Knight Light EP6: Hollywood Colorist Teaches Color Theory and Her Color Grading and Editing Pipeline
ฝัง
- เผยแพร่เมื่อ 16 พ.ค. 2024
- Dive into the world of Hollywood TV series color grading, multicam editing, and color theory with my latest video, "Hollywood Colorist Teaches Color Theory, and Editing and Color Grading Workflow"!
Are you ready to master the art of color in filmmaking? Join me in a 3 hour workshop on color theory and the intricacies of the color grading and multicam editing pipeline in narrative filmmaking.
In this 2 hour workshop, we'll explore the following key topics:
Color Theory Demystified: Uncover the secrets behind color theory and learn how it impacts the emotional resonance of your footage. Discover how to choose the perfect color palette to tell your story effectively. The theory I'm starting with here is based on subtractive color theory (traditional) instead of what’s used in digital imaging, which uses additive mixing in order to create colors. Subtractive color mixing means that colors are mixed by subtracting light. When two paint colors are mixed together, they absorb some of the light that reflects off of them, resulting in a darker color. Additive color mixing means that colors are mixed by adding light. When two digital imaging colors are mixed together, they emit more light, resulting in a brighter color. Traditional primaries are what you learned here (red, yellow, and blue). These colors cannot be created by mixing other colors together. In digital imaging, the primaries are red, green, and blue (RGB). This then affects the secondary and intermediate colors in traditional versus DI which are orange, green, and purple; and cyan, magenta, and yellow respectively for secondary; and Yellow-orange, yellow-green, yellow-red, blue-green, blue-purple, and red-purple, and Red-orange, red-violet, blue-violet, blue-green, yellow-green, and yellow-orange for DI. In summary, the colors differ between traditional and DI in color theory but the color temperatures and how it impacts mood as well as color harmony across the two disciplines are the same.
Editing Workflow: Explore my personal editing workflow, tailored for filmmakers using DaVinci Resolve 18.6. Gain a deeper understanding of multicam editing and how to seamlessly integrate multiple camera angles shot with a timecode jammed sound recorder into your project.
Color Grading Pipeline: Step into the world of color grading as I dissect my node tree and workflow for color correction and color grading. Learn how to elevate the visual aesthetics of your footage and achieve that cinematic look you've always desired.
Whether you're a seasoned filmmaker or just starting your journey in the world of editing and color grading, this video is a must-watch.
Don't miss out on this opportunity to learn from a Hollywood colorist and editor! Hit that "Subscribe" button and ring the notification bell to stay updated on our latest tutorials and industry insights.
If you found this video helpful, please give it a thumbs up and share it with your fellow colorists.
Have questions or want to share your thoughts? Leave a comment below, and I will be happy to engage with you.
Thanks for watching, and let's bring your cinematic visions to life with the power of color!
CHAPTERS
00:00 Intro
04:35 My Experience and Tech Stack
09:47 My Editing Room
15:58 DIT Cart to Editing Room
20:57 Color Grading
26:55 Color Theory
32:59 Color Correction: How to do it
36:59 Color Correction vs Color Grading
38:07 Color Grading: How You Do It
47:09 Shot Deck
48:32 My Node Tree (Living Tree)
57:58 Editing: My Multicam Setup
01:04:08 Davinci Resolve: Hands-on
01:12:55 Defining meta data at the clip level
01:13:57 Color Tab
01:14:11 Powergrade Albums and Stills
01:14:47 Groups
01:33:44 Power Windows
01:43:20 Face Refinement
01:47:58 Printer Lights
01:52:08 Auto White Balance
01:57:18 Templatizing Folder Structures
02:01:43 Thunderbolt Hubs and Davinci Resolve Crashes
02:08:13 Grading With Proxies
#ColorTheory #ColorGrading #FilmEditing #DaVinciResolve #CinematicLook #Filmmaking #HollywoodColorist #VideoProduction #EditingPipeline - บันเทิง
Hey everyone, I want to provide further clarification on the slide at 26:55 in color theory. There are nuances between the sets of primary, secondary, and intermediate colors between traditional and digital imaging color theory. I covered traditional here, which is subtractive (taking colors away to create new colors) instead of what’s used in digital imaging, which uses additive mixing in order to create colors. Subtractive color mixing means that colors are mixed by subtracting light. When two paint colors are mixed together, they absorb some of the light that reflects off of them, resulting in a darker color. Additive color mixing means that colors are mixed by adding light. When two digital imaging colors are mixed together, they emit more light, resulting in a brighter color. Traditional primaries are what you learned here (cyan, magenta, yellow). These colors cannot be created by mixing other colors together. In digital imaging, the primaries are red, green, and blue (RGB). This then affects the secondary and intermediate colors in traditional versus DI which are orange, green, and purple; and cyan, magenta, and yellow respectively for secondary; and Yellow-orange, yellow-green, yellow-red, blue-green, blue-purple, and red-purple, and Red-orange, red-violet, blue-violet, blue-green, yellow-green, and yellow-orange for DI. In summary, the colors differ between traditional and DI in color theory but the color temperatures and how it impacts mood as well as color harmony across the two disciplines are the same. Please let me know if you’d like me to create a new video discussing the idiosyncratic nuances between the two.
