your video have something like a litle bit fog layer, a bit dreamy mood, I don't know what is that, but it look cinematic like footage from red or blackmagic but you did from xt3 , can you do a tutorial about it, thanks a lottt
Other RUclipsrs: “If you’re using other software you have to figure it out on your own” Evan Schneider: “I’ll show you exactly how it works both in DaVinci and Premiere Pro”
I've spent tens of hours watching videos about LOG footage and how to deal with it in post production. I have to say this video is super informative, probably the best i found. Thank you!! I click subscribe and go check more of your content.
as a small youtuber myself, your videos really helped me make my content better. From my earliest videos, the colors are extremely badly edited, but now it has gotten better because of your tutorials. Thank you so much!!
I'd say that this is one of the most accurate colour gradding tutorials for begginers !! Right technical informations about the correct way to gradde log footage !! All the best !!
Fantastic tutorial, Evan! I am definitely going to play around with this workflow as it seems to be much more straightforward than what I have been doing. Always look forward to your videos - keep up the great work!
I use Final Cut but the same principals apply. I put on an adjustment layer which has the Fuji conversion LUT in, then adjust the main clip if I need to change exposure or WB etc. Pop another adjustment layer on top for creative LUT and boom! Thank you SO much for this! It's such a time saver. Wicked stuff.
You just make my day!!! I've been using clog3 for some time and always took so much time to color grading. Applying the Arri lut together with the clog 3 footage was with no doubt a life saver and very happy wit the results. Crazy good tutorial and thank you so much!!! Subscribe check :)
Yes! Everything in Premiere translates pretty well to FCPX. It's a really powerful workflow once you get the hang of it. Someday I'll include FCPX in these tutorials...
Evan Schneider Glad you talked about the color space transform (not commonly talked about on RUclips)! Also should probably mention colour management like RCM or ACES
Hey, thank you for the video. Very interesting. I'm not sure I'm doing any of the three method... Maybe I'm doing something super bad : in the edit tab, I select all my log clips, right click > LUT > Panasonic > V-Log to V709. This allows me to see the colors of my clips and edit in a more comfortable way. Then, when my edit is done, I go to the color grading tab and do my basic node tree (but the "right clic LUT" applied on the clip before is still on even if I can't really see it applied on a specific node). So I guess it's not good because you said it's destructive... The 3rd way of doing it would be better. But it means that for each clip, before starting my color grading, I should right click and "cancel" the LUT V-Log to V-709 ? Anyway thanks a LUT (oh oh ooooh) for your tutos !
The way you're doing it is completely fine, but you may be limiting yourself a bit with exposure and balance adjustments. By applying the LUT via the Media Pool, you're putting it at the very beginning of the pipeline. Any node corrections you make in the Color tab will be processed from the LUT output image. This isn't necessarily a bad thing if you're only making small adjustments. But typically you want to make primary adjustments before the conversion LUT using the Offset wheel, then secondary adjustments after the LUT. By "cancelling" the input LUT and applying it to a node, you're controlling where your conversion happens in the pipeline. Might take more time but will pay off in the end. I oftentimes use this workflow if I want to quickly preview or edit footage before focusing on grading it thoroughly.
It depends on what you're using the curves for. If you're using them to balance the footage, the node should go before the conversion. If you're using them to add a tone curve or extra contrast, then I'd put it after the conversion. Hope that helps.
Thanks for the video, Evan. Two questions for you. 1) Regarding FLOG, I have heard some people say that it has a magenta cast to it. Mostly i have heard them say that bright clouds in a blue sky will end up having a magenta cast. Have you found this to be true? 2) In Resolve, I noticed that you did some of your color changes in your first node (Primaries), and some in your third node (Adjust). While I understand the importance of doing LUMA corrections BEFORE applying a transform node, how do you know which chroma change to make before or after the transform node (the node with the FLOG to Eterna LUT)?
Hi, now. that I think of it, yeah I guess it might tend towards magenta in the highlights. But if you expose properly and have all the information there, it's extremely easy to compensate if you don't like it either via white balance or color correction in post. And as far as grading before and after the transformation node, I do all exposure, white balance and saturation adjustments before the transformation (while it is enabled). It feels the most natural to me that way. Then after the transformation node, I make fine-tuning adjustments like shadow and highlight levels as well as creative looks and local adjustments like skin tone. A lot of it comes down to how it feels and what works for you, but this is my process! Hope that helps.
