Jake please can you make video about your process of color grading, I really like how calm all the colors and levels in your video specially the front window angle
Amazing point about not *having* to fill the parade completely. Somehow in my studio photography I've felt like I'm making too dark an image when I noticed my highlights weren't hitting 80% even though to my eye it looked better with most of the image to the left of the histogram.
hi buddy.. digging your channel.. your dehancer overview gave me some pro results from your inside track on that plugin.. may I ask you if your knowledgeable on Premiere Pro in terms of achieving the hollywood skin tones your getting with Davinchi.. How to target the luminance of the skintones and to bring them down to Tom Cruise 40-60 ire Im not a novice at colour grading however some guidance would be a massive help.. hopefully you pick this comment up.. Danny
I see you lower the highlights *before* you do the colour space transform. I currently don't use csts, i use the phantom luts on sony footy, and I have experimented with doing brightness adjustments both before and after that lut, and I've noticed it looks massively different. I don't know what the technically correct protocol here is, and is it the same as with a colour space transform, as in if you want it before or after?
The generally accepted protocol is to go all of your adjustments BEFORE the conversion LUT/CST. You have the most data before the LUT/CST. Making changes after the LUT is usually reserved for extra effects like grain, glow, sharpening. All exposure, white balance and look adjustment should be done before the LUT/CST.
I might have missed something but I don't see the point? All you did was lower the highlights. I mean with the qualifier tool you do get a better visual presentation of what you're selecting but still. @@jakebaine
the difference betweeen this method and the "pro method" is that you lose contrast in the highlights, the best way to get that cinematic hollywood skintones is to use the HDR color wheels and use those wheels to fix the harsh highlights. The result will be more pleasing to see, in HDR wheels you can make masks for highlights or shadows and fix them how you like
I understand what you are getting at and you may be able to get a similar look with the HDR wheels but I disagree that you 'lose contrast' in the highlights with this method. This essentially compresses the highlights and adds artificial roll off. It's a more natural and broad stroke technique to use this method rather than the HDR wheels which can be very specific and break the natural tonality of the image if you push it too far.
Jake please can you make video about your process of color grading, I really like how calm all the colors and levels in your video specially the front window angle
Amazing point about not *having* to fill the parade completely. Somehow in my studio photography I've felt like I'm making too dark an image when I noticed my highlights weren't hitting 80% even though to my eye it looked better with most of the image to the left of the histogram.
color grading tuto asap pls
love this, thanks
wow that was well donr and explained! def gonna use this method moving forward. Thank you.
This is great. Lovely creamy skin tone 😋
great lighting bro
Beautiful... Thanks for sharing
Nice guide, Jake! Really great explanations, love how it looks 👌
Thanks!
Really good, thanks!
Man that was sick !!!! 🔥🔥🔥
You got a nice voice my dude. Nice video!!
Haha thank you man!
Great tutorial. Thank you!!
THIS IS CRAZYYY!!!!!
hi buddy.. digging your channel.. your dehancer overview gave me some pro results from your inside track on that plugin..
may I ask you if your knowledgeable on Premiere Pro in terms of achieving the hollywood skin tones your getting with Davinchi..
How to target the luminance of the skintones and to bring them down to Tom Cruise 40-60 ire
Im not a novice at colour grading however some guidance would be a massive help..
hopefully you pick this comment up..
Danny
I see you lower the highlights *before* you do the colour space transform. I currently don't use csts, i use the phantom luts on sony footy, and I have experimented with doing brightness adjustments both before and after that lut, and I've noticed it looks massively different.
I don't know what the technically correct protocol here is, and is it the same as with a colour space transform, as in if you want it before or after?
The generally accepted protocol is to go all of your adjustments BEFORE the conversion LUT/CST. You have the most data before the LUT/CST. Making changes after the LUT is usually reserved for extra effects like grain, glow, sharpening. All exposure, white balance and look adjustment should be done before the LUT/CST.
@@jakebaine thanks!
Great video. Where can I get the cst conversion that you use?
Thanks! I use Juan Melara’s Sony2Alexa Transform.
Loved it, thank you sir, what pro mist filter do you use?
For this one I just used Scatter from Video Village
@@jakebaine o wow, didnt know about it, thanks :)
would you mind showing your lighting setup for your talking head shots?
It's just my Aputure 120Dii with a small rig soft box set up on a c-stand
Men, what was that last look node?
How you achieved that?
The last compound node is just my SLOG3 to Alexa transform. It’s from Juan Melara. It’s basically just a CST but gets the colors closer to Alexa.
@@jakebaine i just researched, got you
I’m looking for talents like you🙏🏼🔥
Subscribed.
You could've done all that without use qualifier and just use RGB curves by making more point in it...
That would cause more issues in making sure each channel is affected the same way. The method I used is more focused and more controlled.
I might have missed something but I don't see the point? All you did was lower the highlights. I mean with the qualifier tool you do get a better visual presentation of what you're selecting but still.
@@jakebaine
let's support You till 100K subscribers 🎉❤
the difference betweeen this method and the "pro method" is that you lose contrast in the highlights, the best way to get that cinematic hollywood skintones is to use the HDR color wheels and use those wheels to fix the harsh highlights. The result will be more pleasing to see, in HDR wheels you can make masks for highlights or shadows and fix them how you like
I understand what you are getting at and you may be able to get a similar look with the HDR wheels but I disagree that you 'lose contrast' in the highlights with this method. This essentially compresses the highlights and adds artificial roll off. It's a more natural and broad stroke technique to use this method rather than the HDR wheels which can be very specific and break the natural tonality of the image if you push it too far.