Hi Gerald, just so you're aware "middle grey" for Rec.709 is defined in the ITU-R BT.709 spec as 40.9% - this is why slog3 has you target 41% and their Rec.709 LUT keeps middle grey there as it is technically correct for Rec.709 (so not the "50%" you seem to target in this video). There are other things including the usage of the term "linear" in this context that may confuse newcomers, but overall good attempt to help that audience learn. - Hook (Blackmagic Design)
Yes, I'm confused about "linear" - linear in a perceptually uniform encoding, or linear light intensity? Edit: I have some understanding now - log encoding is a simple form of data compression, and it's basically the same type of dynamic range bit depth "companding" that's been used for computer displays & image encoding for decades. It appears that for video, log recording is a relatively simple dynamic range companding, that broadly encodes in a perceptually uniform manner, and omits the subsequent stages of image "enhancement" - the enhancement is left up to the user, and that's referred to as "grading". I assume that the reason we need different log encoding codecs is because, being an imperfect ("lossy") encoding, different codecs will be more appropriate for different material & intended viewing devices & conditions. For even more flexibility, that's why we have the option to record fully raw video.
@Gerald: Since you're working in Resolve, it would be good to also mention its "Color Space Transform" function (which can be either globally applied in the project settings or applied as an effect to a node). It does all that a LUT or ACES DIT can do and more, i.e. translating most common log formats into the most common color spaces like Rec709, sRGB, Rec2020 etc. But even more importantly, it can apply Tone Mapping to automatically correct exposure and avoid clipping of under- or overexposed Log-material during the transformation. It also features gamut mapping to make colors that are outside the range of the target color space fit that color space without bleeding out. On top of that, since it acts as a mathematical function while a LUT just a color allocation table (that in most cases reduces color resolution), "Color Space Transform" is non-destructive. As a result, contrast boosts done after "Color Space Transform" are much less likely to result in clipping or color banding than contrast boosts done after a LUT.
Florian Cramer This is a very good point, and also worth mentioning that it is becoming the standard for delivering projects to companies like Netflix. Using Colour Space Transforms is a very good way of delivering multiple deliverables for example a HDR Rec 2020 PQ and an SDR Rec. 1886 2.4 gamma whilst using the same standard. The problem with the described workflow in this video is that you have to essentially regrade for any deliverable you do. Software like Resolve and the lesser known Baselight are perfect examples of professional tools which provide the ability to do exactly this. By using colour space transforms you allows for the ability to grade in an abstracted sense where all of your corrections are applied before the “tone curve” in a colourspace which is the same size if not larger than the original capture gamut. @Gerald it would be good to see a video on ACES/RED IPP2/ARRI ALF type workflows.
This was EXTREMELY helpful. When you said “why does my video suck after adding just contrast and saturation” I was like “lol thats me”. Thanks again and hope to see more videos geared towards beginners :)
Minor tweaks are not that noticeable (esp on 8-bit monitors) and then it becomes opinion - the colors look "good enough to me" or I think LUT #1 is better than LUT #3 maybe like flying a plane in fog or at night - you are flying off the instruments your maintaining altitude and avoiding objects not necessarily flying the most efficient route or providing the smoothest ride and definitely avoiding flying by site or feel. GU's dashboard just shows where things are supposed to be regardless of whether it "matters". Take cam A and cam B and match their colors... ok here's the results. Finally, on RUclips there's no shortage of color grading 'Fails' to make a "how not to grade" guide.
That's very informative and i wouldn't listen to anyone but you for such technical topics, however i would have loved a "real life" demonstration just so we can see how all this applies on, let's say...outdoor lit skin etc. I understand that those color patch are essentially doing the job and every situation and shot are different but..i think a real life demonstration would have been a good help. Thanks for all your work man !
I've been dabbling in and out of video work for a few years and am constantly coming back to your videos to learn more. This video is several years old, and I am still using it to gain knowledge on what I am looking at on resolve and how to get technically great results and then use my creative touch as a final grade. Thank you for the way you speak about such complicated topics!
THANK YOU for making videos like this. I'm an experienced stills photographer planning to film my first movie sometime next year, and I've avoided jumping into color grading and LUTs and picture profiles because it seemed so daunting. I use a lesser program to Resolve to edit what I do now, again, because while I know Resolve is better, the learning curve seems/feels so much steeper. For the last month, I've been watching your videos like crazy, shooting test footage, and dipping my toe in the water with all of these things. You have made it so much easier and so much more approachable. I would STILL be avoiding it if not for videos like this.