You have a new subsriber! Amazing video...helped me sooooo much. Can you say something about your sharpening and denoising workflow, working with flog.
Glad I could help and thanks for the sub! Denoising should be done on the very first node before everything. Sharpening should be the last node. If you’re adding grain, you would add that after the sharpening.
@@EvanSchneider Thank you so far. May be you can make another video about this issue. Showing some examples of denoising and sharpening :-)....and one more question about expose Flog. What is your recomendation?
Well, this is just fantastic! I’ll need to watch this more than once to fully absorb the info. Note to anyone who wants to create a well done tutorial - this is how it should be done. You don’t rush, you present several workflows, and you explain the important technical details (eg when a LUT becomes destructive). You’ve gained a subscription! Now can you make a video that details how to merge those various adjustment nodes into a single LUT (.cube file) that I can use on my Ninja for previewing while shooting? Also, given that you seem to have an understanding of both Davinci and Premiere, do you prefer one over the other? I’m a long time Adobe Suite user but my work has never involved video to a large degree. This has changed recently and I’ve been mulling around which one of these apps will provide the best workflow for grading and editing log footage. I’m not such an Adobe fanatic that I’m able to look past some of the glaring issues with the layering model in Adobe vs the more modern approach with nodes in Davinci.
Thank you for the kind words! You can export a LUT from any clip by right clicking the thumbnail on the color page. For color, Resolve is the best program you can use. I still prefer to do edits in Premiere though. It all depends on the project, but if I have a more complicated edit, I'll go with Premiere. If it's an easy edit and I want to do a solid grade, I'll use Resolve to save myself the headache of dealing with XML's and conforming.
Hi Evan ! Wondering if you can share your project setting and your thoughs about Mac P3 Display ? I work on P3 display iMac Pro, so best settings i found is Davinci Managed/SDR/ 709-A then export 709/709. No color/gamma shift with this settings, but i heard if don't use rec709 2.4 i will miss something... Thank you boy !
Hi! Rec709-A is still the best for internet delivery and will ensure no color shift like you said. P3 colorspace is larger and capable of producing a wider gamut of color, but most internet services use Rec709 so it wouldn’t be worth it anyway, unless you have control of the screen the final product will be viewed on. In this case using the lowest common denominator is best.
Great tutorial. Do you shoot at 200mbps or 400mbps? Is there a noticeable difference when colour grading? I wasn't sure which option to select for the X-T4
I believe the X-T3 only goes to 200, but it looks great to me! I would say if you’re capturing extreme detail, go to 400, but in most cases 200 will be great and you’ll save some storage space as well.
I wouldn’t recommend going in reverse from a linear to a log profile. I would create a base grade using the log footage, making sure there’s enough contrast to match your G85 footage, and then adjust that to match. Sometimes you may have to reduce the contrast in the srgb footage to bring out more detail, but it all depends on your picture profile and the desired final look.
Love your tutorials man! Very clear and to the point. Would I use the same workflow if I use HLG3 on my Sony? Being that it is a relatively flat profile, is it basically the same flow as SLOG?
There are a bunch of different ways to roundtrip, and I outline one of them in my video here: ruclips.net/video/YV6XCXMCSQw/видео.html It would take a lot longer to explain in full detail, but basically you can also export an XML from Premiere, import it into Resolve and then either render your final video from there or render as individual clips back to Premiere. Definitely adding this to a future video though!
You can definitely get away with grading Log footage in 4:2:0, however you do have to be more gentle with it because it will start breaking down quicker to the point where you start seeing digital noise. Not impossible, but definitely not as flexible!
Hey Aron, thanks! Canon’s website is the absolute worst haha, I’ve tried finding them myself and didn’t have much luck. What program are you grading in? If you’re using resolve, the color space transform tool is really helpful. If not, definitely check out Buttery LUTs or Thomas Kovacik, they both have solid conversion LUTs for c-log2. I definitely want to make one of my own one of these days!
@@EvanSchneider Grading in premier. some clips grade easily and others not so easily so thought I'd get that lut to help me with the base grade! Thanks I'll check them packs out. Let me know if you find where the canon ones are hiding!
