Love from India.....you are one of those guys, who share real knowledge for free. You are a true artist because you know... people can learn the technique ...but cant steal the art from you. And i know deep within...coz i feel the same, m a musician.....you really care that people should not waste money here and there for learning coz now these days its a business...they not gonna teach till they fill their pockets....but u r providing free.....appreciate that man.....people like you makes this world better. These are the best tutorials about color grading...learnt so much from you and improved a lot just in days....i would even pay for this kind of knowledge. Keep it up the great work.
Thank you for a pair of wonderful videos on working with luts. As a stills photographer working with raw files for over 15 years I appreciate the ability to create my own grades & look rather than just using something canned. Your instructions show the possibilities & proper steps.
Thank you Avery. There are so many people trying to make tutorials like this but yours is one of the only channels that makes me excited to color grade. Super helpful and useful stuff here. Easy subscribe.
the last statement about LUTS as a gateway to taking color grading seriously is so true. that's me!! and i'm going to continue to learn more from your work, thanks so much!
Thank you so much! Ive seen all your Videos now! Its just perfect. Please show us more :) I only grade for personal stuff and cant afford some special grading training - thank you so much to share those secrets with us!
awesome video as always, you give out information i couldn't find on other videos or channel and it's been very helpful. and i'm so very excited for the part 3, can't believe that you decided to make one for us premiere users! :)
Avery - can't tell you how amazing your tutorials are. I know you have your full time coloring job now - but would love for you to keep this going! (btw, would love to hear your thoughts on working without a external calibrated monitor, and the slight differences you get between the davinci viewer and your rendered output). Amazing stuff!
Im so happy that i founded ur channel. I have watched all ur videos. Now its time to start practising myself..keep the videos coming man they are a gold mine. Have u thought about giving one on one filmmaking lessons or patreon or something?
Can you give me a simple explanation on what Gamma does compared to Lift? In part 1 of this tutorial you used Gain and Lift to adjust the exposure to your liking. But in this tutorial you used Gain and Gamma to adjust the exposure to your liking. What confuses is me why you used Gamma this time instead of Lift? What is the difference between the two? I can't seem to find a clear enough answer online so hearing back from you would be great. Amazing tutorial by the way! I've been learning so much from your videos over the past few days. Thanks for all the time ans hard work you put into these
One of the most useful, accurate and inspiring tutorials on the color workflow with Resolve! Thanks, for sharing :) It would be also interesting to hear about the cons and pros of the location of Sharpening/Noise Reduction nodes in the whole workflow. I mean, does it make difference if we do it before/after ?
So if you want to adjust the creative input lut, without affecting the REC.709 conversion by itself, you should try to add a Color Space Transform before the LUT node, but there's no reason for that kind of workflow cause we're using a input lut to transform a LOG image to a REC.709. It makes me wonder that the best workflow for consistent color grading and less troubles should be using the CST and aplying the look that we want after this changes using a REC.709 lut. Great tutorial
WHAAT IS HAPPENING! THIS IS WAAAY BIGGER THAN WHAT I THOUGHT COLORING IS! LOL you're doing some extra expert stuff here i LOOVE THAAT i wanna do some researching and at some point i wish that i will be able to apply what i'm learning here, also i like that you're giving the theory of coloring and thats super helpful. i'm working i'm playing with the lumetri thing in Adobe premiere to get the idea of coloring! idk if thats right or not but i wanna learn from you what the ideal or the most helpful way (not the easiest or fastest for sure) to learn coloring and understand it fully!
Joshua Burkert so it's possible to save color settings between softwares without rendering? I also recently began to wonder how to edit in Premiere and grade in DaVinci. So the speed settings of a clip can't be transferred into DaVinci?
Hello Avery, thank you very much for this tutorial. Learned a lot. Color correcting and Grading is becoming addictive. Could you please please teach us what workflow you would use to correct and grade DJI mavic Cinelike-D and D-log, and when we should use each one using Davinci resolve 16? 🙏🙏🙏🙏
You have THE BEST tutorials on color grading, by far! Could you make some of the same on premiere? The way their timeline works tends to make us not achieve the best result. Thanks, keep up!
On further NODE instruction, would it be possible to LABEL the node that has the LUT? After 4 or 5 nodes it becomes hard to follow.... like 3 card monty. Thank you for making this simple - to many people ( RUclipsrs) blow through this stuff like they are talking to someone who knows the subject better than themselves.
