We do apologise for the 2 Goodbyes we gave and the Monotone voice towards the end haha. We thought it would be a good idea to start recording at 4am...Enjoy the Tutorial!
I searched so long for a tutorial like this. You explained everything really beginner friendly, I think everyone could understand and also move along. What I also really like, is that you show all the shortcuts 👌🙌
I never really understood why colourists prefer Resolve over Premiere Pro, but now I do. Holy crap... The fact you guys are giving this information away for free is so mind boggling. I cannot thank you enough for sharing your knowledge!
Your tutorials are simply incredible very high class and its a joy to listen and watch with the piano playing in the background. Never thought a tutorial could be this relaxing and easy to follow along!!
Wow this and the cineprint 16 tutorial have been that extra boost especially on an a6400 I’ve owned for 2 years just when I thought I had got everything from Sony 8bit lol I can’t wait see you guys on a blackmagic or a Sony fx series camera if that’s the route you go
We’re super stoked that you found it helpful! We hope you push the a6400 to its limits, it’s a good machine. And hopefully possibly we’ll be adding a blackmagic to our arsenal sometime in the new year
Pivot changes the middle grey ( and the exposure ) slog-2 - the reason you liked when you lowered the pivot is that slog-2 middle grey is 32 % IRE. Also raising the RGB red green and blue channels is identical to just using the saturation wheel from 50 to 100, unless you want to add or subtract RG or B with the sliders, it's a lot easier to do with the sat knob.
Mind blowing of your knowledge and experience. I know I’m new to color grading but I enjoy learning your observation and creativity through Da Vinci resolve . Keep it up, your awesome and should feel proud in what you can do and how you can teach others.
very good video! I would like to know when I should use slog 2 and when not. I would also love a video about tips to expose in slog, apart from the two steps, thanks in advance, greetings from Peru.
Nice tutorial, loved it. Perhaps you could have control the light from the windows and play with the shadows a bit more from the first clip, for a more cinematic look.
Thanks! And do you mean colour grading multiple clips of the same scene in one timeline and how to essentially copy and paste a grade from one clip to another so they all have a similar look?
Thanks a lot! We didn’t take any courses to learn how to colour grade, but just learnt from watching RUclips videos. Mostly from “Qazi” channel. If you type him into RUclips he’ll come up straight away
I love your work so much!! Your workflow makes a lot of sense to someone like me who is still trying to figure theirs out. Quick question though, is there any reason you don't use Davincis color transform to get the log footage to Rec. 709?
Thanks Alejandro! The reason we don’t use CST with Slog2 or Really any 8 bit footage is CST breaks the image up quite a lot and often the image is not balanced as well as we’d hope for colour separation that comes after. This way, we’re able to adjust the colours without the footage breaking up as much 🙏🏽
@@meliorstudios Ahh that makes so much sense. Thank you for the speedy reply!! I hope to continue to see the amazing work that comes from this channel!
@@meliorstudios Buuut, i have a question haha: Why don't you change the project's color space from slog to rec.709? Maybe you think that is better use this method, i want to know that :o
@@danielnorambuenafuentes5807 the reason for this is that S-log2 has a lot more dynamic range then standard Rec.709 which as well as giving you the ability to push colours around much more in post with the image falling apart. Rec.709 is much more of a baked in look that’s hard to change in post
Thx for this video guys. In the project color managements, do you have Davinci YRGB Color Managed and wide gamut or just Davinci YRGB with rec 709 2.4?
This is the best DaVinci Colour Grade tutorial EVER - thanks so much for sharing! I shoot with Fuji X-T4 in F-log, when I grade in DaVinci the first thing I was taught to do was to add colour back in via Luts and add the X-T4 LUT before I then continue grading... With this tutorial you haven't done this? Just wondering whether this method is an alternative to adding the LUT or whether I can use this node tree method while also using the F-log LUT? Thank you :)
Hey Antonia, apologies for the slow reply. There are many different methods to achieve the same look. You can use LuTs as a base to get a starting look and work form there. Alternative you can use a similar node tree structure to what we showed here. Though there me be a bigger difference in the colours and contrast of the F-log compared to S-log. Never hurts to give a go just as practice and if it works, it works, and if not, it’s best to try and find a method that you’re able to use to get the desired look
Hey guys, thank you so much for this video it gave me confidence about my a7iii just wondering what’s your input/output setting sequence on Davinci? Thank you.