Seems I have made every mistake! Best tutorial yet, most of the RUclipsrs are doing the just add contrast... as of late I only was playing with curves. You really helped make it an exact science. Thanks!
Whenever I'm feeling cocky and arrogant and thinking I'm a genius, I watch a GU video and it pumps me full of perspective. I understood about 30% of this, but I enjoyed it. This will be a good video to watch every six months or so... Each time it will (well SHOULD) make more sense.
Not dealing with manually linearizing LOG and HLG and accurate colors is a great reason to just apply the Leeming LUT first and then tweak to taste. Great video and clear examples.
So, the way I've been grading Slog3 with some success, is grabbing the top of the curves on each side and using the scopes to stretch out the white and black points to 100 and 0 in Rec709 respectively. Then I go and start adding in the actual curve points, which gives me the tonality but also allows me to preserve a lot of the data that Slog3 footage is using. Usually creating an exponential (reverse log) curve to counteract the actual log curve, which seems to "linearise" it fairly well. - Petros
I would like to extend my gratitude to Gerald's mother. Thank you for bringing your son into this world and raising him to be the wonderful person that he is!
I don't even do video, but I could follow along with what you were saying. Incredible content. I enjoy your enthusiasm and how you present the content.
Gerald! This video is amazing. Thank you! One request as a followup to this, or for future videos. I was super excited when you said you were going to show a more "real world" application of this correction method if you don't have the chart, but then you went and continued to use the chart with the easy to follow "X". Yes, I can memorize your curve guide based on exposure but it would be (have been) much more helpful to see the process of correcting an actual clip of real-world footage without the "X" pattern and seeing how you apply these methods in that scenario. Anyway, thank you again for your fantastic work!
I’m a slow learner Gerald ...and I think the fog may be starting to clear. Always enjoy your upbeat, patient and hardworking approach to this stuff. (Btw ...my A7s iii is due in Nov sometime ...per Camera Canada) I’ll keep hacking away at the learning curve - Thank you!
Hot damn! This was a great video! Thank you so much! I've always wondered why my skies never pan out the same manually graded as when I use the Leeming LUT or even the Varicam Nicest 709 on my S1H. I guess I never actually learnt how to manually grade for my ETTR'd log footage. Got lots of learning to do still!
This is tremendous Gerald! Thanks so much for this more general guide. I’m glued to your content :) is there any chance you could do a grading guide as similar to the Sony one you did for the 3 log profiles on the Panasonic Side? (GH5) Especially mentioning legalising footage requirements on the Atmos ninja side and your recommendations for when to use each profile/lighting/iso with comments on the bit rates from your own angle. Would be extremely useful. :) Thanks so much for the great content.
Thank you Gerald for your another in-depth content. So so impressed by your knowledge, which is thanks to your way of teaching very digestible! I play around with S-Log2 and your visualisations helped me a lot!
This should be the "Intro" video to every color grading course. In less than a half hour, you clearly explain what's important to starting a grade and where to take it from there. Thanks so much.
"bUt cAnoN hAs bEtteR ColoR sCieNce" This is going to be a great video for me to show people when I'm arguing that "color science" is arbitrary if you have a good understanding of the color correction process...
Extraordinary explanation as always. Thank you so much for your time and effort. Genuinely appreciate it. Can I ask you a basic dummy question, please? If the final product should appear like a linear image, why even bother shooting log?
@@geraldundone Thank you very much, thank fully I was using it for the correct purpose, However, I was grading it all wrong :-D but not anymore, your video is super helpful
Some log footage can do really cool dual-exposure magic too. Less situations where one part of the image will be super exposed, leaving the objects in the front to be drowned out by shadow. With log, the bright area is toned down while the objects in the front still maintain detail. This does SO MUCH even after grading and everything.
You should try slog workflow with ACES in resolve. I found it just corrects the footage to how it should look but with all the data intact. Dont have a test like you but it looked natural to my eye.
Thanks Gerald this was a great help! I would be interested in an applied sciences though... would be cool to do a mini series where you take all of your incredible lessons and apply them in the field. Since you have taught us about audio, shooting, lighting, monitors, post, color, etc. Might be refreshing to revisit those lessons on a single shoot, and even see how you address hiccups and problems along the way and how you make decisions in the field that get you an optimal result. And take the clients demands and work with them and take the footage outside of the more "lab" setting and into a less careful environment. Just an idea!