Your live stream replays are an educational reservoir of information. I'm learning a ton and getting a better appreciation for what it takes to achieve a professional grade for film or video. Thank you for sharing so free and open.
@@DaniyelBinghamhi Daniyel! Thank you kindly for the compliment on my content. It means so much to me. I’m really glad to have you here
im sorry but the subtractive primary colors are magenta cyan and yellow not red and blue
@@shumik_ Thanks, that was a typo. I just fixed it.
sure, i'd love to learn about those idiosyncratic nuances. i'm new to this so i'd love to soak that up
We're so lucky to live in a time where we can be at home, learning from industry professionals, for free! Can't thank you enough for taking the time to share your knowledge 🙏🙌
Hi Dustin, thank you for the kind remarks. I really appreciate you being a part of this community. If you haven't yet, make sure to sign up for our newsletter and the Insider forums at knightstudios.com. Thanks for supporting us here!
This really felt like a university level class. Thanks for all the real world scenarios and infos. 👊
Aww thank you so much! That means the world to me. I’m so glad to have you here part of our community!
Great video, just one correction: do NOT correct the white balance before talking to the DP. Sometimes when shooting I use a 'wrong' white balance on purpose in order to create a given look and I hate it when colorists mess it up in PP. Always talk to your DP first.
Agreed. I have the privilege of being married to my DP so that communication is pretty easy in post for me. Being the Director, that helps too. Thanks for being a part of our community.
@@knightlightshow❤
I can't say it enough, this channel is a hidden treasure soon to be discovered by thousands!
Lots of good info here. Quick correction. Red, yellow, and blue are painters primaries. There are different sets of primaries. It’s often more beneficial for DI colorists to think in RGB primaries, because they are typically what we use. Those three colors are generally used to reproduce the images we work on. CMYK are often primaries for print. In CMYK red is a secondary of magenta and yellow, and blue is a secondary of cyan and magenta. Thanks for all the info!
Cool! Thank you for expounding on that and providing the correction! It’s good to have you here in the community!
@@knightlightshow❤
ADHD videographer whose been working in low to mid tier "wearing all hats" for about a decade...and THIS video is just like crack to me. SO much valuable info, no stones unturned, in-depth and covering everything..there's so many avenues and rabbit holes to go down. Never stop the "not sexy" topics. Trust me, not one single thing in this video isn't incredibly appealing for those wanting to learn. What, why and how. I just can't thank you enough.
The minute details and inner workings of your set up. Honestly, like a drip feed of goodness straight my brain. I love working as a no compromise, what's good is good environment. Gives me confidence in my set up, my workflow, in my abilities and I'm SO glad you popped up. Can not wait for a deep dive of all your content. I'm really looking to shift gears into specialising in colour to further and hanging up the video capture.atleast so I can reclaim it again as a hobby and just focus on pretty images. You have really put another pep in my step for that, thank you thank you 🙏🙏
This is one of the nicest compliments I’ve gotten, thank you Craig! It’s really good to have you here.