THX God to found you. very helpful tutorial. thank you i learned alot. God bless you. (one question: i saw some people use color space transform effetc for log2 for exp. that change colors nice, what is your idea about? is that a good way?)
Very informative video & very much obliged! Need an advice here, as I am shooting in Slog 2 PP ever since I have come across your beautiful videos. You have mentioned here that Slog 2 footages need to be exposed +2 stops, how do I get that? Let say, if I am shooting out in sun moving my camera into different direction, would you recommend me to put ISO in auto mode? And if I don't then it becomes very dark at certain direction and vice versa.
Thanks for watching! I always recommend keeping Iso at 800 and have a desired apeture you'd like to use, then adjust the brightness with a variable nd you can screw onto the lens. Then use the levels and exposure number at the bottom of your screen and make ensure you adjust the exposure enough to get the number to appear as +2.0. if it flashes your over exposed and if it's less than +2.0 you're under exposed. Hope that makes sense. I wouldn't set Iso in auto mode but turn the variable ND to expose properly with your finger while shooting. In very dark situations we recommend using HLG3
@@meliorstudios thanks a lot for the reply. What if I am panning my camera in different direction? The exposure changes along with the movement of the camera. So how do I get that +2 exposure perfectly while moving it? Or should you recommend me to put aperture in auto mode to have a steady exposure throughout?
Hey dude, fantastic video. Overall amazing channel and as an A7iii user still in 2022 honestly didnt think this camera still had this much capability in it. Thank you. Got to ask, was shooting a client job that was very much low light, recently and while I was at 1.7 to 2.0 stops over the whole time on slog 2 and holding as close to min iso 800 as possible, we still got very noisy footage out of it. How do you know when to jump to HLG3. I guess my question is how do you know (based on what the camera is telling you) that you should be shooting a specific scene in HLG3 vs SLOG2? Thanks again dude
Hey Colin! Firstly thank you 🙏🏽 we’ve found even if you’re able to expose by +2.0 stops for S-log2 you will still get very noisy images as S-log2 really doesn’t do well with a lot of shadowy areas. Hence why even if we can expose for Slog2 in low light we still choose to use HLG3. Usually anything that’s darker than like sunset times or if a room is quite dark or has a lot of dark colours we’ll go for HLG3 otherwise for anything that’s clearly daylight we use Slog2. We hope that’s somewhat help. But for us we usually just go by eye and I guess with more practice in different lighting situations you’ll learn which profile will work best for what
Thank you so much for this! Have been so frustrated with color grading lately that I was tempted to upgrade to an a7siii. But I guess great colours i still possible with 8-bit sony! Just one question though, would it be easier if I use the CST tool and work from there? Or would it be steering away from the look that you are trying to achieve?
Hey man, we’re stoked to hear that! And 8-bit is definitely usually still but it may take longer to get a desired imaged compared to something like the A7siii 10 bit footage. And yes you could definitely use CST to get a starting base. However we’ve found with CST the magenta shift is too great with a lot of S-log2 footage, but that could be due to our settings. If this isn’t the case for you you could definitely start with CST and then start your look adjustment on the next few nodes. We hope that makes sense! Have a great day:)
Hey just curious, why do you use the "Color Wheels" to adjust the footage instead of "Log Wheels"? When I opened color tab for my slog2 footage in Davinci, it seems to have defaulted to the "Log Wheels" option. Edit: oops, looks like it doesn't make any difference which one is selected as long as you're not adjusting any of the main wheels.
If we have a lot of clips from the same scene we’ll grade one clip and then copy and paste that grade (the node tree) onto the other clips of the scene, then make any tweeks if needed. Thanks man!
Heyy, I have a question, Have you transformed s.log into rec.709 before hand or did you just edit all this in s.log2?? Because I didnt see any color space transform nodes
I’ve gotten so frustrated trying to shoot and grade S-log on my A7III. When you say expose +2 stops, is that the entire image? What metering mode do you typically use? For example, meter for shadows and expose those +2?
