Thanks for actually explaining why it is done that way instead of what many youtubers do and that is to show you how to do something but don't tell you why.
I watched at least 5 hours of tutorials last week from channels with well over a million followers and all I got out of it was being even more confused. But your video really got to the point. Thank you for that my frriend!!! I also like the way your channel is presented. Not arrogant and not too many cuts or pop-ups every few seconds telling me to subscribe to you. If a channel is good and helpful, then the subscription will come automatically, I think. Yours is good, keep it that way.
Great information. This confirms my settings. Sometimes I was wondering if I had the right time line color space setting working with WG. Thank's a lot Greetings Richard
Thanks for this, it helped me understand a little more about working in a colour-space and what this means, I have a long way to go before I fully appreciate what this fully means to me as a film maker. It really helps when you make this complex subject a little more understandable, thank you 🙏 subscribed.
Right! I was just showing that for demonstration purposes. If someone wanted to put a tool that can work in Rec709 after the CST, they could. I personally don’t use it that way, I like using the camera profile input setting.
Rec709-A is for Macs, don't use it if you don't have a Mac screen. You also wouldn't need CSTs if you set the settings for DVR to manage the color space.
9:00 Hey Austin, btw... let's say if i wanted to add a built in lut like film looks kodak 2383 d55, is it the right way to set "cineon film log" on "output gamma" on the second node? And after that node add a built in lut on a new node?
Yes, it’s been a while since I’ve used that workflow. Another way I’ve seen it done with the built in film looks is by de-logging in a non color managed workflow. Applying the Film LUT directly to log footage.
@@-austinsmith Thanks for the quick answer and the hint! I think im going with the cineon film log on output gamma for now as it's easier for me :) What i want to learn next is to vonvert color space from blackmagic to arri. Do you have a tutorial for this or can you recommend any tutorial out there? Any experiences? Thanks man!
@fpsoundpacks no problem! I don’t have a video on that and not really a video that I have in mind to recommend. To me honestly it comes off as more of a gimmick for clicks when people put that in their titles. “Turn your camera into an Arri!” . Any professional colorist I see on YT isn’t converting into an arri log space from an anything other than an arri camera.
@@-austinsmith To be honest, that was my first thought too. But maybe every now and then there is a lucky coincidence when it comes to the colors and skin tones. But it might also make the image worse. How do you deal with the noise on the BMPCC 6K G2? I have the same model and am a bit confused about the red part of the noise or am I doing something wrong?
@fpsoundpacks for skin tones, I use the vector scope with the skin tone line enabled so then I can use the temp and tint raw tab settings to scoot the image onto that line if possible. As far as the red noise goes, you get the cleanest results shooting properly exposed at the appropriate ISO. ISO 400 is good for most situations, however I’ve used 800 for brighter lit outdoors with not a lot of shadows and ISO 100 for when I want more detail in the shadows. ISO is essentially relocating your dynamic range and you’ll start to experience noise when you’re getting outside those parameters. For instance if you’re exposing for a darker lit image and you’re at 100, if you start trying to lift it, at a point you’re gonna start introducing noise bc 100 has limited dynamic range over middle gray.
I recorded some braw files with a bmcc 6k ff, when I import them into the davinci resolve studio I move the raw parameters and it does not affect the image, the image does not change when I modify the iso or any parameter, why does that happen? thanks for your help
![UNLEASH DaVinci Resolve's RAW POWER!! [with FREE BRaw Sample Clips for Color Grading]](http://i.ytimg.com/vi/yterD-8BkJw/mqdefault.jpg)
Your doing just fine better then all the other vids for slow learners like myself
Thank you!
Thanks for actually explaining why it is done that way instead of what many youtubers do and that is to show you how to do something but don't tell you why.
No problem! I’m glad I could help!
I watched at least 5 hours of tutorials last week from channels with well over a million followers and all I got out of it was being even more confused. But your video really got to the point. Thank you for that my frriend!!!
I also like the way your channel is presented. Not arrogant and not too many cuts or pop-ups every few seconds telling me to subscribe to you. If a channel is good and helpful, then the subscription will come automatically, I think. Yours is good, keep it that way.
Oh no! Sorry about that! I’m glad my video helped! No problem!
@@-austinsmith Thanks man, the pain is over...for now 😅
Probably the best explained tutorial I've ever seen. This helped A LOT.
Thank you! I’m glad!