Craig you are a genius from your DNA / ADHD is a great thing.. Its a strength not a weakness. think I am too. but I am really dyslexic as well .. but dyslexic or ADHD people have exceptional visual memory picture thinking memory that normal people dont have. I did a survey with my fellow editors on the creative cow in the early 2000's (thinking 2002) i asked all these editors if they were dyslexic on the forum .. almost everyone was .. working in film is where your strengths are Craig!!
Finally!! This is the type of videos that's I've been waiting to watch for years
That means a lot, thank you so much! It’s really good to have you here part of the community!
I've been through tons of color grading videos and yours is the only one I've saved in a special folder, I keep revisiting it like a color bible!
Paola, that means so much to me. Thank you for taking the time out to write this compliment! I’m so glad my content is offering you value.
THANK YOU!
You’re the best for this. It means the world to find content like this. I’ve just wanted to quit because it feels I can never become a true pro. I want my work admired one day. I’m very poor right now with a family in Indiana. I hope to pick up contracted jobs soon in videography and this is going to propel me. Thank you so much.
You can do it! Hang in there. The only difference between success and failure is those who fail gave up. Keep going!
Thnks for this vedio love from india❤️
I took an entire morning to watch - stop - try it out and restart. One of the best coverages of color managing workflow. thanks!
Hi! That means so much, thank you! I'm so glad our content is providing you value! Welcome to the community!
Pure 2 hour value. Thanks a lot.
That means a lot, thank you Morgan! I greatly appreciate having you in our community. Be sure to also sign up for the Knight Studios insider program at knightstudios.com as I regularly post there along with my latest node tree.
Thank you so much! You are very good teacher!
ohh yeahh! thank you!!
Enjoy!
Thanks Alyssa for your time in sharing valuable info!
You’re very welcome. Thank you for being part of our community!
very impressed by this long sophisticated tutorial! one of a kind
perfect, just perfect, you are a real teacher !
Wow, thank you! That means so much! I'm really glad to have you here! Welcome to the community!
thank you !
So grateful for this video.
Thank you! I’m grateful to have you here part of the community. Welcome!
You’re a good teacher. Comes across- the passion 😊
Aww thanks Oli! I’m just having a good time with all of you and why not learn a little along the way 😀
thank you so much for this!
You’re so welcome! And welcome to the community!
I am literally so in ❤ with this channel!
Thanks Oli! We love you too! 😊
Thank you for sharing your incredible knowledge. Very much appreciated.
Thank you! I appreciate you appreciation 😊 welcome to the community and thanks for being here.
Thanks so much, this is fantastic stuff, much appreciated.
You're very welcome! Thank you for being part of our community! Watch and like! :)
Thank you so much for sharing so much valuable information freely!
Of course! Thanks for being a part of our community. It’s good to have you.
Thank you for this
Thank you for commenting and the warm approbation. Welcome to the community!
Tips and tricks. My respects!
Thank you so much! I appreciate your kind comment and being a part of the community. Welcome!
@@knightlightshow Thank you.
Master class !! thanks you
Thank you so much, it's great to have you and your positivity here :)
As a long time Premiere user trying to dive deeper into Resolve, this video is incredibly helpful. Thank you!
Thank you so much! I’m glad you’re here.
I'm a nerd and OCD person. Here is a good place to be. Great infos, apart from some minor "errors" that the community already pointed out: really thank you. Instant sub
Aww, super cool comment, thanks so much! Welcome, welcome to the community! Make sure to sign up for our insider program too at knightstudios.com, more conversations there as well.
This tutorial is insane!!! Thank you very much for the sharing! Hope to see more in future about specific topics like groups, clips matching etc. This video make me subscribe instantly
Awww, incredibly lovely comment, thank you so kindly! I'm so glad you got value out of this video. Can I ask you what was your favorite part of it so I can use your feedback as input for future video ideas?
Your attention to the comments is a great plus! I found very helpful the part regarding the node tree Logic and the use of pre group/clip/post group/timeline. I know that there would be a lot of potential behind the clip and timeline switch in the node section but I never found someone explaining it on TH-cam. I see a lot of video of people explaining how to color a clip, but issues starts when you have different Clips to match and get the same color grading. And this is something that few people are teaching. In those days I’m starting watching your live sessions. Amazing!