Hey Logan! We’re actually currently working on a video to debunk exactly how we go about exposing for Slog2. Hopefully it’ll be out sometime next week 🙏🏽
@@shadowcultur in most cases, if we have the ability to control our light. Not really but in a lot of outdoor cases, we find Slog2 actually does a better job at retaining highlights than with HLG3 due to its greater dynamic range. If you don’t want the highlights to be clipped in certain areas, it may be best to expose for those areas
This can be done instead of doing the balancing at the beginning yes! But we've found if you're working with 8 bit footage, CST can make the image break up a little. But with 10bit footage or higher, it's completely fine
why u dont use a Colour space transorm first? wouldnt it be better to transform your imgage into davinci intermediate and then after edit back CST to Rec709? i see evryone using CST first before they grade in Davinci - so why dont u?
We forgot take that part out. Initially we thought we’d finished recording then realised we forgot to talk about HLG3. And then when editing for some reason we forgot to take that part out 😅
Good tutorial :) Though I don't understand why it's called "Digital Look" when all along the tutorial you tend to create a filmic look, while often mentioning "Filmy"...
Thanks Charles! And we tried our best to create what we believe is a common digital look, with the strong blacks and clean frames, for example the orange and teal look. When we referred to filmy one this videos we were actually referring to movie films and not something like 35mm film. Though we should’ve explained that better for sure! We appreciate the feedback:)
If you look on the bottom left of each of the beginning few clips you’ll be able to see the setting we use. Though we’ll be making a more extensive Sony A7iii profile settings tutorial in the futur
in this video what we mean by a digital look is more so the modern look we see using Digital cameras that we see often used on Netflix and modern movies. Apocalypse Now is a stunning film and was shot on a 16mm and 35mm film on the older Arriflex cameras
Where is CST? Are you working in a managed color workflow or Davinci YRGB? If not CST then how will it get a perfect REC 709 (Assuming that you're aiming for that). If you're not using CST then you can't shot match. Can't trust the eyes brother.
CST isn’t always necessary, it’s not necessary to get a perfect rec.709 look if you’re trying to create a stylistic look. A Rec.709 look is more so important for broadcast media, not cinema. And having a good colour corrected monitor helps
@@meliorstudios So this image is for cinema then? And if relying on a monitor, scopes, and your eyes. Then brother you can't shot match. There is a reason for CST. And if this is for cinema then the output will be DCI-P3 (XYZ) I think so.
We do apologise for the 2 Goodbyes we gave and the Monotone voice towards the end haha. We thought it would be a good idea to start recording at 4am...Enjoy the Tutorial!
dont worry. its a great video🤍
Monotone is gold
@@skinnylegend8324 we appreciate it!
@@sozooffchung3078 😂 I think we could’ve been a bit more enthusiastic but at that point we just wanted to sleep
dont need to apology, it fits perfectly with the music. Besides its literally the only video about this that kept me focused af. Thanks a LUT!
I searched so long for a tutorial like this. You explained everything really beginner friendly, I think everyone could understand and also move along. What I also really like, is that you show all the shortcuts 👌🙌
We tried to make this as beginner friendly as possible so we’re glad you think that and found it helpful. Thank you for taking the time to watch :)
this is so far the best Davinci tutorial I've ever seen. So easy to follow and understand! Thank you for that!
We’re happy to hear that! Thank you for taking the time to watch Madgda!
I never really understood why colourists prefer Resolve over Premiere Pro, but now I do. Holy crap... The fact you guys are giving this information away for free is so mind boggling. I cannot thank you enough for sharing your knowledge!
Your tutorials are simply incredible very high class and its a joy to listen and watch with the piano playing in the background. Never thought a tutorial could be this relaxing and easy to follow along!!
Wow this and the cineprint 16 tutorial have been that extra boost especially on an a6400 I’ve owned for 2 years just when I thought I had got everything from Sony 8bit lol I can’t wait see you guys on a blackmagic or a Sony fx series camera if that’s the route you go
We’re super stoked that you found it helpful! We hope you push the a6400 to its limits, it’s a good machine. And hopefully possibly we’ll be adding a blackmagic to our arsenal sometime in the new year
Pivot changes the middle grey ( and the exposure ) slog-2 - the reason you liked when you lowered the pivot is that slog-2 middle grey is 32 % IRE. Also raising the RGB red green and blue channels is identical to just using the saturation wheel from 50 to 100, unless you want to add or subtract RG or B with the sliders, it's a lot easier to do with the sat knob.
