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.
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.
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.
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.
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.
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.
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.
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! 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.
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.
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.
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!
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.
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?
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.
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.
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.
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!
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.
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
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
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.
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.
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.
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 !!
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.
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.
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
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."
hell, I have bmpcc 4k, and i have never come to this level of grading. i need to learn more from this channel.
🤣🤣🤣
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
😍😍
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
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!!
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!
After this tutorial am definitely a Pro. Much appreciated 👍🏾👍🏾👍🏾
This vidéo is a masterclass !!! The
This is crazy.Thank you so much for this tutorial
Thanks!!
Thank you so much, I didn't skipped 1 second
Amazing result in my video, thanks so much!.
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.
Crei que era imposible que llegara este dia. Lo hiciste !!! 🎉🎉🎉
You JUST changed my life. Thank you
Thank you!
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 :)
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!!!
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 😊
Thanks for this tutorial !
Muchas gracias.
this channel should be in millions tier of subs.. great job and keep it up..
Thanks so much!! :)
Awesome video, very new to Davinci and this definitely helped me understand things a little more! Thank you.
Thanks :)
i was searching for the CST to blackmagic for a long time big thanks for you ❤
Great!! :)
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!! :)
ammazibng video thanks alot
Thank you!!
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!!
Damn the bm 4k has amazing picture quality
Amazing bro ! Cant wait to get my pyxis and implement this look
Nice!! :)
Homem, não sei como seu video apareceu pra mim, mas eu AMEI! KKKKKKKKKKKKKKKKKKKKK
Obrigado!
I like it 👍
Thank bro for sharing this
thanks for this tutorial, its amazing
Thank you!!
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 :)
You are great editer for video
Thanks!!!
you save my life man !!! thank you !!
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.
Awesome video, love you to do this tutorial using some Sony slog 3 footage
Just found it 🙏
Thank you!!
Thanks bro for your effort. you didn't do any unnecessary side talk which make the video lengther and boring.
Thank you!!
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!
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.
Super buen video
Gracias!!
Great Job Man !!!!
Thanks!!
Good job my brother similar to my way of color-grading 🔥
I learned a lot! Thank you!
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?
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.
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.
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!
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!
Very nice brother
Thanks!!
No tengo activado los ajustes raw, por favor ayudarme, por cierto muy buen video
Very nice work!
Thanks!!
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.
I shoot with my bmpcc 4k so this is perfect for me..thank you!
Amazing Tutorial
Thanks!!
❤ can you please make more tutorials like this. Thanks a ton
Sure!!
@@hermanosbander thank you so much
what is the name of the program?
which program, you mean Davinci Resolve?
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 🙏
Amazing
Thanks!!
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
Hi thank you for this tutorial, what app are you using to highlight the mouse and the blue screen. Thanks
Pro Mouse
Hello. Thank you, we wait another tutorial )
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?
I love it
Thanks!!
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.
Great tutor 🎉
Subscribed bro ! Put more contents ✌😂
Thanks!!
Sisisisisii por fiiin!!!!
Good Video Thanks For Teaching How To Use Luts
Thank you!
@@hermanosbander Welcome
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.
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.
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.
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!!
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
Thank you very much for your lesson!
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
🔥 🔥 🔥
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
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 Job!
Thanks!!
how do u duplicate the nodes ive been looking for a video that says how do dup it
Can I practice on this video? I mean, can we download the raw video you posted in this tutorial?
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.
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.
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!!
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 :)
amazing
Thanks!! :)
What if you don't record in LOG, how many steps to I avoid?
Excelente video Maestro!! Podría hacer uno con el perfil HLG3 en Sony ZV E10 por favor?? 🎉
Gracias! Ok lo tendremos en cuenta!!
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.
Great!
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.
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.
I should not be watching this as someone just learning video editing...totally complicated stuff but good to see what Davinci can do
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
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
Does anyone know whether color grading uses S Cinetone?
Can you do some in S-log3?
Sure, we will keep it in mind!