node tree up Game Changer😎
I am glad to read this :)
Amazing video. Beginner here shooting on the bmpcc og shooting raw CDNG. What changes to settings could I do to use this workflow or is just too different?
Thanks!! Using bmpcc footage you should change the settings in the first CST node, adjusting the color and gamma input the same as the settings you have in the RAW window, otherwise you can use the same node structure.
Can I practice on this video? I mean, can we download the raw video you posted in this tutorial?
This is remarkable, but how do I do it if I have a GH5? Surely I can't just copy what you're doing here, right? Do I need to stop using Cinelike D and shoot in a log profile? What do you suggest I do?
Correct, ideally you should shoot in a log profile, and in DaVinci Resolve, on the first CST node, change the input to your camera's profile. After that, you can follow the tutorial for everything else
Hi, your work was very good but I had a doubt as to why I went from REC 709 - 2.4 range to rec 709 - fimcine log range. Would it just be lut compatibility?
Hello, thank you!!! Yes, the reason why we convert to cineon film log after converting to rec 709 gamma 2.4 is to be able to use the film emulation lut. Since this type of luts are designed to be applied to cineon film log gamma material.
Muchas gracias.
Your tutorial is great. I wonder if it can be applied to Nikon’s RAW videos
Thanks!! The node structure can be the same but you must change the settings in the CTS depending on the format in which you have filmed, you must adjust the color and gamma input.
@@hermanosbander Thanks for your reply, I'll try it!
Great look!🔥 Why did you push the warm tons after the the convertion and the blues before?
Thank you! The adjustments in a wide color space are perfect to recover and work global tones, as in this case the blue and cyan tones. By putting the warm tones in Rec 709 on a smaller color space, we make sure that those warm tones don't affect the whole tonality of the image again, but rather add a kind of tint which is what we were looking for in this specific look.
What about white balance and skin tones?
When doing color grading, the goal is to achieve an image that conveys something, not necessarily to make everything look technically natural. It all depends on what you're aiming for. If we want to have a natural balance, we can go down that path, but in this specific case, that wasn't our objective. The same applies to skin tones: if the environment has a strong temperature or dominant color, adjusting skin tones for technical correctness can cause them to not blend well in the scene. That's why it all depends on what you're aiming to achieve.
Awesome! I love this videos! I dont have a black magic , I use Nikon Z5 but This gives me ideas. Not even close my results to that but I love the video! Thank you!
Thanks!!! Yes techniques are also applicable to other types of footage, the important thing is to know the strengths of your equipment and keep experimenting.
@@hermanosbander For sure! My dream is have a camera like that one or at least that shoots raw it must be another whole world! Keep the good work matte!
Best wishes from Argentina!
Hi bro. loved your work, wanted to ask is input colour space will be the same if the footage coming from a bmpcc 6kpro on the first Cst note? tnx for your feedback.
Thank you! If the footage is from the bmpcc 6k you must change the gamma input in the first CST node, you must select: Black magic pocket design 6k Film
@@hermanosbander tnx for the feedback 🙏
Great Job Man !!!!
Thanks!!
How do you get those color picker options? Mine doesn't have the pencils or wheel
Which color picker options are you referring to? The blue wheel?
@@hermanosbanderI think I’m not seeing it because I’m using Windows
Thanks bro for your effort. you didn't do any unnecessary side talk which make the video lengther and boring.
Thank you!!
thank you for the lesson, great tutorial, i have one question, why every i add contrast the background/shadow start blink color.? do you have a solution for that? or what it can be happen?
Thanks!! What material are you working with? What format is it?
Hi thank you for this tutorial, what app are you using to highlight the mouse and the blue screen. Thanks
Pro Mouse
I like this tutorial, but i wish you had explained why you do as you as i am sure many beginners look also. Why do you for example use exactly those settings on color space tranformation, (such as wide gammut) and which scenes to use it for. Which nodes are allways essential to have to start grading regardless of this grade. There are many questions that one can have here. This would be much more helphful to understand the logic. But thank you..may be i will undertand more later.
Out of curiosity, how come you're not using Rec 709-A even though you're on a Mac? Is there a reason to use 2.4 or 2.2 rather than Rec 709-A? I keep getting mixed answers from Mac users.
Using Rec 709-A is helpful when your monitor is an Apple display, such as a MacBook or a Mac Display, because Apple has its own color space. Rec 709-A applies a sort of correction to display something as close as possible to Rec 709 gamma 2.4. We have a special monitor calibrated to Rec 709 gamma 2.4, which is not an Apple display. Therefore, that should be our project configuration, whether on Windows or Mac. Keep in mind that the most important thing is knowing what monitor you are using and adjusting your project according to the monitoring setup you have.