@@aronross459 I actually found the Canon ones! They're on the page for the C70, then click "Drivers & Downloads", then software, and it's the one called "Canon lookup table Version 201911". Never tested them myself but worth a shot! www.usa.canon.com/internet/portal/us/home/support/details/cameras/cinema-eos/eos-c70
quick question, when using method 3 why don't you set the input color space as rec2020 and just leave it at use timeline? is there any advantage to this over setting it as rec2020 and the output as rec709? I'm new at this and just curious because I noticed it changed the footage and flog is a rec2020 color space, much love!
Hey! So glad this video was helpful for you. When I made this video I was actually unaware that F-Log is in Rec.2020 colorspace, and I've since learned that! So you're right, choosing Rec.2020 as the input colorspace will actually give you better results. Good catch!
What is the software you are using? not many speak of this, but it actually pretty hard to find something that can do it without cost a fortune, to pay 50$ a month is waaay to much when you only might need it 2 times a year. I dont even earn anything from it.
There's no reason to do your "primaries" step first if you've got a non-destructive color space transform! Method #3 is the most powerful, but you should move your primaries step to after the conversion. Doing exposure before the log->709 conversion is technically incorrect, and (as you noticed) results in odd looking footage if taken too far. Using a manufacturer's color correction LUT (method #1) will clip the highlights, so you're forced to do the exposure and highlight compression beforehand. One downside of method #2 - if the log format has different color primaries, you won't be able to replicate the color space transform. You're basically assuming the RGB primaries are the same as the Rec.709 primaries. I'm assuming some formats support BT.2020 primaries?
You’re right, it doesn’t matter if you do your primary correction before or after the CST because it’s non-destructive. However what I didn’t mention in the video is that I prefer to do it before simply because of how it feels. Try it both ways and see for yourself, they both have a different feel while making adjustments even if they give the same results. I have to disagree - using a conversion LUT is not incorrect and the exposure and white balance should still be performed before the conversion in the node tree, but I always have the conversion LUT enabled before making the primary adjustments upstream. It’s not as flexible as a CST but it’s still an acceptable and widely used method. If the footage is exposed properly, there shouldn’t be any issues. Can you explain what you mean regarding primaries? I believe you’re mixing it up with colorspace. By “primaries” I simply mean the primary adjustment.
Well I won't argue if it's giving a desirable aesthetic, use what works! But technically to change the exposure of a log image you'd need a very special formula, ie something like... log(x+c) = log(1+c/x)... instead of log(x) + c which is what happens when manipulating the image before the log->Rec.709 conversion. I guess my point is the exposure controls were never meant for log formats. Err, I used "primary" to mean two different things. In color science, primaries are the reference colors used to represent each channel in RGB. This is known as the color "Gamut". These are literally the colors of each red/green/blue within your monitor or tv. In method #2 you have not transformed from the camera's log gamut to the Rec.709 gamut so your colors will be wrong. This is notable because I believe many newer cameras would capture a wider gamut in their log profile to support BT.2020, and you'd need to rotate/clip that gamut to get your normal Rec.709 colors. Displaying wide gamut images on a Rec.709 monitor would look desaturated but increasing saturation alone won't correct them. I think it's useful to understand that the log format is a compression format, and it's not really meant to be interpreted directly as an image. The goal of such a format is to match the bit precision with how humans perceive contrast at different brightnesses. Real linear formats have way too much precision in the highlights which is a huge waste of bit-depth, so log formats correct for that. The catch to decompressing a log format with a LUT as the first step is that you'll clip your highlights and negate any benefit of using that format in the first place! A non-destructive mode would be the perfect first step, but the catch there (perhaps you've realized?) is that Rec.709 is not a linear format and such things as exposure sliders may not work very well on strong highlights, but at least that's something we're used to!
![Quando Rondo - Grow Up [Official Music Video]](http://i.ytimg.com/vi/8zFnCg3BO4Q/mqdefault.jpg)
Thanks for watching! Let me know if you have any questions!
your video have something like a litle bit fog layer, a bit dreamy mood, I don't know what is that, but it look cinematic like footage from red or blackmagic but you did from xt3 , can you do a tutorial about it, thanks a lottt
That info on the LUT being destructive was critical for me, thanks so much.
