OMG Thank you so much! I have been looking everywhere for a video that talks about colour checker and log footage! There are one million videos about grading footage and none are using colour checkers as part of the flow! Thanks again, SUB for life!
Thanks Pierre. Don't forget the color match tool can be used no matter what color space your footage is in. As a rule of thumb, we'd suggest using color management or a CST to normalise the log image before applying color match. Management/CST will do a far better job of untangling the cameras gamma encoding (transfer function) than the color match tool. The tool performs better with color correction rather than exposure correction.
Guys you are like reading my mind... I swear I watched countless of videos on the topics you are posting, but always find something Exceptionally useful here!
I've watched several of these color checker tutorials over the past two years (after noticing that they can have major differences in the workflow) and this is the first and only one that made me confidently say "NOW I get it." Thank you!
After recently subscribing I find this is THE MOST intuitive, professional, educational channel out there on the planet that really does give beginner editors the opportunity to LEARN the skills to become good at editing with DV18.5. This episode is no exception. Thanks you so, so much Team 2 Films. 10/10
Brilliant. I bought a color checker passport years ago for stills. I had success with it in lightroom but it was cumbersome to use. I tried it in video and didn't get the accurate matching that I imagined I would get so I essentially stopped using it. This video showed me that I can't really expect that. That's great, I feel like less of an idiot now. So thanks :D
Hahah! Yeah for sure! It’s not you. The process is complex and dependant on so many factors. Plus with limited swatches it’s not a perfect process. Glad the video gave you peace of mind. Thanks for watching.
This is the best video on the topic on RUclips! I appreciate the straight to the point explanation of each component and the exposure difference! Only thing that I personally missed was a real life example, where you are color matching two different angles with the colour match tool as well, (as I’m having a hard time with that 😅) But your video clarified some questions I had, thank you so much for that! Best channel ever!
Yeah thanks Yuri! We shot the footage but then only realised once we got it into Resolve that the two cameras already looked pretty similar to each other! Maybe we'll do another video in the future with two shots that looks way more different. The principles discussed should translate well to other examples though.
Thank you for such a brilliant video. I have been using the color passport Classic II for stills photography for a while. I recently started shooting video and now have the ‘passport video’. I find this very useful when I am using my Fuji x-T4, GoPro and dji-drone on the same shoot. You have some brilliant tips during this video. Thank you.
Hello, in the case of a full project. When we cg after the edit and a color chart has been used on each light changes or camera adjustement how are you processing ? When I cg I generally create a filtered view to apply the same balance on the multiple cuts of one take. Should I do the same way ? Take the color chart node on cam A and apply to the scene with the same lighting/camera set up. (and so on for cam B)
We kind of use color charts as a safety net when things go wonky. By then bringing up the color charts, we can figure which camera is giving us the grief. I have never relied on the charts for actually doing any actual color corrections because of all the variables involved that can throw it off - i.e. lighting ( the most common problem ) and surprisingly enough swatches being out through fading or light reflections etc. And I have to say that it might be a good idea if people are shooting these charts to do what you guys did and take them side by side from the same angle. I'm afraid that a lot of charts that I get - they set up the two angles and then just turn the chart - so both charts are under different lighting conditions. So the actual photography can make it harder to match using Resolve charts - or easier. But great to have when cameras aren't set up correctly. Good video for shooters to see though.
Thanks Jim. We meant for the two cameras to look more different than they did. I guess it's a good thing really, but they matched quite well out of camera. Perhaps we'll do a video in the future on how to shoot colour charts on set, some tips for taking care of them, and producing the most useful results for post. Also, I hope this comes across, but yes as you mentioned charts aren't a fool proof way of matching cameras, simply another tool that can be helpful in particular scenarios. Your technique of split screening the colour charts to diagnose issues is a great idea. Love it. Thanks for watching. As always, great to have you here.
I second the motion for a video explaining "best practices" in the field. Imagining a 3-Camera shoot: Center and 3/4 Left & Right. Should A, B, and C be in thier positions with final lighting and lenses? The logic there is that the correction would be on "real world" images. Or should all three be in the center position with about the same frame size? Does capturing the Same lighting conditions and angle help the DaVinci Bots figure out a match? Is it even attempting to Match Shots to each other, or just each to the chart? I'm pretty sure the latter. So what this video crystallized for me was when you pointed out that the Chart Matching is communicating with or informed by the Color Management. So... A) We've moved away from manually color correcting and into a Color Managed Workflow. B) Shooting then Matching to the Color Charts is a second step that should bring the raw footage even more inline. C) Now, Resolve has Automatic Shot Matching tools as well. Could you not have picked a "hero" and as a third step told Resolve to match A to B? And then after all that, we grab the Rings and Balls....