This is the best looking 8-bit footage I have seen from a Sony camera. Well done!
Thanks a lot! And we really appreciate you watching!
This video has helped me so much in learning how to navigate Resolve. Thank you.
I'm really happy to hear this!
Mind blowing of your knowledge and experience. I know I’m new to color grading but I enjoy learning your observation and creativity through Da Vinci resolve . Keep it up, your awesome and should feel proud in what you can do and how you can teach others.
We tried to make this tutorial as beginner friendly as possible. Thanks for taking the time to watch!:)
Same
@@koanfilms_ thanks Daniel!
this was just amazing, thank you so much, wish you all the best!
Thanks so much for watching
Best tutorial that I've come across so far as an introduction to grading as a newbie in davinci - gained a lot from it. Thanks!
This is the best Davinci tutorial so far! Thank you!
We’re stoked to hear that! We hope you found it helpful!
Wow bro! Thank you so much for this tutorial. You make the best Sony Tutorials I’ve seen.
Thank you so much for this, it’s so in detail and properly explained. Going to try this with my a7iii footage
Super stoked you found it helpful! Let us know how you get on!
brooo this is perfect
We hope you found it helpful!
Brilliant! One of the best tutorials on grading and so well explained.
Thanks!! Really appreciate you taking the time to watch!
thank you so much for this tuturial very informative and helps clear up some Davinci resolve
Thanks for watching, we're super glad you found it useful!
Morning from Malaysia! Good tutorial. Cant wait to learn more from you in future.
We’re really happy you enjoyed it, thanks for watching. Sending High fives from the UK
very good video! I would like to know when I should use slog 2 and when not. I would also love a video about tips to expose in slog, apart from the two steps, thanks in advance, greetings from Peru.
Thanks Manuel! We're planning to make a video on this topic soon as well as exposing s-log2
Nice tutorial, loved it. Perhaps you could have control the light from the windows and play with the shadows a bit more from the first clip, for a more cinematic look.
Agreed, we’re still learning and improving so we really appreciate the idea!
Wonderful tutorial.
What a delicious video, thank you! Great knowledge
Thanks a lot for watching!
Thank you for sharing. Learned much.
Thanks for watching!
Love it!! I Learned alot. Cant wait to use some of these techniques!
We're glad you found it useful, Thanks for taking the time to watch!
Greaaaat great tutorial ... thanks for sharing guys you the best ❤️❤️
Thanks Banblidia, we hope you found it helpful!
Wow I learned so much from this thank you sm guys! keep crushing it!
We’re stoked to hear that, really appreciate you taking the time to watch Léo
This look amazing, thank you so much for this!! very well explained.
Thank you for taking the time to watch!
Amazing tutorial, thank you guys.
Thanks Daniel, thanks for taking the time to watch!
Thank you a lot master! You are an inspiration
Thanks for taking the time to watch!
Fantastic. Thanks so much. It's very good to see tutorials from someone that is very artistic minded.
Thanks for taking the time to watch! We're glad you found it useful!
Awesome work ! Thanks for sharing mate
Thanks for taking the time to watch!
Thank you.. you are really clear and helpful
Thanks for taking the time to watch
very nice tutorial, easy to follow
Thanks for watching
incredible work guys. keep it up
Thanks a lot Brendan!
You deserve more subscribe
Thank you
Hi, thanks for sharing your knowledge, appreciate it. Could I ask, because I haven't seen it, are you using color space transform after primaries?
WOW! got another editing tool
We hope you find it useful!
Amazing tutorial! I was wondering if you could make a tutorial or explain how you color multiple clips on davinci.
Thanks! And do you mean colour grading multiple clips of the same scene in one timeline and how to essentially copy and paste a grade from one clip to another so they all have a similar look?
You are incredible!! Would you recommend any good color grading courses for beginners? How did you learn to grade so well!?