@@lorenzonarwhal Awesome feedback! This will help me shape my content plan for new videos moving forward! Yes, groups (pre/clip/post) seems to be a big mystery to many people -- also shot matching! Hmm, I maybe I'll do a live stream on that this week. I'll schedule a live stream for Sunday and cover that then. Hope you can join us!
@@knightlightshow if I will not be able to follow the live I will watch for sure in a following Moment! Greetings from Italy!
the color theory for primary colors you researched was for subtractive color (pigment) i.e. used in paint, but what the sensors in camera uses and what we work on digitally the primary colors are red green and blue these are additive colors (light)
Thanks, I pinned a comment to this video a few days ago explaining the distinctions between the two, I'm going to do a new video this week explaining the differences between traditional color theory and DI to eliminate the confusion.
Thanks. Masterful information.
Thanks! It’s good to have you here.
Pure Brilliance! Thank you.
Aww love this! Thank you! Good to have you here!
您的讲解非常好
This is an incredible video and resource, love the comprehensive approach and details! Thank you!
Thank you so much! It's really good to have you here!
Thank you^^^^You have a great setup.Thank you for a good example of professional work
Aww you’re welcome ☺️ it’s good to have you here!
You're, like, the coolest person.
Aww thank you, that means a lot! Thank you for joining our community and taking the time to comment! It’s good to have you here.
wow , this is how I would prefer learning things. Thanks a ton for detailed breakdown, it cleared alot of dilema questions for me on how to organize the multii cam, how to breakdown the nodes, and what to consider to make the colorgrade flow. you have explained like an university professor to a novoice student
Aww 🥰 thank you! That means so much! It’s really good to have you here part of our community!
Thanks for the real talk and insight. Much appreciated. Real pro workflows are hard to find, so this is great!😀
Thank you so much, I appreciate your warm compliment! It’s really good to have you here and I’m so glad I could add some value to your pipeline!
thanks for the lecture
you re great
this is a real course😇🙂❤❤❤
What incredibly kind words. Thank you for taking the time to write them and to be a part of our community. It’s really good to have you here.
Instant sub!
Excellent, plenty of good topics. I learned a lot. Thanks.
Thank you so much for commenting and supporting my channel. I’m really glad to have you here.
💪💪💪💫love it !
Thank you! Really good to have you here!
thank you very much for this Gold content
Glad you enjoy it!
Thank you! i'm about to watch all the videos on this channel )
Thank you! It's really good to have you here and I really appreciate your watch time contributions! We're at 2500, so almost there for monetization!
Thanks a lot for sharing - the red raw adjustments can save a lot more Work - highlights and shadows .
Yep, I agree! Thanks Pedro for joining our community and commenting!
Thank you so much for explaining so well for beginners while remaining thorough and not dumbing-down. Also, your purple is on point! 😊
You are so welcome! Thank you for taking the time to comment and welcome to our community!
Thank you... this was a really useful tutorial and I picked up quite a few gems from this.
Great to have you here Alvin! This is GREAT to hear! This is my "why" on the reason behind me wanting to teach. If I can teach just one person, one thing, I'm happy.
This is really great stuff. The entire video including the extras supposed to be in the previous video. I am typically stubborn clicking these because there are SO many people who act or claim to be really good with tons of subscribers eating it all up, but color grade as if they were still using Premiere Pro with 2-3 nodes, especially after I took a color grading course and follow some other really good colorists. But this is great. Especially seeing how you are wearing so many hats and doing the editing, VFX and grading in post, which is what I've been doing and learning for my own stuff. So you just gave me some inspo to follow on my path. And you're right not only about the extra Mics, but there are a LOT, or really most other youtube accounts that just gloss over things and leave out important information leaving you hanging, then really frustrating when looking through the hundreds of comments of people not even noticing it. It's hard to learn some things even when taking some courses, when not have the time or ability to volunteer to grip and such for film jobs. And also pretty interesting how you can watch some of the best colorists, editors, or cinematographers do something or teach something, and then find another that does something different but also works so well.
Oh and the node tree size issue thing is annoying. Especially when traveling and working on a laptop that doesn't have nearly the screen space to view the node.....or even the Teeny tiny video preview
I don't think most people even understand the HDR wheels so that's why they don't talk about them. Unless they're just not wanting people to know certain "secrets"
Such a great and detailed comment, thank you and welcome to the community! It’s great to have you here. I always get a sense of accomplishment when I can add at least one valuable thing to someone’s pipeline!