Please explain this to Jared Polin. The part in his "Canon R5 vs Sony a 7s iii" video where he talked about video dynamic range triggered me so much. He just added so much contrast so that it looked as if both cameras had the same dynamic range. The Sony looked almost worse than the Canon.
I think you misunderstood his message. Let's say if you have a lot a lot of dynamic range and you film inside a really dark room with a window and a very bright sun outside. If you squeeze everything in your picture it will look artificial/flat/HDR-like (on a 8-bit monitor). So you'll have to expand your wave forms till you either throw away the dark room or the stuff outside in the window. (you have the decision though). Now, if you film the same with a lower dynamic range camera you *have* to decide right when exposing. But the resulting picture will be the same. His message was, it makes no big difference in the final picture if you expose right.
@@alexmeier19 Great explanation. I'm assuming the A7SIII provides 1 stop of dynamic range over the R5 due to it's lower megapixel sensor? HDR virtual reality that doesn't actually exist (to our eyes, for that matter our eyes and brain create something that doesn't exist either). A clap of lightning at night or the sun during the day look the same. In fact it could be argued there is not night / day bright or dark - it is just a matter of what is lit or not.
By default the contrast slider in Resolve adds the equivalent of an S-Curve. Im interested to see the results if you turn that off (general options in the project settings) and then add contrast and saturation with the S-Curve turned off.. Maybe less of that weird curve in the X? Worth giving it a shot maybe? Also, I need to get one of those cards.
This is a great point. It does produce a much nicer result. I was going to talk about this in the video, but I figured it might add a lot of confusion for people who don't use Resolve, because I believe other NLEs use a simple S-based contrast. It's still not as precise as finessing the curve yourself, but it's much better for expanding log than default S-Curve based contrast.
What I learned....use the standard profile, less grading, less fuss and less work. Because 99.5% of the viewers can't tell the difference and don't care about your color grading, while watching your video on RUclips from their phone! 😂
Thanks Gerald, this was really informative and I appreciate the thorough explanation. I will be paying way more attention to my curves from now on. I especially like when you talked about the range of tonalities across the face. I definitely have found that LUTs tend to crush the highlights together, and curves are a great way to bring that back.
Thank you for the video. My questions are 1) what is the difference between correcting the exposure with curve and with exposure slide (also hightlight, shadows, white and black). 2) Since the order of Lumetri Colors in Premiere Pro is like nodes on Resolve (if you switch what's top and what's on bottom, it will give different result), should I adjust Curve, create the new Lumetri and then adjust exposure and contrast ?
A tip for the curves window, you should click on the three dot options menu for the curves and enable Editable Splines! Every point on the curves will have a handle for moving splines and its so much easier to control your curve. I usually enable the editable splines and then only push and pull the handles for the end points on the curve
I was wondering if you have any plans to make a video about color grading footage from high-speed cameras like the Chronos 2.1. I've been searching around quite a bit, but I haven't been able to find a single video that covers this topic. If you do make one, I'd be over the moon! Take care and catch you later. Cheers
Hi, I'm Gerald Undone and I'm two stops happier today.
okay thats gold
Lawnmower guy lowered the greens too much. I'll leave.
Nothing like a good demon LUT!
😂😂😂
You came to mind when Gerald was talking about the red tones in the beginning :D
Hahaha good one
I learned way too much from this
Hi Gerald, just so you're aware "middle grey" for Rec.709 is defined in the ITU-R BT.709 spec as 40.9% - this is why slog3 has you target 41% and their Rec.709 LUT keeps middle grey there as it is technically correct for Rec.709 (so not the "50%" you seem to target in this video). There are other things including the usage of the term "linear" in this context that may confuse newcomers, but overall good attempt to help that audience learn. - Hook (Blackmagic Design)
Yes, I'm confused about "linear" - linear in a perceptually uniform encoding, or linear light intensity?
Edit: I have some understanding now - log encoding is a simple form of data compression, and it's basically the same type of dynamic range bit depth "companding" that's been used for computer displays & image encoding for decades. It appears that for video, log recording is a relatively simple dynamic range companding, that broadly encodes in a perceptually uniform manner, and omits the subsequent stages of image "enhancement" - the enhancement is left up to the user, and that's referred to as "grading". I assume that the reason we need different log encoding codecs is because, being an imperfect ("lossy") encoding, different codecs will be more appropriate for different material & intended viewing devices & conditions. For even more flexibility, that's why we have the option to record fully raw video.