Thanks a lot! We didn’t take any courses to learn how to colour grade, but just learnt from watching RUclips videos. Mostly from “Qazi” channel. If you type him into
RUclips he’ll come up straight away
AMAZING AMAZING AMAZING!!!!!!!
Thanks so much Billy, thanks for taking the time to watch!
I love your work so much!! Your workflow makes a lot of sense to someone like me who is still trying to figure theirs out. Quick question though, is there any reason you don't use Davincis color transform to get the log footage to Rec. 709?
Thanks Alejandro! The reason we don’t use CST with Slog2 or Really any 8 bit footage is CST breaks the image up quite a lot and often the image is not balanced as well as we’d hope for colour separation that comes after. This way, we’re able to adjust the colours without the footage breaking up as much 🙏🏽
@@meliorstudios Ahh that makes so much sense. Thank you for the speedy reply!! I hope to continue to see the amazing work that comes from this channel!
Thanks a lot for watching and supporting the channel !!
This look amazing
Thanks a lot Daniel!
@@meliorstudios Buuut, i have a question haha:
Why don't you change the project's color space from slog to rec.709? Maybe you think that is better use this method, i want to know that :o
@@danielnorambuenafuentes5807 the reason for this is that S-log2 has a lot more dynamic range then standard Rec.709 which as well as giving you the ability to push colours around much more in post with the image falling apart. Rec.709 is much more of a baked in look that’s hard to change in post
Thx for this video guys. In the project color managements, do you have Davinci YRGB Color Managed and wide gamut or just Davinci YRGB with rec 709 2.4?
I have the same question and am really curious. @Melior Studios could you respond to this when you get the chance?
no need to be apologetic, you did a great job
Appreciate that man, though we’ll make sure we do a better job for next time
@@meliorstudios i know you'll do
@@davocado 🙏🏽
great tutorial
We hope you found it useful!
amazing work, but why did you not use colour correction can we have a video on that
This is the best DaVinci Colour Grade tutorial EVER - thanks so much for sharing!
I shoot with Fuji X-T4 in F-log, when I grade in DaVinci the first thing I was taught to do was to add colour back in via Luts and add the X-T4 LUT before I then continue grading... With this tutorial you haven't done this? Just wondering whether this method is an alternative to adding the LUT or whether I can use this node tree method while also using the F-log LUT? Thank you :)
Hey Antonia, apologies for the slow reply. There are many different methods to achieve the same look. You can use LuTs as a base to get a starting look and work form there. Alternative you can use a similar node tree structure to what we showed here. Though there me be a bigger difference in the colours and contrast of the F-log compared to S-log. Never hurts to give a go just as practice and if it works, it works, and if not, it’s best to try and find a method that you’re able to use to get the desired look
Hey guys, thank you so much for this video it gave me confidence about my a7iii just wondering what’s your input/output setting sequence on Davinci? Thank you.
Hey L&D, we’re stoked to hear that!! I’ll double check that for you when I’m on Davinci later on today
THX God to found you. very helpful tutorial. thank you i learned alot. God bless you. (one question: i saw some people use color space transform effetc for log2 for exp. that change colors nice, what is your idea about? is that a good way?)
wow este es un excelente video estoy impresionado
great tutorial,,, may I get the stock footage to practice ?
Great stuff
Great video
Thanks
your voiceover is amazing, what mic do you use?
We used the Deity D3 v-mic pro
Where do you do the conversion?? thanks so much:) great vid
Very informative video & very much obliged! Need an advice here, as I am shooting in Slog 2 PP ever since I have come across your beautiful videos. You have mentioned here that Slog 2 footages need to be exposed +2 stops, how do I get that? Let say, if I am shooting out in sun moving my camera into different direction, would you recommend me to put ISO in auto mode? And if I don't then it becomes very dark at certain direction and vice versa.
Thanks for watching! I always recommend keeping Iso at 800 and have a desired apeture you'd like to use, then adjust the brightness with a variable nd you can screw onto the lens. Then use the levels and exposure number at the bottom of your screen and make ensure you adjust the exposure enough to get the number to appear as +2.0. if it flashes your over exposed and if it's less than +2.0 you're under exposed. Hope that makes sense. I wouldn't set Iso in auto mode but turn the variable ND to expose properly with your finger while shooting. In very dark situations we recommend using HLG3
@@meliorstudios thanks a lot for the reply. What if I am panning my camera in different direction? The exposure changes along with the movement of the camera. So how do I get that +2 exposure perfectly while moving it? Or should you recommend me to put aperture in auto mode to have a steady exposure throughout?
dude! thank you!