Wow this video poped up random while I was listening to youtube and editing at the same time. Can't wait to sit down and watch this in depth.
Hah, gotta love those algorithms! Kind of spooky that the algos knew you were editing at the same time ;) In any case, however you got here, I'm glad you did. Welcome to the community!
love love love love love ive paid for many courses and just realised not everyone is meant to teach finally I understand this better love your channel thank you so much
wow, what a great compliment! This meant so much for me to read! Thank you for taking the time out to write it! Be sure to also sign up for the Knight Studios insider program at knightstudios.com as I regularly post there along with my latest node tree.
@@knightlightshow 💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕🥰🥰🥰🥹🥹🥹
Jooo thank you so much for Sharing your Huge Knowledge
Thank you so much! It’s really good to have you here in our community!
OMG this video is exactly what I've been looking for. Thank you for putting up this wonderful video!
I’m so glad it’s provided value to you! Welcome to our community.
Thanks
Thanks for being a part of our community and commenting! Great to have you here.
Awesome video. Exactly what I was looking for. many many thanks!
Thank you so much for taking the time to comment. I greatly appreciate the warm words. Welcome and grow along with us! Be sure to also sign up for the Knight Studios insider program at knightstudios.com as I regularly post there along with my latest node tree.
great video...many thanks
Thank you for being a part of the community and taking the time to comment. It’s good to have you here.
I love your long as content!!!
Yay! 😊 I feel like I’m definitely filling a gap on filmmaker TH-cam for sure! 😊 thanks for being part of our community!
This is such a informative video! Thank you so much for putting this together. Its outstanding.
Aww thanks Tyler! I appreciate you and the fact that you took time out to write this. It’s really good to have you in our community.
Bravo! Thank you for the indepth information and taking your time to share with us. Mucho Garcia! Best.
Thanks for taking the time to comment, it’s great to have you here.
Thank you for making this great content 💪👍
It means a lot that you commented, thanks Pieter! Really good to have you here my friend.
Paused at 34 mins to make coffee! You are so dope! Easy follow 😁👍🏽
Aww thank you! I really appreciate you and you be being a part of our community! Welcome!
Thank you very much for this amazing video. I have learned a lot. Patrick
Hey Patrick! Thank you! It’s really good to have you here. Thanks for commenting and being a part of our community!
Not only im subscribing to you channel but i am saving the link to this video. thq so much for this. Your awsome!
This means a lot! Thank you so much! It’s really good to have you here.
Amazing episode! Subscribed
Thank you! It’s so good to have you here! Welcome to our community!
Just discovered your channel, wow! So much information, really great that you’re also giving insights in all the hardware and thoughts behind it.
Thank you! It’s really good to have you here in our community! Thanks for taking the time to comment!
Hi. Just found your channel. I really like the way you present the information. Very clear and helpful and interesting the whole way through. Thanks.
This means a lot Erik, thank you! I’m glad you’ve found a new home here. Pull up a chair and stay awhile 😊
Your tutorial appeared in my overview, it was immediately very informative and easy to follow!
Despite the amount of work, I hope to see many more "geek influenced tutorials" from you at this level!
Thank you!!!
Thank you so much! No matter how you found us, it’s really good to have you part of our community!
to Harrieke and Lisa its right and it's not so wrong. It's all about the concept behind it. As a Prime, I never knew "yellow" as you explain it. But it is a prime depending how youthink of it . Many great colorist I worked with as a JR colorist in the 1990's were inspired from classical art. Just ny chance , As I'm writing this I just randomly looked at 3 shots from "Dune 2 " VS Rembrandt's "Head of an old man in a cap " What what can I learn from this wonderfully inspired Classical lighting "DNA" of the colorist or the DOP? grab my my Sekonic 608 cine spot meter to see the the lighting ratios on a almost 400 year old painting.. ( guessed a digital exposure 1250 iso ) taking reading off the painting on the tv. f -4 to 5.6 on the back wall
You sync all shots using the external recording as the base placing it on track1. then all the angles are placed from track 2 etc.