Once again, excellent tutorial! Thanks a lot! I know it is out of context, but could you share which microphone you are using? I really like the sound of it. Thanks!
Thanks for this channel. Do you do grading before or at the end of your editing workflow, if at the end how do you repeat the same grading to similar shots later in the timeline (do you grade each clip individually. Could you do a video on your workflow please? Much appreciated
Very great video! I rarely saw tutorial as professional and detailed as yours. I was wondering, did you create the fincher lut used in the tutorial, or you simply bought it?
Really great of you to do this. I'm just a hobbyist and just getting into the video editing side of things. I don't plan to be a professional colorist so I'm still all for using LUTs however I don't want to use it lazily. For me needs, would a slog2 to REC709 LUT still be the best thing to do, then do adjustments, and add creative LUT at the end?
Yep, that sounds like a good workflow! Essentially pre LUT node -> rec 709 LUT -> balance -> grade -> creative LUT. Just don't forget the pre LUT node at the start!
Hi Avery ... many thanks for these tutorials. At 1:16 you added Node 3 then changed the gain and gamma. After watching part 1, I would have thought that the gain and gamma should be changed in the first node and not node number 3. Or is the first node ONLY to bring back over/under exposed areas?
Hello Avery! First off thank you for your vids and fantastic knowledge. I'm new to Davinci Resolve. I was wondering if you had any tips on how to color grade in the style of some of Zack Snyder's films. Batman V Superman, Watchmen, Snow Steam Iron? I'm a fan of his cinematic look and style. Thank you👍🎥🎬
Avery! I love your colorgrading videos. They have been a life saver! Do you always color grade per clip or do you use the group color grading feature? Like creative grading on post group clip, Rec 709 conversion pre-group clip, Basic corrections on the clip? Just curious about your workflow for larger correction and grading. Another question is when you create your LUTs do you recommend creating the LUT to the extreme look and exporting the cube file so you can lower the strength in key later on for other projects?
Thanks! Yes, I'm a big fan of using groups personally; it's a great way to streamline your process. How I use pre clip/post clip depends on the project: if I'm going for a more filmic look, I'll convert my footage to Cineon film log and add film grain in the pre clip, balance my footage using printer lights in the clip, and use a PFE LUT with additional adjustments in the post clip. Commercials and more "rec709" looking material will have me normalize my shots at the clip level, then grade lightly at the post clip level. As for LUTs, I don't often export my grades as LUTs (I use Power Grades instead to remain flexible), but exporting at a higher strength is wise if you plan on using it as a creative LUT. Monitoring LUTs and most technical LUTs on the other hand should be exported at their desired strength only.
A bit late to the party but I am hoping you could clarify something for me. In Part 1, when you wanted to change the Gamma and the Gain prior to applying the LUT, you literally created a separate node for those corrections. In this second episode, you adjusted both the Gamma and the Gain on the same node. Why is that if I may ask?
Hi， Peck, thanks for all the effort puuting into the tutorial. It's both educational and inspiring. Could you spare your time and answer one of my questions? Is it still necessary to go for BlackMagic Design Camera film to Rec 709 V2 if the color management setting is realy set as "Input Color Space> Blackmagic Design Film, Output COlor Space>Rec709 Gamma 2.4"? Thanks for your time!
If you're using RCM, then there's no need to use the LUT! Either one will do the log to rec709 conversion for you, and trying to use both on the same clip will be applying the conversion twice. LUTs and RCM do their conversions a little differently though, so it's up to you to decide which method yields the best results. There's no right or wrong answer there!
Very nice breakdown! I use LOG footage quite often. I like to work on it and get to my final result WITHOUT ANY LUTs. So you concur: all these LUTs - Creative REC.709 LUT AND Creative Input LUTs - are just options. Are they really ALL unnecessary and reproducible with enough skill?? Because in part 1, you showed how difficult it can be to qualify (the skin of the woman) on LOG footage. That it is better to apply a Creative Input LUT before, and then qualify on that new color space. Now you say that you can achieve any result without any creative LUT. Also: when you say that LUTs are changing the footage into another color space, it sounds like a "conversion" of the image. Is there more happening here than any of the colouring tools of Davinci Resolve would allow you to do? I thought that "changing the color space" is happening through the RCM and not through LUTs. I guess my key question is: do we need ANY LUTs when we work on LOG footage? If no, it would be really nice to see your workflow color correcting and grading LOG footage without using any of them.