Thanks for taking the time to watch!
Thank you 🙏
Thanks for watching
Hey dude, fantastic video. Overall amazing channel and as an A7iii user still in 2022 honestly didnt think this camera still had this much capability in it. Thank you. Got to ask, was shooting a client job that was very much low light, recently and while I was at 1.7 to 2.0 stops over the whole time on slog 2 and holding as close to min iso 800 as possible, we still got very noisy footage out of it. How do you know when to jump to HLG3. I guess my question is how do you know (based on what the camera is telling you) that you should be shooting a specific scene in HLG3 vs SLOG2? Thanks again dude
Hey Colin! Firstly thank you 🙏🏽 we’ve found even if you’re able to expose by +2.0 stops for S-log2 you will still get very noisy images as S-log2 really doesn’t do well with a lot of shadowy areas. Hence why even if we can expose for Slog2 in low light we still choose to use HLG3. Usually anything that’s darker than like sunset times or if a room is quite dark or has a lot of dark colours we’ll go for HLG3 otherwise for anything that’s clearly daylight we use Slog2. We hope that’s somewhat help. But for us we usually just go by eye and I guess with more practice in different lighting situations you’ll learn which profile will work best for what
Thank you so much for this! Have been so frustrated with color grading lately that I was tempted to upgrade to an a7siii. But I guess great colours i still possible with 8-bit sony! Just one question though, would it be easier if I use the CST tool and work from there? Or would it be steering away from the look that you are trying to achieve?
Hey man, we’re stoked to hear that! And 8-bit is definitely usually still but it may take longer to get a desired imaged compared to something like the A7siii 10 bit footage. And yes you could definitely use CST to get a starting base. However we’ve found with CST the magenta shift is too great with a lot of S-log2 footage, but that could be due to our settings. If this isn’t the case for you you could definitely start with CST and then start your look adjustment on the next few nodes. We hope that makes sense! Have a great day:)
excellent
really love it
is it 10 bit or 8 bit footage?
Thanks! and this is 8-bit footage but can all be done with 10-bit footage too
ty for the video , are you using a default slog 2 picture profile or custome one?? wich in camara gamma are you using?
Thanks for taking the time to watch! We've made a video about our Custom S-log2 picture profile here: ruclips.net/video/5n1rm_46fkg/видео.html
Hey just curious, why do you use the "Color Wheels" to adjust the footage instead of "Log Wheels"? When I opened color tab for my slog2 footage in Davinci, it seems to have defaulted to the "Log Wheels" option.
Edit: oops, looks like it doesn't make any difference which one is selected as long as you're not adjusting any of the main wheels.
Question, do you shoot on the movie dial or the M dial?
But do you grade each shot separately? or per scene? Great video! Kind regards
If we have a lot of clips from the same scene we’ll grade one clip and then copy and paste that grade (the node tree) onto the other clips of the scene, then make any tweeks if needed. Thanks man!
Is HLG profile better than slog2 for a7iii in low light?
Heyy, I have a question, Have you transformed s.log into rec.709 before hand or did you just edit all this in s.log2?? Because I didnt see any color space transform nodes
I’ve gotten so frustrated trying to shoot and grade S-log on my A7III. When you say expose +2 stops, is that the entire image? What metering mode do you typically use? For example, meter for shadows and expose those +2?
Hey Logan! We’re actually currently working on a video to debunk exactly how we go about exposing for Slog2. Hopefully it’ll be out sometime next week 🙏🏽
Do you often find yourself clipping your highlights? I got so frustrated with Slog I just shoot HLG3 excluo
@@shadowcultur in most cases, if we have the ability to control our light. Not really but in a lot of outdoor cases, we find Slog2 actually does a better job at retaining highlights than with HLG3 due to its greater dynamic range. If you don’t want the highlights to be clipped in certain areas, it may be best to expose for those areas
@@meliorstudios thanks for your time! Always enjoy your work. 🙏🏼
Appreciate you taking the time to watch!
