Great tutorial! Nice to see my footage being used for this. For the close up shots we used a different speherical lens, that's a big reason the shots don't cut together perfectly, but the other shots were all done on an anamorphic lens and were all exposed the same, the weather and lighting was dynamic and that would lead to some inconsistencies with the exposure.
Yes, I saw this also on Walter Volpatto. Ripple color to current group very useful tips, are you using a mid gray chart as your reference for building accurate contrast and curves Jimmy?
Real talk though. For your Mac display do you keep TrueTone on or off? I know it aims to keep a consistent white balance in whatever room you’re in, but it ends up changing colors.
0:34 I don't understand the log. I feel cheated because NONE of my raw data looks like that!! which comes across differently when I edit it. That's why I feel like I'm being duped by anyone who presents it as if it were normal
First time I've seen grading with printer lights! Nice. Also looks like that's a regular num-pad that is repurposed? Would love to get more details on that!! I can totally see how fast balance-leveling is with that. Wonderful explanations as always. Keep up the great work!
@@pavans9981 oh sorry, I posted teh link earlier, but it seems it got blocked. Just search 'resolve' and 'printer lights setup' and you'll find several tutorials.
Sorry if it's a stupid question, but... doesn't putting a color space transform node (or similar coor management lut) in the end mean that it's transforming your environment before you make changes? So then you're editing color in the limited space you outputted? Or it might be that I missed something in the beginning when you were explaining how you manage your spaces?
If you have a Color Space Transform or a LUT at the end of the chain (last node) everything before that node is still in the Wide Gamut/Log space. So you have a lot of room to play with. After the Color space transform or LUT (let’s say to output rec709 gamma 2.4) you are in the limited rec709 space and 2.4 gamma. Hope it makes sense
@@jimmyonfilm I messed it up and thought that you put it at the beginning and I was very confused. I also wrote "in the end" instead of "beginning" and messed it up even more. The CST is at the end of the tree. All good. Thanks for answering.
Thanks for sharing this. Very informative! Question, if I use a FPE lut or any other lut thats making my contrast way too crunchy, do I balance the contrast on the clip level or group level prior to the FPE node?
@@jimmyonfilm Got it! Another question: In the scene/director/DOP node, if the client wants to change the look, do you stick to just adjusting the RGB offset, or is it okay to tweak the LGG/curves as well?
Hey :) yeah FilmMatch comes both as a PowerGrade to use in Resolve but also as LUT to use in any other software that supports LUTs (Premiere pro included). What can’t be stored in a LUT is the texturing (grain, halation, etc) which is what makes the Powergrade the “full” emulation. Thanks you interested, if you have any questions feel free to ask :)
@@maanharman5070 because when color balancing or matching you’re ideally only gonna change the Red Green and Blue channel. That’s all you need - add or remove. And that’s also how it’s been done back in the days in the lab
Why would you work in a Arri (or even Sony!) color space instead of the bigger and better Blackmagic wide color space? Especially with material that is not from an Alexa? Also you whole color pipeline seems overcomplicated on not really clean. Like using a LUT to go from log to 709 is les than ideal.
One reason for working in AWG is: you worked with lots of ARRI footage before and are used to that color space. It is not a bad color space, neither is it worse than DaVinci Wide Gamut at all. Using a LUT at the very end is not a bad idea as well if the LUT is of good quality. You could argue about the Film Emulation LUTs in Resolve, but as a starting point, LUTs are not really any worse than CSTs that it matters.