What I dislike is that LUTs are a compressed into a single node without any hint to what they do. I would love to use a LUT that adds 4 nodes for exposure, contrast, color and qualified skin tones with additional color adjustments but they also have the information of their changes. Like where the primary wheels are moved, or how the curve changed. All in all DaVinci needs to connect the scopes into the tools better. Think about how useful the curve could be if you map an input historygram behind it and you can apply it 1:1 to your needs.
Resolve has a feature almost exactly like what you're describing called "Power Grades". Instead of baking your nodes into a LUT, it let's you apply the entire node tree to a shot, leaving everything fully editable. The only downside is that it's a Resolve-only feature. Unfortunately, companies don't provide these because users can figure out the "secret sauce" of their looks, and realize it's not that complicated. I think you'll find that the curves and wheels are pretty well mapped to the scopes, you just have to take some time to get used to the relationship between them. My next video will actually cover something similar to this: how to see color in a way that translates to the tools in Resolve. It might help out a little!
exactly NO LUT at all is the goal ! u can use LUT to view a look but create that look without using a LUT gives better image quality and no false color at all...
Hello Avery. Thanks for the tips. I am confused though -- in Part 1 you said you should make the conversion (technical) LUT the very last LUT in the node chain, saying that adding further nodes after it and making adjustments with them could undo the work of the converison LUT, presumably undoing the broadcast safe level of highlights, for example? Yet in this (part 2) you add other nodes after the technical LUT. Won't these risk making the output "illegal" for broadcast?
Super appreciate the knowledge you share! Quick workflow question for you, if you don't mind. I need to transcode my raw footage out of Premiere before I grade in Resolve (too many effects on the timeline to work with raw). Do you recommend applying any corrective LUTs, like sLOG to 709, before the transcode from Premiere? Should be okay as long as I stay in the same color space, is that right? Thanks for your help, Avery!
Thanks, glad you liked it! You shouldn't apply any LUTs or corrections to the footage before transcoding; the footage should be kept in a format that retains as much of the original information as possible (typically log with a high bitrate codec like ProRes 4444). You can apply the LUTs and corrections in Resolve where you have more control and better tools available. Hope that helps!
in just purchased DR and im trying to follow what your doing with changes, i cannot seem to find the Temp - Tint, MD and Col Boost under the colour wheels that you change.. its not there in DR 16
Thank you! Haha I am a bit off the grid social media wise. Hopefully someday I'll have the time to change that. As of right now though, the only other social media I use is Facebook, wah-wah.
This might sound silly but... why do you even want to convert a (B)RAW file onto Rec709 format to start the entire colour process? Isnt it ok to work with the original version and only at the end convert to Rec709?
Once this is all said and done is there another node/LUT you would recommend adding to compensate for the way the video is rendered in QuickTime? Because this has been a thorn in my side for like almost a week now. Fantastic image in resolve. Slightly less saturated and slightly brighter final rendered picture. It’s driving me nuts and there seems to be a bit of dispute as far as render settings and workarounds.
QuickTime is notorious for playing back files with the wrong gamma. Try to playing the file in VLC, or just importing back into Resolve to see if the problem still exists.
Avery Peck Thanks for the reply man! I’ve actually done both of the things you suggested. They look exactly the same. So just leave itAnd say screw it? I made a pretty cool video but after rendering it and uploading it to Vimeo, it sucked to look at.
@@j.oakley9588 If the video still looks washed outside of QT, make sure that your "Data Levels" on export are set to "Auto". A common mistake is to set it to "Full" thinking that it produces a better result, when it just changes the range that RGB values are encoded to, which can lead to lifted shadows and lowered highlights. Hope that helps!
![Kumamoto Masters Japan 2024 | Gregoria Mariska Tunjung (INA) [5] vs. Akane Yamaguchi (JPN) [2] | F](http://i.ytimg.com/vi/EIjZybhsWqA/mqdefault.jpg)
Love from India.....you are one of those guys, who share real knowledge for free. You are a true artist because you know... people can learn the technique ...but cant steal the art from you. And i know deep within...coz i feel the same, m a musician.....you really care that people should not waste money here and there for learning coz now these days its a business...they not gonna teach till they fill their pockets....but u r providing free.....appreciate that man.....people like you makes this world better. These are the best tutorials about color grading...learnt so much from you and improved a lot just in days....i would even pay for this kind of knowledge. Keep it up the great work.