Other RUclipsrs: “If you’re using other software you have to figure it out on your own”
Evan Schneider: “I’ll show you exactly how it works both in DaVinci and Premiere Pro”
Hahaha 😂 love this! Just trying to be as helpful as possible!
I've spent tens of hours watching videos about LOG footage and how to deal with it in post production. I have to say this video is super informative, probably the best i found. Thank you!! I click subscribe and go check more of your content.
Wow, that's an incredible compliment! Thank you so much! Glad I could help.
My mind has just been blown...you have answered all my questions I have been seeking for a few weeks. Thank you
That was my goal! Glad to hear it helped.
as a small youtuber myself, your videos really helped me make my content better.
From my earliest videos, the colors are extremely badly edited, but now it has gotten better because of your tutorials.
Thank you so much!!
I’m so glad I could help! Thank you for the comment 😁
@2:56 Method 1
@13:12 Method 2
@23:17 Method 3
Feel free to delete these if you didn't want stamps.
I'd say that this is one of the most accurate colour gradding tutorials for begginers !! Right technical informations about the correct way to gradde log footage !! All the best !!
Glad I could help! Happy grading!
Great information. I'll have to watch it through again to soak it all in. Thanks for uploading.
Definitely, thank you!
Fantastic tutorial, Evan! I am definitely going to play around with this workflow as it seems to be much more straightforward than what I have been doing. Always look forward to your videos - keep up the great work!
Thank you! Yes, it can be a very powerful workflow yielding beautiful results! Glad I could help.
Great video! thank you for sharing your knowledge!
wow wow wow, just got a xt4 and this is a godsend
The best color grading tutorial I have seen on youtube! You shared everything perfectly and the step by step was so helpful! Thank you!!
Wow, thank you!
I use Final Cut but the same principals apply. I put on an adjustment layer which has the Fuji conversion LUT in, then adjust the main clip if I need to change exposure or WB etc. Pop another adjustment layer on top for creative LUT and boom!
Thank you SO much for this! It's such a time saver. Wicked stuff.
Yup, you nailed it! Love it!
Great tutorial for beginners like me! Helped me a lot!
Glad to hear! Thank you!
You just make my day!!! I've been using clog3 for some time and always took so much time to color grading.
Applying the Arri lut together with the clog 3 footage was with no doubt a life saver and very happy wit the results. Crazy good tutorial and thank you so much!!!
Subscribe check :)
Man, amazing video ! I learned a lot and it's totally going to help me ✌️
Happy to help!
Super helpful dude! I just bought a Sony a6400 and have been learning about the different picture profiles. Your footage always looks killer, Evan!
Thanks, Dave! That's awesome, such a great little camera. Glad I could help out 😄
This video is awesome!👌 Great content keep it up!
Finally a very helpful video! Thanks mate!
No problem 👍
So good, man. I need to try to develop a workflow template in FCPX that had all of those steps in order so I have the right starting point.
Yes! Everything in Premiere translates pretty well to FCPX. It's a really powerful workflow once you get the hang of it. Someday I'll include FCPX in these tutorials...
Evan Schneider Glad you talked about the color space transform (not commonly talked about on RUclips)! Also should probably mention colour management like RCM or ACES
Bro, this was SO helpful, thank you so much for the info!
You bet!
Perfect so informative!
Hell to the yeah! So stoked to see this vid from ya.
So stoked to have ya here!
Fantastic tutorial!! Better than most!!
Thanks Gray! Glad it was helpful
Can you do a video about Exposing F-Log? Would love that!
Yes for sure! That’s actually on my list.
This is so helpful!
Happy to hear!
Hey, thank you for the video. Very interesting. I'm not sure I'm doing any of the three method... Maybe I'm doing something super bad : in the edit tab, I select all my log clips, right click > LUT > Panasonic > V-Log to V709. This allows me to see the colors of my clips and edit in a more comfortable way. Then, when my edit is done, I go to the color grading tab and do my basic node tree (but the "right clic LUT" applied on the clip before is still on even if I can't really see it applied on a specific node).
So I guess it's not good because you said it's destructive... The 3rd way of doing it would be better. But it means that for each clip, before starting my color grading, I should right click and "cancel" the LUT V-Log to V-709 ?