You delink audio from video for the multicamclip, pick track 1, then lock the track from changes.
now you can edit between angles using only the external recording for audio.
I do it for every videoclips that I shoot.
Appreciate it
You're so welcome! Thanks for joining us this morning Jacob, welcome to the community!
@@knightlightshow thank you, im so excited to learn more from you :)
wow you are amazing, i love your energy as well! hope i can meet you in person one day!
Hi! Thank you so much! It’s really good to have you here in the community!
Excellent explanatory tutorial. I understood much better how to use pre clip, clip and post clip workflow. Your tree structure is to the point and intuitive. Much was covered and I will surely go back to it for reference. I also liked your editing workflow chart and file structuring. Will definitely steal some work ethics from you. Oh by the way, I also subscribed after watching my first video of your channel and definitely will look at other videos you might have on DaVinci resolve.
Love seeing another using the OWC Mercury U.2. Use that thing daily and on DIT/media wrangler
I’m a huge fan of OWC! I love their mantra of empowering the filmmaker. We’ve equipped our DIT cart, color suite, even down to the thunderbolt hubs I carry with my laptops, with OWC gear 😊
@@knightlightshow Currently, we're rocking the OWC docks, Thunderbolt expansion hub, OWC Envoy Express 4 TB NVME Shuttle, etc.... I even grabbed a dual bay Mercury Elite Pro and threw 2 x 16 TB HDDs in it for a backup for a total of like $100.(had HDDs already though).
The M.2 Mercury Elite Pro unit has been great. I took weeks deciding on it because I couldn't find many people talking about using it like was: "DIT"(Data Wrangling). Currently, it's just RAIDed via Mac OS with 4 x 4TB SSDs = 16TB of fast af storage. I just finished an "online/conform" with it and will never go back.
We're Synology NAS users overall for post but I'm really curious about the Thunderbay's and if more than 1 editor could work off of it.
P.S. As an editor who's a learning colorist, you earned a new subscriber, today.
very informative and well done video! Thank you! I enjoyed the NAS talk at the beginning as I've been swimming in terabytes of video files and struggling to manage everything. keep the good content coming!
Hey thanks so much Mike! Yeah, space real estate is a real struggle for us all. Thanks for the comment and support! Welcome welcome! I’m actually building a SSD NAS and plan on making a video about it. Working on eliminating all spinning disks from my workflow.
This was more useful than the last 2 paid coloring courses. thank you
That means a lot Alex thank you. It’s really good to have you here.
hey, your node tree is awsome. thx
Hey, thanks so much! I appreciate it! I'm glad it provided you value. I'm going to be posting the new version to the Insider forums. I've been doing quite a bit of changing around on it that warrants a new version upload :)
@@knightlightshow I am excited.
I've just discovered your channel! There's too much content! Thank you so much for doing this! Regards from Brazil!
Hey Brazil! You have a beautiful country! It’s really good to have you here part of our community! Pull up a chair and stay awhile 😊
Just found your channel. Thank you 🙏. I am in the process of making my first feature. Always loved color grading (grahic desinger by trade). Been playing with Resolve. This is very helpful. to know.
Hey Kevin ,welcome aboard! Thanks for joining our community! A graphic designer will make a great colorist! :) Watch some of my other videos, hit that like button, and we'll see you in the next one! :)
What a great program I have tried for 8 years to run this program at home and never got it to work longer than a few minutes on every version from version 14 up to 18,6,2...I have go this program to run at work....I think it is to do with the older computer I have at home and the newer computers at work...and or the combination of the graphics card I run on my system at home might also be not completely supported by davinci resolve in any version I have tried at home
Well good to have you here! Davinci is definitely GPU intensive when it comes to rendering and like many NLEs will take whatever resources you can throw at it 😊
Hi Alissa, I found your videos a few days ago and I love them, you are doing a great work. I saw the way you organize media and timelines and it is very similar to mine. One trick I use all the time to avoid using the scene/take columns is to use variables in the clip name. First I check that all the scene/take/cam metadata are correct and then I select all the footage (normally I create a smart bin to select all of them in one shot), then I open the Clip attribute window, go to the Name tab (the last one,) and set the Clip name like this: %{Scene}%{Shot} - %{Take}_%{Cam #} and after that in every page (edit/color/fusion) the clip names show the scene/take/etc info instead of the filename. You probably already know this trick but I thought it could be useful to other editors/colorists. Thanks again for all the effort you put in making all these videos.