"I'm Gerald Undone and my beginner level is your expert level." Thank you for these detailed color grading videos!
@Gerald: Since you're working in Resolve, it would be good to also mention its "Color Space Transform" function (which can be either globally applied in the project settings or applied as an effect to a node). It does all that a LUT or ACES DIT can do and more, i.e. translating most common log formats into the most common color spaces like Rec709, sRGB, Rec2020 etc.
But even more importantly, it can apply Tone Mapping to automatically correct exposure and avoid clipping of under- or overexposed Log-material during the transformation. It also features gamut mapping to make colors that are outside the range of the target color space fit that color space without bleeding out.
On top of that, since it acts as a mathematical function while a LUT just a color allocation table (that in most cases reduces color resolution), "Color Space Transform" is non-destructive. As a result, contrast boosts done after "Color Space Transform" are much less likely to result in clipping or color banding than contrast boosts done after a LUT.
Ah, i see you're a man of culture as well
Florian Cramer This is a very good point, and also worth mentioning that it is becoming the standard for delivering projects to companies like Netflix. Using Colour Space Transforms is a very good way of delivering multiple deliverables for example a HDR Rec 2020 PQ and an SDR Rec. 1886 2.4 gamma whilst using the same standard. The problem with the described workflow in this video is that you have to essentially regrade for any deliverable you do. Software like Resolve and the lesser known Baselight are perfect examples of professional tools which provide the ability to do exactly this. By using colour space transforms you allows for the ability to grade in an abstracted sense where all of your corrections are applied before the “tone curve” in a colourspace which is the same size if not larger than the original capture gamut. @Gerald it would be good to see a video on ACES/RED IPP2/ARRI ALF type workflows.
My big issue is that I’m using a camera that is unsupported by CST. I would definitely still like work arounds for this as a result.
@@JeremiahBostwick Which camera do you use?
@@flcrn Z Cam E2-F6.
This was EXTREMELY helpful. When you said “why does my video suck after adding just contrast and saturation” I was like “lol thats me”. Thanks again and hope to see more videos geared towards beginners :)
Absolutely, lol that's me too! HAHAHAA
"Hi I'm Gerald undone, and Zebras are not white with black stripes, but simply over exposed"
I’d really enjoy seeing you apply this to actual footage. There can sometimes be a disconnect when charts are used exclusively.
Minor tweaks are not that noticeable (esp on 8-bit monitors) and then it becomes opinion - the colors look "good enough to me" or I think LUT #1 is better than LUT #3 maybe like flying a plane in fog or at night - you are flying off the instruments your maintaining altitude and avoiding objects not necessarily flying the most efficient route or providing the smoothest ride and definitely avoiding flying by site or feel.
GU's dashboard just shows where things are supposed to be regardless of whether it "matters". Take cam A and cam B and match their colors... ok here's the results. Finally, on RUclips there's no shortage of color grading 'Fails' to make a "how not to grade" guide.
That's very informative and i wouldn't listen to anyone but you for such technical topics, however i would have loved a "real life" demonstration just so we can see how all this applies on, let's say...outdoor lit skin etc. I understand that those color patch are essentially doing the job and every situation and shot are different but..i think a real life demonstration would have been a good help. Thanks for all your work man !
I've been dabbling in and out of video work for a few years and am constantly coming back to your videos to learn more. This video is several years old, and I am still using it to gain knowledge on what I am looking at on resolve and how to get technically great results and then use my creative touch as a final grade. Thank you for the way you speak about such complicated topics!
A thousand blessings on you and yours for generations to come. A seminal lecture. Thank you.
The smartest guy with the best delivery on You Tube! Its beyond me why this man hasn't got 1 million subscribers yet.
People prefer to follow wound-up equipment cheerleaders who specialize in self-promotion.
Been watching endless videos on LOG and this is by far the best. Really helped me understand how LOG works. 👍🏻
When it comes to reviews it's you and Dustin Abbott. Hands down.. You are the best!
Gerald “definitely smarter than Jesse Driftwood” Undone.