Thanks so much. There's different places you can place it, but we'd suggest immediately after CST_in, configured to match in your working colour space. Hope that helps.
@@team2films If the CST-in is going from Slog3 to DWG (and the CST-out is going from DWG to Rec709) and you place the color chart node just after the CST-in, what should the color chart Source Gamma, Target Gamma, and Target Color Space be? FYI - Project Color science is DaVinci YRGB (not color managed) Thank you!
@@GeorgeFerree It would be DWG / Intermediate for both Source and Out, because you're working post-CST to DWG and pre-CST from DWG to Rec709. So your Color Chart Node is operating within DWG / Intermediate.
What would be more useful is rather than correcting them both to a different standard, is if you could match camera B to camera A without changing camera A, ie: the color checker in camera A should be used as the reference for the color checker tool to automatically correct to rather than correcting to pre-defined values.
Love the tutorial but I can't seem to get it to let me split the screen with two clips and use the color match feature at the same time. I just downloaded this yesterday and usually use Premiere. I have the selected clips on the screen and when I select the color match tool it goes to only one.
Thanks so much. Sorry the color match tool won't work at the same time as the split screen tool. Use the color match tool first, then turn the split screen on and use the other color grading tools to finish off the match grade. Welcome to Resolve, you're going to love it.
Thanks again good tutorial. I only have one issue when wanting to use the Phantom LUTS and the Color Chart (same one) ... they seem to kind of don't like one another and colors are way off when combined.
Good observation! Yes, that's not fun when they are at odds with one another. LUTS are designed to work with specific input and output colour spaces. Same is true of the Colour Match tool. Perhaps double check your node tree to make sure that each tool is being handed the image in the colour space it expects.
when placing the colorchecker in the scene, should it be facing the keylight, of the fill light or somewhere in between? I notice the one in this example is at an angle from the keylight and is shadowed compared to the person.
Your key and fill light might have different issues. Somewhere in between is usually best as you are trying to correct for the average or typical light in the scene. It’s important however that the chart does not catch reflections or glare as that will ruin the result. In this instance that’s why the chart is slightly off angle. Does that answer your question?
@@team2films yes it did, thank you for your response. And I suppose if I’m using a coloured fill light or other coloured light I should turn that off while filming the colour checker.
Thank you, that tool always confused me - especially the fact that it only asks for the Input Gamma not caring about the Input Color Space which doesn't make much sense. How does it know which gamut those colour values in the video correspond to? And one more question - how could you copy and apply the adjustments made in Davinci Wide gamut context (Davinci Color Managed example) to a node in Rec709 context? Asking not because I understand how they work but rather out of even more confusion about those contexts and lack of information on how exactly nodes operate, why they have their own settings for gamut and gamma, how they are affected by the timeline colour space, etc. Oh, and by the way, is it a good advice to use colour match tool to interpret material instead of CST and use it at the beginning of a node tree, to continue working with a limited footage in Rec709?
Heya Alex, great questions as always. 1. It can infer the colour primaries because it knows what colour the swatches should be. 2. Any grade (and a color match is essentially a grade) is designed to work in a specific colour space. They cannot be copied to different colour spaces. 3. No, I'd recommend using proper colour management to normalise an image first. Color match is 'guessing' the colour primaries and white point and it's doing that after only analysing 28 colour swatches that do not cover the entire spectrum. It's better to normalise using color management, and then use colour match to fix and remaining discrepancies. Does that answer your questions?
At 4:22 how did you find out that it is ok to leave the settings at Auto when operating in color managed mode? Is there anyway to check what Resolve chose for each of those Auto settings?
How would I go about calibrating a color card AFTER editing a film? I’ve been told that color is one of the last things you do when editing a film. Would I need to calibrate/color correct a shot before editing or after?
