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I don’t have an adjustment layer available. Where does the adjustment layer come from?

Great explanation on efficiency. So many RUclips color grading tutorials focus on the individual clip and not group consistency. This also leads one to wish FCP had some grouping function. The problem with adjustment layers is that sometimes the clips in a group are not contiguous. Sometimes I wonder if one can use noncontiguous clips as a compound clip, but that can visually get you into a messy timeline. Or perhaps FCP developed a way to do with Roles since they can be non-contiguous. Otherwise, you end up needing Color Finale or going to Resolve.

AHA! So doing the lut conversion above the timeline in the adjustment layer means that all your colour wheels, curves etc will come BEFORE the LUT rec709 transformation?! (And then you don't have to drag all your adjustments above the lut in the original footage?) Genius!!

A good example of knowing what to do, while not having the discipline for it ;) Sometimes in the heat of things, I feel it'll be faster to copy-paste and tweak. But the way you showed feels much more satisfying! Concerning the FCP workflow : I feel it would be hard to make my CST with an adjustment layer with a lot of b-roll and cuts (mainly with a fast delivery and using look + CST luts). And so, when I want to do look development, I do have to copy paste on each clip to take advantage of order of operation...or live with the look happening after the CST (like film grain). I'm not working on projects with a heavy look, but would it be that bad if I adjusted the look with an adjustment layer (or on a compound clip), while the CST is on individual clips?

i imagine that if you’re working on a large project with dozens of shots (say, a music video with 4-5 performance shots but boatloads of b-roll) you’d run this process for the performance shots first and then slightly tweak all the smaller shots as needed later or perhaps if you’re working with footage in three different settings (indoors, afternoon sun and blue hour) you’d run this process on heroes from those three first, and then tweak the rest later maybe stating the obvious but curious if i’m overlooking anything. excellent content as always, you must know this stands apart in the tutorial landscape

So basically there’s no easy way out. But at least now I know why my clips didn’t look consistent 🤣. Where would I be without you? I’ll try out this new workflow!! Thanks

Awesome content! Thanks. 🙏

Great content! Out of curiosity, why do you suppose FCP defaults to placing the Camera LUT at the beginning of the signal chain?

o cara acha que ta nos anos 80 com esse color para o video dele...mano fica estranho

Great artistic story telling driven approach, can be applied to any grading software. Subscribed!

Great video! Very well explained!

The algorithm suggested this video to me a week ago and I ignored it because “I already know what luminance is”. But after the algorithm KEPT SUGGESTING it to me for a week I realized there’s probably something more to this video than the title. The algorithm was right.

Fwiw, I made a spreadsheet a while back that calculate the gamma curves and stuff so you can convert light meter measurements to ire, srgb, etc

Awesome video mate, nailed it.

I'm enjoying your videos for sure. Great topics are being covered. That said, I've watched a number of your videos now, and on the post production level I feel like your halation FX is a bit on the heavy side. You're getting a strong red aberration on all your edges. It jumps out at you. If there's any way to dial that back or at least lower the saturation of your halated edges I think this would look more integrated into your overall frame. Also, soft edges need to correspond with halation, so if you have added an halation FX but your edges are still tack sharp it's going to counterbalance each other and look, and more Importantly subconsciously feel unnatural or CG. Just some friendly advice.

Excellent video, Thanks. It cleared a few things up for me. I tried your D-logM to Rec709 LUT. I also downloaded the equivalent LUT from the DJI website. There is quite a difference between the two. What is the explanation for that considering that they are performing a mathematical gamma translation? I use Resolve and just about to buy a DJI osmo action 5 and want to make sure I can grade the D-LogM footage. The problem seems to be that DJI have not released the data for D-LogM so there is no way of interpreting the footage properly within a colour managed workflow as you can with D-log footage. D-log comes up as an option in the Colour Space Transform node whereas D-logM does not. Do you have any insight into this?

You should also take cataract into account. Many humans have different levels of cataract which effects the amount of brightness that one sees. So what may be bright for one maybe flat or dull for another.

Its funny how i came for colour grading lesson and understood something about log that I didn't understand in 4 years of calculus. You're a great teacher 🔥

Thanks for the vid Eric! Quick one. I have log videos from iphone pro 15, does it make sense then to disable auto applied Camera LUT in FCP and then add the Custom LUT effect to each video with AppleLogToRec709-v1.0.cube (made by Apple) manually after any color correction adjustments (I would like to lower exposure and tweak WB for example)?

Finally i fond someone how knows 👌🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼

I hav me my LUT on a adjustmentlyer. Is it before or after?