Haha. Oh, Jesse. 🤓😜🙏
maybe... but does he drive a bongo?
THANK YOU for making videos like this. I'm an experienced stills photographer planning to film my first movie sometime next year, and I've avoided jumping into color grading and LUTs and picture profiles because it seemed so daunting. I use a lesser program to Resolve to edit what I do now, again, because while I know Resolve is better, the learning curve seems/feels so much steeper. For the last month, I've been watching your videos like crazy, shooting test footage, and dipping my toe in the water with all of these things. You have made it so much easier and so much more approachable. I would STILL be avoiding it if not for videos like this.
Seems I have made every mistake! Best tutorial yet, most of the RUclipsrs are doing the just add contrast... as of late I only was playing with curves. You really helped make it an exact science. Thanks!
Hi, I'm Gerald Undone and my NLE has Auto-save disabled.
When the pretty girl says she likes boys who take risks
BADASS
Whenever I'm feeling cocky and arrogant and thinking I'm a genius, I watch a GU video and it pumps me full of perspective. I understood about 30% of this, but I enjoyed it. This will be a good video to watch every six months or so... Each time it will (well SHOULD) make more sense.
I swear you and Waqas Qazi are the two most knowledgable colorists on youtube. i've learned SO MUCH from watching both of your guy's videos.
Not dealing with manually linearizing LOG and HLG and accurate colors is a great reason to just apply the Leeming LUT first and then tweak to taste. Great video and clear examples.
Summary: “Don’t just add contrast and saturation. Use curves, ya dummy.”
Guys, we're lucky that we're getting such information for free.
Thanks Gerald.
Man this video is pure gold! The way you simplify very complex concepts by giving us practical knowledge is mind blowing. Thank you!
So, the way I've been grading Slog3 with some success, is grabbing the top of the curves on each side and using the scopes to stretch out the white and black points to 100 and 0 in Rec709 respectively. Then I go and start adding in the actual curve points, which gives me the tonality but also allows me to preserve a lot of the data that Slog3 footage is using. Usually creating an exponential (reverse log) curve to counteract the actual log curve, which seems to "linearise" it fairly well. - Petros
I would like to extend my gratitude to Gerald's mother. Thank you for bringing your son into this world and raising him to be the wonderful person that he is!
Not just the mother but also the father 😂
I don't even do video, but I could follow along with what you were saying. Incredible content. I enjoy your enthusiasm and how you present the content.
This explains why my skin tones looked so compressed and I couldn't get them right. Thanks Gerald!
Hi, Gerald! Just discovered your channel weeks ago and loved it inmediately. Greetings from Spain! You make color grading easy to understand.
Gerald! This video is amazing. Thank you! One request as a followup to this, or for future videos. I was super excited when you said you were going to show a more "real world" application of this correction method if you don't have the chart, but then you went and continued to use the chart with the easy to follow "X". Yes, I can memorize your curve guide based on exposure but it would be (have been) much more helpful to see the process of correcting an actual clip of real-world footage without the "X" pattern and seeing how you apply these methods in that scenario. Anyway, thank you again for your fantastic work!
How does someone get so good at this? He has such a deep technical knowledge.
Great video. You really can't get explanations like this anywhere else. Thanks!
This may be the most valuable grading video I've found in.. many years
I’m a slow learner Gerald ...and I think the fog may be starting to clear. Always enjoy your upbeat, patient and hardworking approach to this stuff. (Btw ...my A7s iii is due in Nov sometime ...per Camera Canada) I’ll keep hacking away at the learning curve - Thank you!
Loved it. Thanks for showcasing the log (and log part of the of the HLG curve) by using that chart. This was a fun watch.
Fantastic primer for people who get started using SLog! 👍👍
Thanks Gerald, we are very grateful !!!
This is extremely useful for a still photographer who wants to do some video work. Thanks!
"Hi I'm Gerald Undone, and I cut LOGS not grade them"
When he talks about being "stuck in 10 bit"
I'm over here living that 8 bit life
I hear ya brotha. We'll get those two-bits sometime.
I have 14 bit here
just take it bit by bit
@@aldoushuxley6255 Oy! haha
Stuck in A7 land.
Hot damn! This was a great video! Thank you so much! I've always wondered why my skies never pan out the same manually graded as when I use the Leeming LUT or even the Varicam Nicest 709 on my S1H. I guess I never actually learnt how to manually grade for my ETTR'd log footage. Got lots of learning to do still!