Anyway thanks a LUT (oh oh ooooh) for your tutos !
The way you're doing it is completely fine, but you may be limiting yourself a bit with exposure and balance adjustments. By applying the LUT via the Media Pool, you're putting it at the very beginning of the pipeline. Any node corrections you make in the Color tab will be processed from the LUT output image. This isn't necessarily a bad thing if you're only making small adjustments. But typically you want to make primary adjustments before the conversion LUT using the Offset wheel, then secondary adjustments after the LUT. By "cancelling" the input LUT and applying it to a node, you're controlling where your conversion happens in the pipeline. Might take more time but will pay off in the end.
I oftentimes use this workflow if I want to quickly preview or edit footage before focusing on grading it thoroughly.
Thank you so much for this video.Really Helpful.
Absolutely!
@@EvanSchneider sir, can you make tutorial Fuji xs10 F log color grading.🙏
@@amlax8555 it would be pretty much the same as the way I described with the X-T3 F-Log
Fantastic! Where to put the sharpen tool in this order?
I generally sharpen at the end of the node tree, before any added grain if applicable.
Great work flow. I definitely agree with it
Evan. You’re amazing
❤️
good information
In which node should I edit the curves in DaVinci? Thanks in advance and great video!
It depends on what you're using the curves for. If you're using them to balance the footage, the node should go before the conversion. If you're using them to add a tone curve or extra contrast, then I'd put it after the conversion. Hope that helps.
Thanks for the video, Evan. Two questions for you. 1) Regarding FLOG, I have heard some people say that it has a magenta cast to it. Mostly i have heard them say that bright clouds in a blue sky will end up having a magenta cast. Have you found this to be true? 2) In Resolve, I noticed that you did some of your color changes in your first node (Primaries), and some in your third node (Adjust). While I understand the importance of doing LUMA corrections BEFORE applying a transform node, how do you know which chroma change to make before or after the transform node (the node with the FLOG to Eterna LUT)?
Hi, now. that I think of it, yeah I guess it might tend towards magenta in the highlights. But if you expose properly and have all the information there, it's extremely easy to compensate if you don't like it either via white balance or color correction in post. And as far as grading before and after the transformation node, I do all exposure, white balance and saturation adjustments before the transformation (while it is enabled). It feels the most natural to me that way. Then after the transformation node, I make fine-tuning adjustments like shadow and highlight levels as well as creative looks and local adjustments like skin tone. A lot of it comes down to how it feels and what works for you, but this is my process! Hope that helps.
You have a new subsriber! Amazing video...helped me sooooo much. Can you say something about your sharpening and denoising workflow, working with flog.
Glad I could help and thanks for the sub! Denoising should be done on the very first node before everything. Sharpening should be the last node. If you’re adding grain, you would add that after the sharpening.
@@EvanSchneider Thank you so far. May be you can make another video about this issue. Showing some examples of denoising and sharpening :-)....and one more question about expose Flog. What is your recomendation?
Well, this is just fantastic! I’ll need to watch this more than once to fully absorb the info. Note to anyone who wants to create a well done tutorial - this is how it should be done. You don’t rush, you present several workflows, and you explain the important technical details (eg when a LUT becomes destructive). You’ve gained a subscription!
Now can you make a video that details how to merge those various adjustment nodes into a single LUT (.cube file) that I can use on my Ninja for previewing while shooting?
Also, given that you seem to have an understanding of both Davinci and Premiere, do you prefer one over the other? I’m a long time Adobe Suite user but my work has never involved video to a large degree. This has changed recently and I’ve been mulling around which one of these apps will provide the best workflow for grading and editing log footage. I’m not such an Adobe fanatic that I’m able to look past some of the glaring issues with the layering model in Adobe vs the more modern approach with nodes in Davinci.
Thank you for the kind words! You can export a LUT from any clip by right clicking the thumbnail on the color page.
For color, Resolve is the best program you can use. I still prefer to do edits in Premiere though. It all depends on the project, but if I have a more complicated edit, I'll go with Premiere. If it's an easy edit and I want to do a solid grade, I'll use Resolve to save myself the headache of dealing with XML's and conforming.
Fujifilm flog has a rec2020 color space of you wanna know) So you could convert it right.