That’s a good idea as well! I wasn’t aware of the variable support in file names! Thank you for being a part of our community and taking the time to comment!
Yes, you can use almost every metadata as a variable, it is a very powerful feature. We both have an IT background and I am sure you will love it as I do. Thanks for dedicating your time to teach us your tricks. Cheers from México!
Wow I learned a lot from this. The first hour was well worth it since I'm the kind of guy who wants to know why something works and why I'm doing it. That was my first exposure to groups. I'd love if you'd do a few minutes just on that subject. Maybe you've covered in other tutorials and now I have to go and watch all.
That means a lot Warren, thank you! It’s really good to have you part of our community!
Groups are so powerful. Yes, I do touch on groups in other videos and also in my live streams that I’m doing now.
I really enjoy your style of teaching and insight.
Thank you Scott! It’s really good to have you here. Thank you for the warm compliment and being a part of our community.
Fantastic video. I'm very new to color theory and grading. This is hugely helpful in so many ways. I appreciate the time you put into this instructional video. I followed and I'm looking forward to exploring more of your videos.
Thank you, thank you! I'm so glad to have you here in our community! Grow along with us! Be sure to also sign up for the Knight Studios insider program at knightstudios.com as I regularly post there along with my latest node tree.
Awesome video👍👍👍 Very well structured and explained! Subscribed
Thank you for the warm comment and being a new member of our community. It’s really good to have you here.
Excellent ! I learned a lot being a photograph moving toward video. I really like the examples you provide from live set experience. This is the first video I watch from your channel but will watch monot all of them for sure !! Thanks again.
Thank you Carroll! It's really good to have you here. Grow along with us and welcome to video! :)
i think i learn the whole concept in one video btw im from india 💖💖
Awesome! Thanks for joining our community! It’s good to have you here!
Great information, thank you! Quick question... Would you use the same color management when working in ProRes 4444XQ?
Yes, absolutely. I'm actually going to be posting a new video on my new workflow, you all will love it :)
This video truley rocks, as does your very sympathetic way of explaining things to the point, keeping me engaged across the whole video.
As an amateur regarding filming and editing I could develop quite some good understanding of color balancing and grading, resulting in nice looking footage - but I was always missing the overall structure and logic how to organize my 'post production' workflow, especially across various cameras and lighting situations.
With your two swim lane diagrams you provided a recipe how to sort out the editing mess from working only clip based towards clips, groups, timeline and how to save so much time.
Anyway, I would have one major question for you:
You have a node called 'Look' in your clip tree, and I assume this is the (compound) node where the look of a scene or even the whole movie is created (such as teal & orange, bleach bypass, or so). Wouldn't it be a good alternative to create the look at a later stage in the work flow, such as at group post or even at timeline level?
This, in my understanding would allow to give clip groups (or even a whole movie) the same 'look' with easy adjustment of just the Look-tree at group or timeline level.
In any case, you got a new subscriber!!!
Wow! What a detailed and kind comment, thank you! It’s good to have you in our community! I’m really glad this video was helpful to you. You are correct on your assumption that the look node is where u put my actual grading for creative looks. The reason I put it at the clip level versus post or timeline is you dont know how that look will affect every clip. As you know, post applies it to everything in the group and timeline every clip. I want more granular control being able to adjust it per scene. That doesn’t necessarily mean you have to as well, I just like that flexibility. I tend to prefer the “sniper” surgical approach than the “shotgun” approach if that makes any sense 😊
@@knightlightshow Thanks for your answer - yes, fully agree about the desire for surgical adjustments.
For that reason I attenuate my grade to not alter lighting too much (unless it is desired) - you see I came across the same issues as you.
Also, I have completely switched to shoot in HLG (BT2020) as this does not only give me more leeway in the highlights, but also allows me to quickly check via turning all grading off and on how my grade might have messed up the original lighting of the shot.
Yes, you're are completely right! Just implemented and tested your way today - awesome (see comment above)!
Yay! @@joyoffilming9500 So glad you had the outcome you were looking for and +1 for learning something new!