Great information. This confirms my settings.
Sometimes I was wondering if I had the right time line color space setting working with WG.
Thank's a lot
Greetings Richard
Awesome! Thank you!
you're a legend
lol! I’m no legend but thank you!
This was the perfect and exact video I’ve been looking for for weeks 🤦🏽♂️ where have u been bro thank u… anyway we can keep in touch I can pay u
I’m glad it was helpful!
Thanks for this, it helped me understand a little more about working in a colour-space and what this means, I have a long way to go before I fully appreciate what this fully means to me as a film maker. It really helps when you make this complex subject a little more understandable, thank you 🙏 subscribed.
No problem! I’m glad it helped! Thank you!
thanks 🙏 your explanation was soo nice and it easy to understand
No problem! Thank you! I’m glad
Amazing video, thank you!
Thank you! No problem!
Thank you so much, this helped me a lot to understand!
No problem! I’m glad it helped!
Awesome !
Thank you!
Amazing, Im new @ this and it´s really educating! Thanks!
Thank you!
No problem!
Really helpful
Awesome!
Amazing dude thank you
No problem! Thank you!
This is so helpful thank you
I’m glad!
No problem!
I am unsure why you have to reset your project setting to Davinci YRGB to use Matteo Bertoli luts and not for CullenKelly.
Cullen Kelly LUTS are built for DWG, Buttery LUTS are built for Rec709.
Great.
Thank you!
Why did you put Dehancer after CST? It works in Davinci Wide Gamut.
Right! I was just showing that for demonstration purposes. If someone wanted to put a tool that can work in Rec709 after the CST, they could. I personally don’t use it that way, I like using the camera profile input setting.
Rec709-A is for Macs, don't use it if you don't have a Mac screen. You also wouldn't need CSTs if you set the settings for DVR to manage the color space.
Yep!
@@-austinsmith Once I saw the second half I see you covered the other method.
Yeah!
Hi, I love your videos. If possible can you make dehancer in zve10? Subscriber from 🇵🇭
Thank you! Yes, I can look into it. Thank you for the suggestion.
@@-austinsmith wow thank you so much im excited
9:00 Hey Austin, btw... let's say if i wanted to add a built in lut like film looks kodak 2383 d55, is it the right way to set "cineon film log" on "output gamma" on the second node? And after that node add a built in lut on a new node?
Yes, it’s been a while since I’ve used that workflow.
Another way I’ve seen it done with the built in film looks is by de-logging in a non color managed workflow. Applying the Film LUT directly to log footage.
@@-austinsmith Thanks for the quick answer and the hint! I think im going with the cineon film log on output gamma for now as it's easier for me :) What i want to learn next is to vonvert color space from blackmagic to arri. Do you have a tutorial for this or can you recommend any tutorial out there? Any experiences? Thanks man!
@fpsoundpacks no problem! I don’t have a video on that and not really a video that I have in mind to recommend. To me honestly it comes off as more of a gimmick for clicks when people put that in their titles. “Turn your camera into an Arri!” . Any professional colorist I see on YT isn’t converting into an arri log space from an anything other than an arri camera.
@@-austinsmith To be honest, that was my first thought too. But maybe every now and then there is a lucky coincidence when it comes to the colors and skin tones. But it might also make the image worse. How do you deal with the noise on the BMPCC 6K G2? I have the same model and am a bit confused about the red part of the noise or am I doing something wrong?
@fpsoundpacks for skin tones, I use the vector scope with the skin tone line enabled so then I can use the temp and tint raw tab settings to scoot the image onto that line if possible. As far as the red noise goes, you get the cleanest results shooting properly exposed at the appropriate ISO. ISO 400 is good for most situations, however I’ve used 800 for brighter lit outdoors with not a lot of shadows and ISO 100 for when I want more detail in the shadows. ISO is essentially relocating your dynamic range and you’ll start to experience noise when you’re getting outside those parameters. For instance if you’re exposing for a darker lit image and you’re at 100, if you start trying to lift it, at a point you’re gonna start introducing noise bc 100 has limited dynamic range over middle gray.
I recorded some braw files with a bmcc 6k ff, when I import them into the davinci resolve studio I move the raw parameters and it does not affect the image, the image does not change when I modify the iso or any parameter, why does that happen? thanks for your help
That must be frustrating, I’d have to research that one! I’ve never had that happen to mine.