Yes, I’ve since learned that. Thanks!
Hi Evan ! Wondering if you can share your project setting and your thoughs about Mac P3 Display ? I work on P3 display iMac Pro, so best settings i found is Davinci Managed/SDR/ 709-A then export 709/709. No color/gamma shift with this settings, but i heard if don't use rec709 2.4 i will miss something... Thank you boy !
Hi! Rec709-A is still the best for internet delivery and will ensure no color shift like you said. P3 colorspace is larger and capable of producing a wider gamut of color, but most internet services use Rec709 so it wouldn’t be worth it anyway, unless you have control of the screen the final product will be viewed on. In this case using the lowest common denominator is best.
Great video!
Thanks!
I am still refering to this video :) golden!"
So great to hear! Glad it's been helpful to you.
Really true..... Bro, log is complex for me
It takes practice and experimentation but once you master it, it's a great tool!
great mate!
Great tutorial. Do you shoot at 200mbps or 400mbps? Is there a noticeable difference when colour grading? I wasn't sure which option to select for the X-T4
I believe the X-T3 only goes to 200, but it looks great to me! I would say if you’re capturing extreme detail, go to 400, but in most cases 200 will be great and you’ll save some storage space as well.
Great video , So Is there any help in transferring files of 3D luts Or about of Copy files of cube To SD Card
Or change the SD Card format to exFat
Sweet, this is getting bookmarked.
How would you approach matching to a non log camera (G85)? Just try to convert it from srgb to flog?
I wouldn’t recommend going in reverse from a linear to a log profile. I would create a base grade using the log footage, making sure there’s enough contrast to match your G85 footage, and then adjust that to match. Sometimes you may have to reduce the contrast in the srgb footage to bring out more detail, but it all depends on your picture profile and the desired final look.
@@EvanSchneider Thank you
Love your tutorials man! Very clear and to the point. Would I use the same workflow if I use HLG3 on my Sony? Being that it is a relatively flat profile, is it basically the same flow as SLOG?
Thank you! Yes, it would be the same workflow where you would do your primary adjustments before converting from HLG3 to Rec709.
Amazing video my bro! Are you planning on getting the XT4?
Thanks man! Yes I’m hoping to upgrade!
How are you creating the slide transition to show grading vs log?
Just the "Wipe" transition in Resolve!
Can you share your method for roundtripping between Premiere and Resolve?
There are a bunch of different ways to roundtrip, and I outline one of them in my video here: ruclips.net/video/YV6XCXMCSQw/видео.html
It would take a lot longer to explain in full detail, but basically you can also export an XML from Premiere, import it into Resolve and then either render your final video from there or render as individual clips back to Premiere. Definitely adding this to a future video though!
in 10bit, is there any advantages of log usage in 4:2:0? or it's (only) makes sense in 4:2:2?
You can definitely get away with grading Log footage in 4:2:0, however you do have to be more gentle with it because it will start breaking down quicker to the point where you start seeing digital noise. Not impossible, but definitely not as flexible!
Great video! I'm grading c-log2 from a canon c70. Can't seem to locate the conversion LUT from the canon website... any help? thanks!
Hey Aron, thanks! Canon’s website is the absolute worst haha, I’ve tried finding them myself and didn’t have much luck. What program are you grading in? If you’re using resolve, the color space transform tool is really helpful. If not, definitely check out Buttery LUTs or Thomas Kovacik, they both have solid conversion LUTs for c-log2. I definitely want to make one of my own one of these days!
@@EvanSchneider Grading in premier. some clips grade easily and others not so easily so thought I'd get that lut to help me with the base grade! Thanks I'll check them packs out. Let me know if you find where the canon ones are hiding!
@@aronross459 I actually found the Canon ones! They're on the page for the C70, then click "Drivers & Downloads", then software, and it's the one called "Canon lookup table Version 201911". Never tested them myself but worth a shot! www.usa.canon.com/internet/portal/us/home/support/details/cameras/cinema-eos/eos-c70
@@EvanSchneider wow thanks a lot! I'll let you know how they are. Don't see why they'd be bad!
quick question, when using method 3 why don't you set the input color space as rec2020 and just leave it at use timeline? is there any advantage to this over setting it as rec2020 and the output as rec709? I'm new at this and just curious because I noticed it changed the footage and flog is a rec2020 color space,
much love!