Hello, thanks for watching. You can correct your film with the color checker card after editing, but ideally you should have shot the color charts during production. It’s important they are shot with the same camera, lenses, lighting and in the same location to get accurate results.
Cool but if you work with CST you would choose a way like 1. Node: CST BRAW Film Gen 5 to ACEScct 2. Node Color Match ACEScct to ??? because I want CST out as ACEScg
Material BRAW Film Gen 5, Mission Colormatch, output as ACEScg: 1. Node Color Match Source BRAW Film Gen 5 Target ACEScct ColorSpace ACES (AP1) 2. Node ACES Transform Input ACES cct to ACEScg?
It depends on what kind of LUT you are using. If it's a creative LUT that applies a look, that would most likely work fine. If it's a technical LUT for normalising an image, you'll want to give consideration to where you place your colour chart node and its settings. You need to make sure it's configuring to output in the correct colour space given where it sits in your node tree.
@@team2films im using Phantom Luts. Whenever I try using the colour checker tool it doesn’t correct the colours but it almost looks as though it adds another LUT on top of the footage.
Colour charts are designed to help you produce a neutral image. An ideal workflow would be to render your CGI into an intermediate colourspace like ACES. The compositor or colourist can then grade them to match. Does that help?
Do I need to use the color chart on every take or just once per scene and just copy the node where the color match was used and paste it on other takes?
@@426Studios Not really. Colour charts are helpful for matching different camera, lens, filtration and lighting combos. You could use a colour chart though to profile a given camera. But in that case it's something that you could do once and then save as a power grade.
I don’t know. Maybe just have a button “match” and the software makes it automatically? Such a complicated process in the time of AI, so many things happening- it speaks like humans, cleaning noise out from voice over, … and now this? Don’t know.
Thanks so much for watching and commenting. I'm sure more advancements will be made to this tool in the future. In the meantime, it's a great tool and it's there if you need it. That sounds like a great feature, but I'm sure an enormous amount of engineering would have to go into making it.
So much unnecessary work and at the end they still didn’t match. A color space transform would have completed the job way faster without any thinking. Color charts are only used to get a balanced image. And no one uses them anymore.
Thanks for watching. Many professional productions use color charts. Also, please note that a color space transformation WAS used on the first example prior to additional matching with the color match tool. As regards the final result, more can always be done but there is a need to be brief when demonstrating. The main purpose of this video is to outline the principles rather than demonstrate a perfect grade. I'm sure it will be useful to many in their work. Hope that helps!
Yep, as I commented above - we see them and we use them if we need them. Always good to get more perspective when things go wrong to do an analysis. I would probably put the chart on top of the other in the still - zoom in and swipt half way on the swatch row or column - then adjust the hue to match.
I tend to agree, I find the end result pretty disappointing. If you need to start going into Color channels anyway to tweak them, you can also just use CSTs and then work by eye and grade normally. The fact it clips the highlights into oblivion is another head scratcher. At least you can correct that somewhat by tweaking the white point. Good explanatory video nonetheless.
I'm going to be honest. I need you as a girlfriend. I need a girlfriend who knows davinci resolve and avid media composer. A girl who knows how to code would be helpful too. I'm not apologizing for this comment.
I feel like a primary school pupil again who adores his teacher. I haven't listened so attentively in a long time ♥
Thank you for watching and listening! We are glad to hear it's engaging and beneficial.
It's amazing what a difference an empathetic tone makes in video and in-person training. Definitely easy to watch 🤩
You both continue to create the very best Davinci Resolve explainers. They are a Master class in davinci Resolve.
Thank you so much!
Agreed! I love the videos from you guys.... Keep up the great work Team!
OMG Thank you so much! I have been looking everywhere for a video that talks about colour checker and log footage! There are one million videos about grading footage and none are using colour checkers as part of the flow! Thanks again, SUB for life!
Thanks Pierre. Don't forget the color match tool can be used no matter what color space your footage is in. As a rule of thumb, we'd suggest using color management or a CST to normalise the log image before applying color match. Management/CST will do a far better job of untangling the cameras gamma encoding (transfer function) than the color match tool. The tool performs better with color correction rather than exposure correction.
Guys you are like reading my mind... I swear I watched countless of videos on the topics you are posting, but always find something Exceptionally useful here!
Ah thanks so much. Kind of you to say.