@ Thanks for the helpful response. In my case, I’m using a Macbook in clamshell mode, and using an external monitor (BENQ PD3225U) that is set to Rec709 mode. In this case, would I want to revert back to using Rec709, Gamma 2.4 rather than Rec709-A? Also, would I want to continue selecting the “Use Mac display profiles for viewers” regardless? Thanks again.
What if you don't record in LOG, how many steps to I avoid?
This is amazing - But is there not a way to get a cinematic look without so many nodes? This is a lot of hard work - I love DaVinci - Can you recommend or do a tutorial with less nodes please - like 5 nodes max?
Thank you!! Yes, there are different techniques. This is a structure that allows absolute control over each process, but we will make a tutorial using many fewer nodes.
@@hermanosbander We look forward to it :) Thank you
Very nice work!
Thanks!!
Hello, thank you for share it, I just wondering why do you use a node to transform to REC 709 and then you change it in another node to convert to Cineon Film log insted of go directly from Davinci WG to Cineon Film Log? Thank you!!
Thank you! Having a dedicated node with the transformation to REC 709 and then another compound node with Cineon Film Log output before applying the LUT allows you to combine the print film emulation effect whenever you want. Sometimes you may only want to apply a hint of the film effect, and this way, it's very easy to adjust the opacity of the effect.
@@hermanosbander Thank you!!
How do you do the kind of video where you notice the transformation of the video from raw to the final result? Like the clip in the beginning...I wanna show the transformation of a clip from raw to color correction...
Inside davinci resolve there are some transitions called Triangle Left, then you place the ungraded video in your timeline and on top of it you place the video already graded, then you place the transition and you get the effect.
why convert to rec 709 gamma 2.4 to then instantly convert to cineon? isn't it less destructive to just go straight from dwg to cineon cst?
This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.
This is done because when converting from Wide Gamut to Rec709, you ensure how the image is supposed to look with a standard transformation. By having the Cineon film log and LUT nodes separated, we can easily combine them if we want to reduce the Kodak film effect.
Awesome video, love you to do this tutorial using some Sony slog 3 footage
Just found it 🙏
Thank you!!
thanks for this tutorial, its amazing
Thank you!!
i try this process with same footage but from EOS R +Atomos ninja V and its look amazing thank you
We are glad to read that! thanks for commenting
Thanks for this tutorial !
i dont understand all the cst being used.
I just have 1 simple question I use a Sony camera and shoot SLOG3,Shoudnt I do the color correct before the initial CST ?
You can follow the tutorial step by step even if you have footage in Slog3; you just need to change the input in the first CST to match your footage. This way, you'll be working in a color space larger than Slog3. If you want to work directly in Slog3, it's not necessary to have an initial CST, only the CST at the end of your tree node that transforms Slog3 to Rec 709."
@@hermanosbander understood thank you
Great channel to follow; keep up the excellent work!
I'm trying to achieve similar results with my BMD footage and have a question. I've noticed that your footage has blanking, just like mine. However, when I apply blanking of that size, I get extremely low values in my Curves - Custom panel. When I apply a zoom transform, the values increase, but I don't want to use the transform tool.
How can I boost the values without using the transform tool? I'd really appreciate any assistance or insight you can provide to help me with this. It's a bit confusing. Thanks!
Thanks!! Our shot has a resolution of 4K DCI, but we made the project in 4096 x 1716 Scope 2.39, so it's a widescreen scene, not the classic 16:9. When exporting in this 2.39 aspect ratio, blanking is automatically generated when played on certain platforms. Working and exporting in this aspect ratio you wouldn't need to zoom or apply black bars or anything of the sort.
Thank you so much for the great video. Can the node tree shown in this video be applied in the same way on the slog3?
Thanks so much!! Sure, you can use the same node structure for slog3. The only thing you need to change is the input in the first CST, set the color space and gamma to slog3, Sgamut3 Cine.
Is there any specific reason for the REC709 to CST step? Seems like it could just be a single node instead of two 🤔
This is because once we have our conversion to REC 709, then we can work towards achieving a natural image. By having both a CST and a LUT, we can easily combine this film print effect. It's mainly about having control and organization over each process and being able to easily revert to a more natural look.
That looks awesome, great tutorial. Got a Black Magic 6K full frame arriving soon. Any chance you could export the node tree and send it to me please ?
Thank you! You can make the node tree as it is in the tutorial, as long as you have Davinci resolve studio you will have no problem to create it following the steps
Hi, why have a CST to REC 709, Gamma 2.4 and then another CST node straight after changing the gamma to Cineon Film Log, Why not just have 1 node going from Davinci WG to Rec 709 and Cineon Film Log?
Of course it can be done without the rec 709 conversion, but it is our way of having everything in sections, so if we decide to combine the transformation with the Kodak lut we can do it without any problem, in this case we do not lower the intensity of the kodak effect, but in some other cases we do it.