Thank you for finally getting pivot through into my brain! That’s so useful!
damn i was struggling with the slog2 , now gets a full video of what to do damn saved my day thanks Gerald :)
when only one guy on youtube has read the manual
Superb video. Technical videos like this are way more useful for "long-haul" improving your skill set than move this wheel move that wheel videos.
I'll be coming back to this video for weeks. (Thank you.)
I wish I knew Gerald Undone earlier.I only knew him after he gets popular by his Sony A7Siii review. Now I Love his every video .Thank you.
always helpful! don't get carried away by time limit, go for 2 hours if you want
This is tremendous Gerald! Thanks so much for this more general guide. I’m glued to your content :) is there any chance you could do a grading guide as similar to the Sony one you did for the 3 log profiles on the Panasonic Side? (GH5) Especially mentioning legalising footage requirements on the Atmos ninja side and your recommendations for when to use each profile/lighting/iso with comments on the bit rates from your own angle. Would be extremely useful. :) Thanks so much for the great content.
Yess this would be so helpful
Yeah I went to college.
Undone University. Seriously though you’re super thorough and a good teacher.
Thank you Gerald for your another in-depth content. So so impressed by your knowledge, which is thanks to your way of teaching very digestible! I play around with S-Log2 and your visualisations helped me a lot!
Ah nice to have a learning-video again, taking a break from the unboxing/review videos. Excellent, thank you!
This should be the "Intro" video to every color grading course. In less than a half hour, you clearly explain what's important to starting a grade and where to take it from there. Thanks so much.
"bUt cAnoN hAs bEtteR ColoR sCieNce"
This is going to be a great video for me to show people when I'm arguing that "color science" is arbitrary if you have a good understanding of the color correction process...
If they are arguing that, they likely don't know enough to follow this video. Don't waste your time.
These videos are gold! Love them and get so much value out of them!!! Too bad you have to sell a car to afford those charts though...
Extraordinary explanation as always. Thank you so much for your time and effort. Genuinely appreciate it.
Can I ask you a basic dummy question, please? If the final product should appear like a linear image, why even bother shooting log?
Thank you! :)
To capture more dynamic range and then you decide in post how to distribute it. Gives you more flexibility than standard profiles.
@@geraldundone Thank you very much, thank fully I was using it for the correct purpose, However, I was grading it all wrong :-D but not anymore, your video is super helpful
Some log footage can do really cool dual-exposure magic too. Less situations where one part of the image will be super exposed, leaving the objects in the front to be drowned out by shadow. With log, the bright area is toned down while the objects in the front still maintain detail. This does SO MUCH even after grading and everything.
Very very helpful!!! Thanks Gerald.
So helpful! Thanks, Gerald!
Hi, I'm Gerald Undone and when I shoot 4K 120P... [*shuts down*]
This is the winner right here
This is one video that will age like the finest wine...
You should try slog workflow with ACES in resolve. I found it just corrects the footage to how it should look but with all the data intact. Dont have a test like you but it looked natural to my eye.
Thanks Gerald this was a great help! I would be interested in an applied sciences though... would be cool to do a mini series where you take all of your incredible lessons and apply them in the field. Since you have taught us about audio, shooting, lighting, monitors, post, color, etc. Might be refreshing to revisit those lessons on a single shoot, and even see how you address hiccups and problems along the way and how you make decisions in the field that get you an optimal result. And take the clients demands and work with them and take the footage outside of the more "lab" setting and into a less careful environment. Just an idea!
"Hi, I'm Gerald Undone and I grade in G-Log."
Please explain this to Jared Polin. The part in his "Canon R5 vs Sony a 7s iii" video where he talked about video dynamic range triggered me so much. He just added so much contrast so that it looked as if both cameras had the same dynamic range. The Sony looked almost worse than the Canon.
I think you misunderstood his message. Let's say if you have a lot a lot of dynamic range and you film inside a really dark room with a window and a very bright sun outside. If you squeeze everything in your picture it will look artificial/flat/HDR-like (on a 8-bit monitor). So you'll have to expand your wave forms till you either throw away the dark room or the stuff outside in the window. (you have the decision though). Now, if you film the same with a lower dynamic range camera you *have* to decide right when exposing. But the resulting picture will be the same.
His message was, it makes no big difference in the final picture if you expose right.