Hi, both Arri and Sony color spaces are very very Wide, wider than what we can see as humans and wider than what any display can reproduce. In my mind it’s like looking for extra Ks of resolution when we don’t really need it. When it comes to LUTs I think there is a misconception about what a LUT is. A LUT is just a container for a color transformation, if the color transformation stored in the LUT is a high quality breakage free one (which can be easily tested) then the LUT will be a perfectly suited solution to use in any professional grading environment. Big studios do that all the time, as the only way to store complex color manipulations is through the use of a 3D LUT. The assumption that Color Space Transforms are cleaner than LUTs is myth, in fact they can be quite bumpy and non smooth when tested on stress images. Sadly LUTs have a bad reputation because there are a lot bad ones out there that will indeed break your image. But that is not the nature of a LUT in and of itself :)
Yeah so many “colorists” making RUclips tutorials when really they have no clue about the science of color grading. I only trust Darren Mostyn and Cullen Kelly. Avoid Waqaz Qazi like the plague.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
how the duck nobody is talking about this. grading with rgb offset is amazzzzing
Amazing deep dive. I learned a ton. Thanks, Jimmy!
Thanks! Really appreciate it!🙏🏻
Great tutorial! Nice to see my footage being used for this. For the close up shots we used a different speherical lens, that's a big reason the shots don't cut together perfectly, but the other shots were all done on an anamorphic lens and were all exposed the same, the weather and lighting was dynamic and that would lead to some inconsistencies with the exposure.
wow, another gem on the web! Thanks Jimmy!
This is the best one I have found so far !
lots of valueble information in this. good job!
man im so happy i found your channel
Well done! Just like how I did my last project. We’re on the right track at least eh! Very nice looking video shots too! Love it!
Gorgeous work!!
Very helpful bro, nice job!
Cool stuff man! Your timeline color space should be in a wide color gamut, too. Ideally Arri LogC in your case no?
We love your videos!
Make a video colorgrading on top of the film match powergrade. I really need help with this
Yes, I saw this also on Walter Volpatto. Ripple color to current group very useful tips, are you using a mid gray chart as your reference for building accurate contrast and curves Jimmy?
I love this channel bro
Jimmy nice video ! you can tell me where I can download the reference clip? I can't find it 🙏
great channel mate!!!!
this is amazing
Jimmy this is so good (:
Thanks 🙏🏻
Great video! But when adjusting skin tones, you never look at the skin tone line in the vectorscope? How do you know if the tone is accurate?
amazing ty for the info
Does this tutorial also applies to HLG color Format that has been recorded on an 8 Bit camera? (Sony ZV-E10)
I got lost between look dev and grading prep, how did you get what you did on the first step and applied it on the actual short film grading?
very helpful,thanks a lot!!
Real talk though. For your Mac display do you keep TrueTone on or off? I know it aims to keep a consistent white balance in whatever room you’re in, but it ends up changing colors.
This is a great lesson.
I do have a question, I have a Zcam, where can I find that plug-in?
0:34 I don't understand the log. I feel cheated because NONE of my raw data looks like that!! which comes across differently when I edit it. That's why I feel like I'm being duped by anyone who presents it as if it were normal
First time I've seen grading with printer lights! Nice. Also looks like that's a regular num-pad that is repurposed? Would love to get more details on that!! I can totally see how fast balance-leveling is with that.
Wonderful explanations as always. Keep up the great work!
(found a tutorial, wow that's nice! why is nobody talking about this?!)
@@rockindude3001 can you share?
@@jc-nu3dr sure ruclips.net/video/SD_DWJSAGJY/видео.html
hey can you share the tutorial link?
@@pavans9981 oh sorry, I posted teh link earlier, but it seems it got blocked. Just search 'resolve' and 'printer lights setup' and you'll find several tutorials.
Sorry if it's a stupid question, but... doesn't putting a color space transform node (or similar coor management lut) in the end mean that it's transforming your environment before you make changes? So then you're editing color in the limited space you outputted? Or it might be that I missed something in the beginning when you were explaining how you manage your spaces?
If you have a Color Space Transform or a LUT at the end of the chain (last node) everything before that node is still in the Wide Gamut/Log space. So you have a lot of room to play with. After the Color space transform or LUT (let’s say to output rec709 gamma 2.4) you are in the limited rec709 space and 2.4 gamma. Hope it makes sense
@@jimmyonfilm I messed it up and thought that you put it at the beginning and I was very confused. I also wrote "in the end" instead of "beginning" and messed it up even more. The CST is at the end of the tree. All good. Thanks for answering.
does filmmatch also come with a working lut? so I can have a good representation of how the final shot will look while filming?