The only dislike that you have is from another colorist that is pissed that you are giving away secrets. Keep this stuff coming! Thanks for teaching!
They're afraid the other talented colorists here are gonna steal their job someday :) Thanks for the support!
And that's the reason why i love this channel as an amateur :) There will be job for both of us, im sure!
Another dislike is that you post not often :)
I am telling you guys this is nothing. If you want to be a colour grader don't watch the video in this channel .
Y2Kvids explain
Your videos about grading are the bests on RUclips, hands down! Thank you so much for them!
I've learnt a ton off your videos mate, your skin tone workflow was a godsend, fantastic work
Thank you!
This is the best channel on RUclips ever , thanks for what you do
UsamaMahmoudSultan Thank you!
Outstanding. Because of your videos I am starting to understand how to color my videos. I was lost before I found your channel.
Thank you for a pair of wonderful videos on working with luts. As a stills photographer working with raw files for over 15 years I appreciate the ability to create my own grades & look rather than just using something canned. Your instructions show the possibilities & proper steps.
Thank you Blaine!
This got straight to the heart of an issue I have been having but not quite getting to grips with. Thank you!
thank you so much from Spain for your videos ! You´r great!
Man... didn't notice you were back till now. Good to see more quality tuts! Looking forward to part 3.
The most professional tutorial I seen. Precious, man.
Great great tutorials! THANK YOU SO MUCH!
One of the best and most helpful color grading channels on RUclips, thank you so much for this fantastic content. Keep it coming!
Thanks Eric!
Thank you Avery. There are so many people trying to make tutorials like this but yours is one of the only channels that makes me excited to color grade. Super helpful and useful stuff here. Easy subscribe.
Thanks Matthew!
Bruv, thank you so much! These are some of the best most easy to follow tutorials I’ve ever seen. @6:56 is such an important point. 🙏🏾
the last statement about LUTS as a gateway to taking color grading seriously is so true. that's me!! and i'm going to continue to learn more from your work, thanks so much!
Love your tutorials, Avery. Awesome work!
I love you
Sorry but nothing represents better this joy of seeing another video coming out!!!
I thought I knew what I was doing until I watched all Avery's videos! Arguably the best tuts online
Great work Avery. av really learnt alot from you. God bless you
Hey this is very useful, I hope you can upload more. Thanks mate.
broooo you are the best on youtube, we need more videos!!!
Thank you so much! Ive seen all your Videos now! Its just perfect. Please show us more :) I only grade for personal stuff and cant afford some special grading training - thank you so much to share those secrets with us!
Stumbled upon your channel a couple days ago. Loving the amazing content, getting better results already!
awesome video as always, you give out information i couldn't find on other videos or channel and it's been very helpful. and i'm so very excited for the part 3, can't believe that you decided to make one for us premiere users! :)
Amazing channel, love it, keep what you do!
Avery - can't tell you how amazing your tutorials are. I know you have your full time coloring job now - but would love for you to keep this going! (btw, would love to hear your thoughts on working without a external calibrated monitor, and the slight differences you get between the davinci viewer and your rendered output). Amazing stuff!
Im so happy that i founded ur channel. I have watched all ur videos. Now its time to start practising myself..keep the videos coming man they are a gold mine. Have u thought about giving one on one filmmaking lessons or patreon or something?
lookin forward to part 3
man your video is so helpful
Good job!
Can you give me a simple explanation on what Gamma does compared to Lift? In part 1 of this tutorial you used Gain and Lift to adjust the exposure to your liking. But in this tutorial you used Gain and Gamma to adjust the exposure to your liking. What confuses is me why you used Gamma this time instead of Lift? What is the difference between the two? I can't seem to find a clear enough answer online so hearing back from you would be great. Amazing tutorial by the way! I've been learning so much from your videos over the past few days. Thanks for all the time ans hard work you put into these
Welcome back keep em coming !!!
i learned a lot! Thanks!
The king is back! Thank you so much for making new youtube tutorials!
Love your stuff.
One of the most useful, accurate and inspiring tutorials on the color workflow with Resolve! Thanks, for sharing :) It would be also interesting to hear about the cons and pros of the location of Sharpening/Noise Reduction nodes in the whole workflow. I mean, does it make difference if we do it before/after ?