Do you never use a rec709 conversion lut?
Not for A7iii footage but you can definitely use a color space transform if you need it
What file do my videos have to be cause I’m keep running into an issue with transferring them to the color tab, it won’t let me?
Hi guys! What is the best picture profile for a SONY A7s2 for low light? Cause this sony doesnt have HLG3.
S-log 2 works for me?
We’re not entirely sure what settings the A7s2 has but we definitely don’t recommend using Slog2 in lowlight. Does the camera have Cine2 or Cine4?
@@meliorstudios yes! Cine4
Then we recommend using Cine 4 or even better, Cine1 if you have it, then pair it with cinegamut3 or iTU.709 or S-gamut, see what works best for you!
Can you provide the footage in the video for practice? thanks
why not use color space transform for SLog2 and then add layers after that?
So you don’t use a CST node?
hi guys which settings in CFT to convert hlg3 to rec?
We use Rec.709 for both the input Gamma and input Colour space
Anyone know where is magic wand tool on ipad DR18
I use sony a7iii slog 2 and why always have noise the footage?
You have to make sure you expose correctly (always at +2 stops for Slog2)
hey! is this also valid with s-log 3 ? thx
do more tutorial！
We will be releasing more very soon!
yes boisss
Thanks a lot man!
Hi what editing software are you using? Thanks
Davinci Resolve
Camera Setting Please For A6500 =?
This should help: ruclips.net/video/5n1rm_46fkg/видео.html
No color space transform needed?
This can be done instead of doing the balancing at the beginning yes! But we've found if you're working with 8 bit footage, CST can make the image break up a little. But with 10bit footage or higher, it's completely fine
hi guys the first clip was exposed by +2 stop?
Yes it was!
cool thanks
why u dont use a Colour space transorm first? wouldnt it be better to transform your imgage into davinci intermediate and then after edit back CST to Rec709? i see evryone using CST first before they grade in Davinci - so why dont u?
What aspect ratio is the first clip?
2.0:1 I think
Thanks! That looks very cinematic. Reminds me of a look but I'm not certain where I saw that
Really appreciate that. Yeah try playing around with different aspect rations, they can really help push a certain mood or feel into a video
im confused, what happened in here 18:07 haha
We forgot take that part out. Initially we thought we’d finished recording then realised we forgot to talk about HLG3. And then when editing for some reason we forgot to take that part out 😅
Good tutorial :) Though I don't understand why it's called "Digital Look" when all along the tutorial you tend to create a filmic look, while often mentioning "Filmy"...
Thanks Charles! And we tried our best to create what we believe is a common digital look, with the strong blacks and clean frames, for example the orange and teal look. When we referred to filmy one this videos we were actually referring to movie films and not something like 35mm film. Though we should’ve explained that better for sure! We appreciate the feedback:)
can i do this with my canon sl2?
Yes!
Thank a lot, but you can give me setting for slog 2 sony a7iii? many thank
If you look on the bottom left of each of the beginning few clips you’ll be able to see the setting we use. Though we’ll be making a more extensive Sony A7iii profile settings tutorial in the futur
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What is a digital look? Watch Apocalypse Now. All film and extremely difficult to replicate.
in this video what we mean by a digital look is more so the modern look we see using Digital cameras that we see often used on Netflix and modern movies. Apocalypse Now is a stunning film and was shot on a 16mm and 35mm film on the older Arriflex cameras
Where is CST? Are you working in a managed color workflow or Davinci YRGB? If not CST then how will it get a perfect REC 709 (Assuming that you're aiming for that). If you're not using CST then you can't shot match. Can't trust the eyes brother.
CST isn’t always necessary, it’s not necessary to get a perfect rec.709 look if you’re trying to create a stylistic look. A Rec.709 look is more so important for broadcast media, not cinema. And having a good colour corrected monitor helps
@@meliorstudios So this image is for cinema then? And if relying on a monitor, scopes, and your eyes. Then brother you can't shot match. There is a reason for CST. And if this is for cinema then the output will be DCI-P3 (XYZ) I think so.