Yes, absolutely! 😊
@jimmyonfilm the standalone luts folder?
why you prefer only using offset wheel why not use lift-gamma-gain wheel would tell me?
hi @jimmy, I have tried twice but I have not been able to find the lut kodak 50D, so please help me with the lut
subscibed but not receiving any email with note tree/lut?
Thanks for sharing this. Very informative! Question, if I use a FPE lut or any other lut thats making my contrast way too crunchy, do I balance the contrast on the clip level or group level prior to the FPE node?
Thanks! Yes exactly you would lessen the contrast prior to the FPE :)
@@jimmyonfilm Got it! Another question: In the scene/director/DOP node, if the client wants to change the look, do you stick to just adjusting the RGB offset, or is it okay to tweak the LGG/curves as well?
its better to label your node so that the viewers will not be confused like us as beginners,.thanks
Hey Jimmy you know your "FilmMatch" LUT can I add this on to Adobe premiere pro?
Hey :) yeah FilmMatch comes both as a PowerGrade to use in Resolve but also as LUT to use in any other software that supports LUTs (Premiere pro included). What can’t be stored in a LUT is the texturing (grain, halation, etc) which is what makes the Powergrade the “full” emulation. Thanks you interested, if you have any questions feel free to ask :)
Is that literally just a wireless numpad with stickers on it and the buttons re-mapped? If so that's genius and I need one too
The amount of value here... Ridiculous
Thanks man! 🙏🏻
are you adjusting offset wheel with printer lights ? why not with panel
@@maanharman5070 because when color balancing or matching you’re ideally only gonna change the Red Green and Blue channel. That’s all you need - add or remove. And that’s also how it’s been done back in the days in the lab
@@jaredfilms ok thanks
Why would you work in a Arri (or even Sony!) color space instead of the bigger and better Blackmagic wide color space? Especially with material that is not from an Alexa? Also you whole color pipeline seems overcomplicated on not really clean. Like using a LUT to go from log to 709 is les than ideal.
Can you recommend other stuff to learn this or do you have created some videos with this depth?
One reason for working in AWG is: you worked with lots of ARRI footage before and are used to that color space. It is not a bad color space, neither is it worse than DaVinci Wide Gamut at all. Using a LUT at the very end is not a bad idea as well if the LUT is of good quality. You could argue about the Film Emulation LUTs in Resolve, but as a starting point, LUTs are not really any worse than CSTs that it matters.
Hi, both Arri and Sony color spaces are very very Wide, wider than what we can see as humans and wider than what any display can reproduce. In my mind it’s like looking for extra Ks of resolution when we don’t really need it. When it comes to LUTs I think there is a misconception about what a LUT is. A LUT is just a container for a color transformation, if the color transformation stored in the LUT is a high quality breakage free one (which can be easily tested) then the LUT will be a perfectly suited solution to use in any professional grading environment. Big studios do that all the time, as the only way to store complex color manipulations is through the use of a 3D LUT. The assumption that Color Space Transforms are cleaner than LUTs is myth, in fact they can be quite bumpy and non smooth when tested on stress images. Sadly LUTs have a bad reputation because there are a lot bad ones out there that will indeed break your image. But that is not the nature of a LUT in and of itself :)
Most big color vendors don't even use dwg and they use luts all the time. RUclips is where you find people doing what you think is "right"
Yeah so many “colorists” making RUclips tutorials when really they have no clue about the science of color grading. I only trust Darren Mostyn and Cullen Kelly. Avoid Waqaz Qazi like the plague.
did you take these shots with an iPhone??
jimmy! i send you and email about your 500t powergrade!
had to leave you at 0:17 that's not a pro result
this is all so complicated
Well that's a fact.
Wenn mann sich auskennt nicht..
If it were easy, everyone would be doing it and it would have no value whatsoever. :)
If it were easy then everyone would be doing it.
Its easy just use your eyes