@@hermanosbander thanks, makes sense
Best tutorial i ever seen. Subscribe for You ! I have question what did u put into project settings/color management? 1. Color science: davinci yrgb managed? 2. Auto: off ? 3. Color processing: hdr DWGI? 4. Output rec709 scene? Thank You if u could naswer me on that quick question !!
Ohh sorry i'm watching second time and i see on the begining
Thank you very much for watching and commenting. Yes, at the beginning of the tutorial we show the project settings :)
No tengo activado los ajustes raw, por favor ayudarme, por cierto muy buen video
Para activar los ajustes RAW ve a la ventana Raw, y en la opción Decode Using Selecciona CLIP
ammazibng video thanks alot
Thank you!!
Very nice brother
Thanks!!
What is your codec and quality on your Blackmagic 4k? I have the 6k
We shot in BRaw 3:1
Super buen video
Gracias!!
Good job my brother similar to my way of color-grading 🔥
why you can't transform fotages to rec709 just in first CST node?
By performing the transformation in the first node, we are completely reducing the color space and gamma, leaving us with no range to alter colors and luminosity. Rec709 is a very small color space. By following the tutorial's approach, we ensure that we are leveraging a very wide color space with ample range to recover information and alter tones
@@hermanosbander Thank you so much
Amaazing clour. WoW!! Do you have a video for Lumix GH5 V-Log cinematic color grading in Davinci?
Thanks so much. For now, we don't have a tutorial with Lumix material, but soon we will make more tutorials with different cameras.
when I click on camera raw it doesn't let me select anything, it comes out in grey
To use the Raw settings, you need to select the "CLIP" option in "Decode Using" within Camera Raw
what composite mode did you used in your layer mixer.
Softlight
No me lo puedo creer 😮 lo hiciste!! Muchas gracias por adelantado y gracias también por escuchar a tus subscriptores. Me compré la BMPCC 4K pero no consigo un color bueno ya nose que hacer. Espero que con tu vídeo tutorial aprenda de manera profesional, LOVE!
Esperamos que el tutorial sea de ayuda y con gusto estaremos haciendo más tutoriales!!
why i can't setting Camera Raw Feature in my node like your? in my app is like disabled
Surely your clip is not Raw, it may be a log file but if you can't adjust anything in the camera raw window it is not a Raw.
@@hermanosbander i see, thanks man
It’s a cool look, I just think that I’d avoid put any look defining adjustments into the balance node. Imo Balance should only be used for… well balancing the colors
Thanks! I agree, this time the look was very clear from the beginning, but it's advisable to leave a node just for balance.
Does anyone know whether color grading uses S Cinetone?
Excelente video Maestro!! Podría hacer uno con el perfil HLG3 en Sony ZV E10 por favor?? 🎉
Gracias! Ok lo tendremos en cuenta!!
Can you do some in S-log3?
Sure, we will keep it in mind!
Please Make A Tutorial Video of Color Grading Apple Log in Both Ways Using ACES & DWG
We will create tutorials with different footage, keeping one with Apple Log in mind :)
@ THANKS ❗️
hello which coloroutput is best for cinema/theatre?
Hi, it is always best to set your output to Rec 709 gamma 2.4, as long as your color grading monitor is calibrated like this.
How to get the film look option? I right clicked my node but I don't have that option. Is it only available with pay version?
Are you referring to the Kodak LUT? I think this is also available in the free version, what might be exclusive to the Studio version is the CST plugin.
i still do not know CST in final or in start.. realy do not understand when and why place this node....
You must go to the start, choose the input and the gamma with which your material was filmed, so you prepare your footage to work in the color space in which you set your project. And at the end of the node chain you place another CST to give it an output, depending on where your exported material will be played, the standard is a rec 709 gamma 2.4 output. In this tutorial there is an extra process in which we make a conversion to cineon film log to later use a lut, but it is an extra step, not essential. Also in this tutorial there are some processes that are applied after the output CST, but it is optional.
@@hermanosbander will be super helpful if you do another tutorial about this.. for example why (intermediate why not film) its abot black magic. and what bout sony and what about arri. and how do you know which one when use ? Thank you!
Why do you put so many cst
The same applies for Sony slog3 footage?
Yes, you can use the same structure, just changing the CST input to that of your footage
Subscribed bro ! Put more contents ✌😂
Thanks!!
you just need one CST from DWG to Rec709 cineon, don't need to convert to 709 2.4 and after cineon, and your last corrections after out are in display referred
Of course it can be done without the rec 709 conversion, but it is our way of having everything in sections, so if we decide to combine the transformation with the Kodak lut we can do it without any problem, in this case we do not lower the intensity of the kodak effect, but in some other cases we do it.
Thank you!!!!
:)