So if you want to adjust the creative input lut, without affecting the REC.709 conversion by itself, you should try to add a Color Space Transform before the LUT node, but there's no reason for that kind of workflow cause we're using a input lut to transform a LOG image to a REC.709.
It makes me wonder that the best workflow for consistent color grading and less troubles should be using the CST and aplying the look that we want after this changes using a REC.709 lut.
Great tutorial
WHAAT IS HAPPENING! THIS IS WAAAY BIGGER THAN WHAT I THOUGHT COLORING IS! LOL you're doing some extra expert stuff here i LOOVE THAAT i wanna do some researching and at some point i wish that i will be able to apply what i'm learning here, also i like that you're giving the theory of coloring and thats super helpful. i'm working i'm playing with the lumetri thing in Adobe premiere to get the idea of coloring! idk if thats right or not
but i wanna learn from you what the ideal or the most helpful way (not the easiest or fastest for sure) to learn coloring and understand it fully!
Great tutorial as always. Would love to see you showcase a good workflow from Premiere to Resolve and back again!
Joshua Burkert That one's on the list!
So you edit in Premiere, go to DaVinci, and why would you return back to Premiere from DaVinci?
For titles, time ramps etc
Joshua Burkert so it's possible to save color settings between softwares without rendering?
I also recently began to wonder how to edit in Premiere and grade in DaVinci. So the speed settings of a clip can't be transferred into DaVinci?
Good info bro!!!
Hello Avery, thank you very much for this tutorial. Learned a lot. Color correcting and Grading is becoming addictive.
Could you please please teach us what workflow you would use to correct and grade DJI mavic Cinelike-D and D-log, and when we should use each one
using Davinci resolve 16? 🙏🙏🙏🙏
Amazing stuff Avery, I’ve been following you ever since your video about grading like Stranger Things, big fan dude, keep doing what your doing 👍🏼
Thanks man!
You have THE BEST tutorials on color grading, by far!
Could you make some of the same on premiere? The way their timeline works tends to make us not achieve the best result.
Thanks, keep up!
Thanks so much! :)
On further NODE instruction, would it be possible to LABEL the node that has the LUT? After 4 or 5 nodes it becomes hard to follow.... like 3 card monty.
Thank you for making this simple - to many people ( RUclipsrs) blow through this stuff like they are talking to someone who knows the subject better than themselves.
Amazing Tutorial. When is Part 3 coming out?
Thanks
amazing! thanks a lot
Awesome conciseness. (Y) (Y) (Y) Thank you, Avery!
MOREEEE VIDEOOOOOS PLEASEEEEEEE
Once again, excellent tutorial! Thanks a lot! I know it is out of context, but could you share which microphone you are using? I really like the sound of it. Thanks!
Awesome! where can I find that CREATIVE LUTS Pack?
Good stuff! Thanks man.
Thanks for this channel.
Do you do grading before or at the end of your editing workflow, if at the end how do you repeat the same grading to similar shots later in the timeline (do you grade each clip individually. Could you do a video on your workflow please?
Much appreciated
Thanks brother
Very great video! I rarely saw tutorial as professional and detailed as yours. I was wondering, did you create the fincher lut used in the tutorial, or you simply bought it?
Thank you! I created the Fincher lut for this tutorial (I don't use creative LUTs normally).
Too bad he left us..he was a gold mine..if this guy shows up with a color grading course I'll buy it right away..no second thought
wonderfull job! Can you tell us about what codec you are working with the color grading job ?
Great video. Do you offer a tutorial course for color grading in DaVinci Resolve?
Really great of you to do this. I'm just a hobbyist and just getting into the video editing side of things. I don't plan to be a professional colorist so I'm still all for using LUTs however I don't want to use it lazily. For me needs, would a slog2 to REC709 LUT still be the best thing to do, then do adjustments, and add creative LUT at the end?
Yep, that sounds like a good workflow! Essentially pre LUT node -> rec 709 LUT -> balance -> grade -> creative LUT. Just don't forget the pre LUT node at the start!
amazing
Hi Avery ... many thanks for these tutorials.
At 1:16 you added Node 3 then changed the gain and gamma. After watching part 1, I would have thought that the gain and gamma should be changed in the first node and not node number 3. Or is the first node ONLY to bring back over/under exposed areas?