@@alexmeier19 Great explanation. I'm assuming the A7SIII provides 1 stop of dynamic range over the R5 due to it's lower megapixel sensor? HDR virtual reality that doesn't actually exist (to our eyes, for that matter our eyes and brain create something that doesn't exist either). A clap of lightning at night or the sun during the day look the same. In fact it could be argued there is not night / day bright or dark - it is just a matter of what is lit or not.
Very nicely explained Gerald!
By default the contrast slider in Resolve adds the equivalent of an S-Curve. Im interested to see the results if you turn that off (general options in the project settings) and then add contrast and saturation with the S-Curve turned off.. Maybe less of that weird curve in the X? Worth giving it a shot maybe? Also, I need to get one of those cards.
This is a great point. It does produce a much nicer result. I was going to talk about this in the video, but I figured it might add a lot of confusion for people who don't use Resolve, because I believe other NLEs use a simple S-based contrast. It's still not as precise as finessing the curve yourself, but it's much better for expanding log than default S-Curve based contrast.
Gerald, please make a video about different testing charts and for what reason to use what. They all are similar but still different.
Very informative much appreciated
Great video! Seeing it on the color chart was actually very helpful. I (Nikki) appreciate your explainer videos sooo much. Thanks.
Didn't expect to see one of the sailing channels I watch commenting on the filming channels I watch! Cool stuff!
Very nicely explained Gerald!
Thanks, Gordon!
thanks
This is the video I've been waiting for you to make.
Picked up a 6400 just to piss around with log and hlg.
That was an awesome video. Helped a lot to understand the log footage.
"I'm Gerald Undone and enodnU dlareG m'I"
Gosh, I really want to hear him say this :-D
What I learned....use the standard profile, less grading, less fuss and less work. Because 99.5% of the viewers can't tell the difference and don't care about your color grading, while watching your video on RUclips from their phone! 😂
Thank you very much. so clearly explained and free. I did not get this lesson in the paid curse I took
For real... Your information is so helpful dude
Keep up the good works Gerald! Thank you so much for the information that newbie like me had no idea about lol!
I needed this video so much. Thank you!
Excellent, as always. Thank you.
There is a default "use S-curve for contrast" setting in general options. Uncheck that. There you go, you are done :P
The whole filmmaking community would be better filmmakers if more of them watched gerald’s videos
Thanks Gerald, this was really informative and I appreciate the thorough explanation. I will be paying way more attention to my curves from now on. I especially like when you talked about the range of tonalities across the face. I definitely have found that LUTs tend to crush the highlights together, and curves are a great way to bring that back.
Wow. This is an epic and informative explanation.
Thank you for the video. My questions are 1) what is the difference between correcting the exposure with curve and with exposure slide (also hightlight, shadows, white and black). 2) Since the order of Lumetri Colors in Premiere Pro is like nodes on Resolve (if you switch what's top and what's on bottom, it will give different result), should I adjust Curve, create the new Lumetri and then adjust exposure and contrast ?
Great video dude!!
Thanks, Dunna! 😊👊
Thank you so much for doing this video, it was very helpful!
Do you know of Aaron Nace? Both of you are great speakers/teachers!
You deserve a million subs and I’m not the least bit kidding.
A tip for the curves window, you should click on the three dot options menu for the curves and enable Editable Splines! Every point on the curves will have a handle for moving splines and its so much easier to control your curve. I usually enable the editable splines and then only push and pull the handles for the end points on the curve
How about you give us all a clip to download and we follow along? 🙂
This is REALLY useful man. Thank you!
Holy moly I looked up the chart you used. $625! (DSC Labs Professional Plus (12+4)) Must be expensive to get the colours just right.
I was wondering if you have any plans to make a video about color grading footage from high-speed cameras like the Chronos 2.1. I've been searching around quite a bit, but I haven't been able to find a single video that covers this topic. If you do make one, I'd be over the moon! Take care and catch you later.
Cheers
This is so useful. It's so hard to find in depth technical information about color. Amazing video!
WOW!! Clear.. Love your work!
Fantastic video! Thank you so much! Would it be possible to make something like this showing us how to do the best we can with this in Premiere?
Yes, thanks for this very good video. Please tell us if there is an equivalent to the pivot in Premiere?
this was soooooooo helpful thank you!!
“I’m Gerold Undone and just because I rock, doesn’t mean I’m made of stone.” 😢