@1:06:xx regarding Blackmagic cloud storage. I actually use a synced Google Drive and I have had no issues since the files are stored locally. But then, I don't work on a team, so Drive makes sense for me.
Thanks for the feedback! Really good to have you here too. Yeah, I initially started with Google Drive then moved to Dropbox since Blackmagic shipped support with it with Cloud Store drives hoping there would be less issues.
Great video. Just have some thoughts on the edit section. You can have the name of the clip inherit any of your metadata fields within clip attributes. Then all your shot-scene-take info would show up on your timeline. Because this is a metadata change you can do it to all your clips at once. As long as the video is synced with the audio it will have all the correct info from your recordist.
Wow! Great suggestion! Thank you so much. I'm so glad to have you as a part of our growing community! Thank you for being a part of it. Please keep this input coming!
@@knightlightshowforgot to mention that you would just need to type in the percent symbol then a list of fields will show up that you can choose from. ie. %Scene-%Shot-%Take. So just a little jiggering. But this doesn’t replace your clip name forever. You can always remove the code and original name comes back. Keep rocking these great tuts. ❤
@@rubefink ahhh! Awesome! What a great hack! Thanks so much! And thank you for your support here!
Hi, lot's of real workflow and hardware info ! really useful. Funny cause we have very similar setup (ultra / minipanel / Nas(es ;) ) and I'm also experimenting with NVME nas and 25 gb link as well. Curious to see how you'll end up with that. Thanks and take care.
Aww thanks! It’s so good to have you here! It’s such a small world isn’t it? 😊 hope my videos continue to offer you value!
Your video is very unique,
so i want tell you something very unique
YOU ARE VERY SMART
and i have to subscribe
Aww thank you! It’s good to have you here!
@@knightlightshow 🙏🙏🙏
I like your breakdown! Thank you for your hard work.
Do you use timeline nodes? If so, how?
Thank you for the compliments and am glad to have you part of the community. I do actually. I’m beginning to migrate more nodes to it. Usually anything of course I want applied to every frame like film looks that I don’t want to spend the painful time of adding it to 50 something groups. 😊 read: lazy
idk if my perspective would help but i usually use "look" node in timeline and also some macro looks in the timeline so it reduces nodes in the clip level, the less the nodes , the less the time required to grade.
@@rajbasnet4659 yeah I agree. I have look nodes in my timeline tab as well and depends on the project when I use it. You know what I’m about to say, every project is unique 😂
@Knight Light Do you use an Adjustment layer when Color grading or not ?
If not Why?
If yes why?
Nope, I only use adjustment layer if I need to temporarily add support for Nobe Omniscope because I’m traveling. I put my grading in nodes on the Timeline tab.
Ok cool thing nice to know Thanks for getting back to me
How would you Node tree (pre-grade) would be affected if you work on a project, like a doc, with 3 or 4 different cameras with different color profile ? Would you do the color transform on the node level ? Awesome content BTW
Hi, this is a really good question. You can use CST at the node level and not use Davinci Color Managed, or you can use color managed and CST only for the clips Davinci is unable to recognize. I stay in color managed and only use CST for the unrecognizable clips, meaning Davinci failed to recognize it. This tends to happen more with my DJI footage.
Just subscribed. Thank you for the detailed video. Since you make DCPs for theatrical releases of your productions, it will be helpful if you publish a video on that topic, including 5.1 soundtrack mixing workflow for DCP in DaVinci Resolve, or from ProTools.
You got it! I’ll add it to my content calendar today!
@@knightlightshow Thank you!
Thank you so much for this great video! Can you please link your node tree file on the description. I would like to use it.
Hey, thanks for commenting. I’d be happy to. I’m actually working on a new version from input from some other Hollywood colorists. My node tree is of course always a WIP. I’ll get it linked today.
i cant wait to see it and learn new stuff!@@knightlightshow
I agree the node tree pane is still one of the most awkward things about DR. It's not a huge deal, but everything else is so flexible, and the color page is DRs old school bread and butter so it's a bit puzzling.
Agreed completely. It becomes even worse when I’m trying to edit on my MacBook when traveling or wanting to hang out with the wife and still work downstairs. Would be sooo nice to pop the node tree window out and maximize it.