Hello Avery! First off thank you for your vids and fantastic knowledge. I'm new to Davinci Resolve. I was wondering if you had any tips on how to color grade in the style of some of Zack Snyder's films. Batman V Superman, Watchmen, Snow Steam Iron? I'm a fan of his cinematic look and style. Thank you👍🎥🎬
holy shit this is far beyond fast color correction. feel like neo when he saw the matrix code for the first time. great to see whats possible.
You remind me of Andrea Kramer! :D Great tutorial buddy!
Avery! I love your colorgrading videos. They have been a life saver! Do you always color grade per clip or do you use the group color grading feature? Like creative grading on post group clip, Rec 709 conversion pre-group clip, Basic corrections on the clip? Just curious about your workflow for larger correction and grading.
Another question is when you create your LUTs do you recommend creating the LUT to the extreme look and exporting the cube file so you can lower the strength in key later on for other projects?
Thanks! Yes, I'm a big fan of using groups personally; it's a great way to streamline your process. How I use pre clip/post clip depends on the project: if I'm going for a more filmic look, I'll convert my footage to Cineon film log and add film grain in the pre clip, balance my footage using printer lights in the clip, and use a PFE LUT with additional adjustments in the post clip. Commercials and more "rec709" looking material will have me normalize my shots at the clip level, then grade lightly at the post clip level.
As for LUTs, I don't often export my grades as LUTs (I use Power Grades instead to remain flexible), but exporting at a higher strength is wise if you plan on using it as a creative LUT. Monitoring LUTs and most technical LUTs on the other hand should be exported at their desired strength only.
A bit late to the party but I am hoping you could clarify something for me. In Part 1, when you wanted to change the Gamma and the Gain prior to applying the LUT, you literally created a separate node for those corrections. In this second episode, you adjusted both the Gamma and the Gain on the same node. Why is that if I may ask?
love this tutorial man. are you selling that fincher cool lut? would love to have it. thanks!
Thanks again for this brother ;)
Hi， Peck, thanks for all the effort puuting into the tutorial. It's both educational and inspiring.
Could you spare your time and answer one of my questions? Is it still necessary to go for BlackMagic Design Camera film to Rec 709 V2 if the color management setting is realy set as "Input Color Space> Blackmagic Design Film, Output COlor Space>Rec709 Gamma 2.4"?
Thanks for your time!
If you're using RCM, then there's no need to use the LUT! Either one will do the log to rec709 conversion for you, and trying to use both on the same clip will be applying the conversion twice. LUTs and RCM do their conversions a little differently though, so it's up to you to decide which method yields the best results. There's no right or wrong answer there!
@@averypeck Thanks for the answer, sir! it helps a lot!
Very nice breakdown! I use LOG footage quite often. I like to work on it and get to my final result WITHOUT ANY LUTs. So you concur: all these LUTs - Creative REC.709 LUT AND Creative Input LUTs - are just options.
Are they really ALL unnecessary and reproducible with enough skill??
Because in part 1, you showed how difficult it can be to qualify (the skin of the woman) on LOG footage. That it is better to apply a Creative Input LUT before, and then qualify on that new color space. Now you say that you can achieve any result without any creative LUT.
Also: when you say that LUTs are changing the footage into another color space, it sounds like a "conversion" of the image. Is there more happening here than any of the colouring tools of Davinci Resolve would allow you to do? I thought that "changing the color space" is happening through the RCM and not through LUTs.
I guess my key question is: do we need ANY LUTs when we work on LOG footage? If no, it would be really nice to see your workflow color correcting and grading LOG footage without using any of them.
What I dislike is that LUTs are a compressed into a single node without any hint to what they do.
I would love to use a LUT that adds 4 nodes for exposure, contrast, color and qualified skin tones with additional color adjustments but they also have the information of their changes. Like where the primary wheels are moved, or how the curve changed.
All in all DaVinci needs to connect the scopes into the tools better. Think about how useful the curve could be if you map an input historygram behind it and you can apply it 1:1 to your needs.
Resolve has a feature almost exactly like what you're describing called "Power Grades". Instead of baking your nodes into a LUT, it let's you apply the entire node tree to a shot, leaving everything fully editable. The only downside is that it's a Resolve-only feature. Unfortunately, companies don't provide these because users can figure out the "secret sauce" of their looks, and realize it's not that complicated.