@ 6:44, I heard the word 'deliverables,' but the words in front of that were quite incomprehensible. The transcript gives me the number '79'. Can you fill in what was actually said? In fact, the word 'deliverables' is repeated right after that with an adjectival modifier rendered as '79'. Please explain. Thanks, it is otherwise, an excellent tutorial. I got lost when the discussion switched to Premiere; I guess what's said applies to Adobe Camera Raw but I'm not sure how. I'll do some more homework and come back when I'm up to speed.

Amazing idea! How to do it in Davinci resolve ?

Wonderful video and explaining of concepts! Thanks for sharing.

I recently watched a movie that was shot mostly in wide angle, which made it uncomfortable to watch for a long time because it became too distracting. I wasn't sure what the movie wanted me to look at or focus on. Everything was in focus. You're spot on with the importance of leaving things out intentionally, rather than having the opposite goal.

What about delivering in HDR?

Wow, das war die beste und verständlichste Erklärung zum Thema die ich je gesehen habe, danke dafür!

The best teacher on the tube

Great explanation, editing, and presentation. Not to mention, some people think you can't grade footage in FCPX, and this demonstrates they don't know what they're doing, lol

I find your tutorial interesting and informative, but around 11:30 is where you lost me. You say, "here in the timeline I have a couple of RED RAW settings..." and then proceed with some setting adjustments. That is where the video should reference some other resource, where we can find out what RED RAW is and how we get there. I had to look at your screen recording to see that there is something called RED RAW, as I did not understand from your narration if you said "red roll" or "red raw" or something entirely different. I also have no idea what that means and anything you explain after that point is lost on me. I don't know anything about the adjustment layers, how to get there or if I need special plug ins to work with that. I share this comment with best intentions. While I understand that you can't explain the entire "alphabet" to your viewers, it seems that this tutorial is only useful to those who already understand some of these settings. This is why these tutorials should have some references to "go to another video... if you dan't know what RED RAW means..." Same for adjustment layer, etc. Again, I am just trying to be helpful and trying to explain why you might be losing some audiences after a certain point in your video. After 11:30 the tutorial is over my head as it flies over many settings that I do not understand. And I totally get it that if you over explain every detail in every tutorial, that can also have a negative effect on some audiences, namely those who feel that they already know those details. Hope this helps.

Interesting take, as much as I agree with creative aspects of intended color grade, I think I would dissagree with the technical numbers and here is why. It is extremely important what delivery medium are you color grading for. TV, Cinema, Phones, Laptop screens etc. As you mentioned, relatively how bright situation will the video be watched in. Example, in Cinema things gotta be much darker due to the brightness level in the room. It was not some random dude on RUclips who told about IREs, it dates back to Ansel Adams who is now credited but people earlier knew this too. Also, when taking the screenshot of your favorite movie and analyisg in your operating system, you do not have the correct values because you only taking a screenshot of the video player which is displaying the file.

A big help, thanks! One thing, I can't find the link to "The Basics" guide. Can you point me to it please? Thanks!

Very helpful! Gonna be going through all of your videos to get all this great information.

Great and well explained video! Just picked up a Lumix S5ii and learning the new system and log! Have you tried or any thoughts on Phantom luts?

Great video! How would you set this up in premier/after effects? Or just use the global color settings and then grade clip by clip? Cheers!

Best advice I was ever given is never make a technical decision you can’t justify with a creative decision. Have the technology serve your creativity not your creativity be limited by your technology.

Eric you bring so much knowledge and freshness, the fact that this channel is free is wonderful thank you 😀

Are you a German native speaker, even Austrian by any chance?

Thanks for that! ^^ too bad u did not want to take care of the over saturation of the blue channel. It would be very interesting to see, how you would approach this 😇

Maybe this might be a little direct but for the next video, can i chill under ur desk? Promise ill be quiet.

Finally somebody is telling why and not how! Thanks! Im waiting for more videos like this!

Great video Eric! I got completely mesmerized by the quality of your mic btw. What mic is it, if you dont mind saying?

Just a hobbyist, more of an audio girl, but I love learning about video too. Recently got a new Sony camera and dared to film in S-Log2. Been a little frustrated with color grading, until this video, and downloading your cam2rec LUTs. I feel like I know what I'm doing more now 😂 and I'm beginning to get the look I actually want. Thank you! You explained so clearly. Thank you for the work you put into this 😊

Finaly! I understand! Thank you so much!

I love your content but I would love it more if you did Davinci Content..

So Eric like in Final Cut Pro, If i'm using Premiere Pro your recommendation is to get my Slog3 footage on the timeline put a adjustment layer on top of the clip and use the Slog3 to rec.709 conversion LUT from Sony on the adjustment layer but edit the wheels and color on the actual footage's Lumetri color and not on the rec.709 adjustment layer or create a new adjustment layer above the rec.709 adjustment and edit the colors there. Adjust the wheels on the actual Slog3 footage right??? (Since Premiere does not hvae the global wheel achieve the same by editing the Light Section under Basic Correction??)