Hey! So glad this video was helpful for you. When I made this video I was actually unaware that F-Log is in Rec.2020 colorspace, and I've since learned that! So you're right, choosing Rec.2020 as the input colorspace will actually give you better results. Good catch!
Hi! How do you adjust the exposure for the F-log (xt3) using an example?
On the camera or in post? And in which program?
@@EvanSchneider On camera )))) 0 ev or +0.3/0.6/1.0?
Виталий MacVit oh got it! Generally I try to get around 0 to +0.3 depending on the lighting conditions.
@@EvanSchneider thanks!
Thank you for this!
great
Is there adobe color grading tutorial like this ❤️❤️
I need to make one, but the same principles apply!
Would you please tell where to get free stock footage for color grading.
I shoot all of the footage I grade in my tutorials but Artgrid has a great collection
What is the software you are using? not many speak of this, but it actually pretty hard to find something that can do it without cost a fortune, to pay 50$ a month is waaay to much when you only might need it 2 times a year. I dont even earn anything from it.
It’s DaVinci Resolve! And there’s a free version!
@@EvanSchneider thx
where to download creative log?
You can download them from your camera manufacturer's website
U didn't told that how to remove noise grain from video
That’s definitely the topic for another video, but I’d recommend NeatVideo or if you have Resolve Studio, the built in noise reduction is really good!
There's no reason to do your "primaries" step first if you've got a non-destructive color space transform! Method #3 is the most powerful, but you should move your primaries step to after the conversion. Doing exposure before the log->709 conversion is technically incorrect, and (as you noticed) results in odd looking footage if taken too far. Using a manufacturer's color correction LUT (method #1) will clip the highlights, so you're forced to do the exposure and highlight compression beforehand.
One downside of method #2 - if the log format has different color primaries, you won't be able to replicate the color space transform. You're basically assuming the RGB primaries are the same as the Rec.709 primaries. I'm assuming some formats support BT.2020 primaries?
You’re right, it doesn’t matter if you do your primary correction before or after the CST because it’s non-destructive. However what I didn’t mention in the video is that I prefer to do it before simply because of how it feels. Try it both ways and see for yourself, they both have a different feel while making adjustments even if they give the same results.
I have to disagree - using a conversion LUT is not incorrect and the exposure and white balance should still be performed before the conversion in the node tree, but I always have the conversion LUT enabled before making the primary adjustments upstream. It’s not as flexible as a CST but it’s still an acceptable and widely used method. If the footage is exposed properly, there shouldn’t be any issues.
Can you explain what you mean regarding primaries? I believe you’re mixing it up with colorspace. By “primaries” I simply mean the primary adjustment.
Well I won't argue if it's giving a desirable aesthetic, use what works! But technically to change the exposure of a log image you'd need a very special formula, ie something like... log(x+c) = log(1+c/x)... instead of log(x) + c which is what happens when manipulating the image before the log->Rec.709 conversion. I guess my point is the exposure controls were never meant for log formats.
Err, I used "primary" to mean two different things. In color science, primaries are the reference colors used to represent each channel in RGB. This is known as the color "Gamut". These are literally the colors of each red/green/blue within your monitor or tv. In method #2 you have not transformed from the camera's log gamut to the Rec.709 gamut so your colors will be wrong. This is notable because I believe many newer cameras would capture a wider gamut in their log profile to support BT.2020, and you'd need to rotate/clip that gamut to get your normal Rec.709 colors. Displaying wide gamut images on a Rec.709 monitor would look desaturated but increasing saturation alone won't correct them.
I think it's useful to understand that the log format is a compression format, and it's not really meant to be interpreted directly as an image. The goal of such a format is to match the bit precision with how humans perceive contrast at different brightnesses. Real linear formats have way too much precision in the highlights which is a huge waste of bit-depth, so log formats correct for that. The catch to decompressing a log format with a LUT as the first step is that you'll clip your highlights and negate any benefit of using that format in the first place! A non-destructive mode would be the perfect first step, but the catch there (perhaps you've realized?) is that Rec.709 is not a linear format and such things as exposure sliders may not work very well on strong highlights, but at least that's something we're used to!