I think you'll find that the curves and wheels are pretty well mapped to the scopes, you just have to take some time to get used to the relationship between them. My next video will actually cover something similar to this: how to see color in a way that translates to the tools in Resolve. It might help out a little!
exactly NO LUT at all is the goal ! u can use LUT to view a look but create that look without using a LUT gives better image quality and no false color at all...
Hello Avery. Thanks for the tips. I am confused though -- in Part 1 you said you should make the conversion (technical) LUT the very last LUT in the node chain, saying that adding further nodes after it and making adjustments with them could undo the work of the converison LUT, presumably undoing the broadcast safe level of highlights, for example? Yet in this (part 2) you add other nodes after the technical LUT. Won't these risk making the output "illegal" for broadcast?
COMMMEEE BACCKKKK PLEASEEEE
Please do a video on sky color grading
how about increase the gain for only skin, which one is better? before or after lut?
Amazing you should do more tutorials once a week and will get up to million subs in a year,
Nice work!!! Which kind of camera did you use?
Thanks! This was shot on the Blackmagic Cinema Camera.
Would you do a video about working in ACES?
Did you created the Fincher LUTs? Do you have a place for downloading creative LUTs?
Super appreciate the knowledge you share! Quick workflow question for you, if you don't mind. I need to transcode my raw footage out of Premiere before I grade in Resolve (too many effects on the timeline to work with raw). Do you recommend applying any corrective LUTs, like sLOG to 709, before the transcode from Premiere? Should be okay as long as I stay in the same color space, is that right? Thanks for your help, Avery!
Thanks, glad you liked it! You shouldn't apply any LUTs or corrections to the footage before transcoding; the footage should be kept in a format that retains as much of the original information as possible (typically log with a high bitrate codec like ProRes 4444). You can apply the LUTs and corrections in Resolve where you have more control and better tools available. Hope that helps!
Sweet. Thanks for the very helpful tip. Keep up the great work!
Hey Avery, I emailed you and wanted to make sure it was the correct email. Look forward to hearing back from you! -Joe
Do you have any links to get LUTs?
Can you please make a tutorial where you recreate the look of Kingsman?
Hey Avery! Do you do paid color grading? How can I get a hold of you?
Hi Avery, do you do freelance work? If so, I would love to talk about a short film!
in just purchased DR and im trying to follow what your doing with changes, i cannot seem to find the Temp - Tint, MD and Col Boost under the colour wheels that you change.. its not there in DR 16
Love this channel man! Always keep a eye out for new video! Are you anywhere on social media? Insta or Twitter? Haha you seem so off the grid
Thank you! Haha I am a bit off the grid social media wise. Hopefully someday I'll have the time to change that. As of right now though, the only other social media I use is Facebook, wah-wah.
This might sound silly but... why do you even want to convert a (B)RAW file onto Rec709 format to start the entire colour process? Isnt it ok to work with the original version and only at the end convert to Rec709?
Once this is all said and done is there another node/LUT you would recommend adding to compensate for the way the video is rendered in QuickTime? Because this has been a thorn in my side for like almost a week now. Fantastic image in resolve. Slightly less saturated and slightly brighter final rendered picture. It’s driving me nuts and there seems to be a bit of dispute as far as render settings and workarounds.
QuickTime is notorious for playing back files with the wrong gamma. Try to playing the file in VLC, or just importing back into Resolve to see if the problem still exists.
Avery Peck Thanks for the reply man! I’ve actually done both of the things you suggested. They look exactly the same. So just leave itAnd say screw it? I made a pretty cool video but after rendering it and uploading it to Vimeo, it sucked to look at.
@@j.oakley9588 If the video still looks washed outside of QT, make sure that your "Data Levels" on export are set to "Auto". A common mistake is to set it to "Full" thinking that it produces a better result, when it just changes the range that RGB values are encoded to, which can lead to lifted shadows and lowered highlights. Hope that helps!
Avery Peck yeah, I did that. Oh well I guess. But thanks for the reply! I know you get a lot of these.
We need part 3, okay?
is it possible to get the LUT you used here?
Hello! Where can i get your LUTs
your content is great! learned a lot. are you coming back to youtube soon?
what if we make changes in lut node..?
Can you or somelse tell my why he chooses the rec lut?
Just another question: do you run courses on colour grading?
Can you do all these functions in the free version?
Sure can!