I've watched several of these color checker tutorials over the past two years (after noticing that they can have major differences in the workflow) and this is the first and only one that made me confidently say "NOW I get it." Thank you!
We are so glad this video hit the spot! Thanks for watching :)
Thank you for being and sharing! You two are the team we’ve been missing on RUclips! Thank you 🙏🏾
I totally agree with your assessment. They make some of the very best davinci Resolve tutorials and explainers.
That's very nice feedback, thank you so much! We enjoy working together to provide this training. More to come!
This presentation is super professional.
Thank-you so much! We appreciate that.
After recently subscribing I find this is THE MOST intuitive, professional, educational channel out there on the planet that really does give beginner editors the opportunity to LEARN the skills to become good at editing with DV18.5. This episode is no exception. Thanks you so, so much Team 2 Films. 10/10
Thanks for the great feedback. We're so pleased the training is coming across so well.
You Are Master Davinci Resolve Best Trainer In YT Plateform
Thanks for the support!
Brilliant. I bought a color checker passport years ago for stills. I had success with it in lightroom but it was cumbersome to use. I tried it in video and didn't get the accurate matching that I imagined I would get so I essentially stopped using it. This video showed me that I can't really expect that. That's great, I feel like less of an idiot now. So thanks :D
Hahah! Yeah for sure! It’s not you. The process is complex and dependant on so many factors. Plus with limited swatches it’s not a perfect process. Glad the video gave you peace of mind. Thanks for watching.
What i know is, same passport will not work for both stills and video. You need to purchase color checker passport video for video shoots
Thank you so much! I also learned that you can position the speed editor that way! Will test it out!😌👏
That's great!
Excellent as always. Glad to see your subs count climbing!
Thanks Geoff, that's kind of you to say. Really glad to have you here.
This is the best video on the topic on RUclips! I appreciate the straight to the point explanation of each component and the exposure difference!
Only thing that I personally missed was a real life example, where you are color matching two different angles with the colour match tool as well, (as I’m having a hard time with that 😅)
But your video clarified some questions I had, thank you so much for that! Best channel ever!
Yeah thanks Yuri! We shot the footage but then only realised once we got it into Resolve that the two cameras already looked pretty similar to each other! Maybe we'll do another video in the future with two shots that looks way more different. The principles discussed should translate well to other examples though.
Awesome 👍👍👍
Thanks for watching and liking!
Thank you for such a brilliant video. I have been using the color passport Classic II for stills photography for a while. I recently started shooting video and now have the ‘passport video’. I find this very useful when I am using my Fuji x-T4, GoPro and dji-drone on the same shoot. You have some brilliant tips during this video. Thank you.
We are so glad the video has been helpful. Appreciate you watching and commenting.
Hello, in the case of a full project.
When we cg after the edit and a color chart has been used on each light changes or camera adjustement how are you processing ?
When I cg I generally create a filtered view to apply the same balance on the multiple cuts of one take. Should I do the same way ?
Take the color chart node on cam A and apply to the scene with the same lighting/camera set up. (and so on for cam B)
We kind of use color charts as a safety net when things go wonky. By then bringing up the color charts, we can figure which camera is giving us the grief. I have never relied on the charts for actually doing any actual color corrections because of all the variables involved that can throw it off - i.e. lighting ( the most common problem ) and surprisingly enough swatches being out through fading or light reflections etc.
And I have to say that it might be a good idea if people are shooting these charts to do what you guys did and take them side by side from the same angle. I'm afraid that a lot of charts that I get - they set up the two angles and then just turn the chart - so both charts are under different lighting conditions. So the actual photography can make it harder to match using Resolve charts - or easier. But great to have when cameras aren't set up correctly.
Good video for shooters to see though.
Thanks Jim. We meant for the two cameras to look more different than they did. I guess it's a good thing really, but they matched quite well out of camera. Perhaps we'll do a video in the future on how to shoot colour charts on set, some tips for taking care of them, and producing the most useful results for post.
Also, I hope this comes across, but yes as you mentioned charts aren't a fool proof way of matching cameras, simply another tool that can be helpful in particular scenarios. Your technique of split screening the colour charts to diagnose issues is a great idea. Love it.
Thanks for watching. As always, great to have you here.
I second the motion for a video explaining "best practices" in the field.
Imagining a 3-Camera shoot:
Center and 3/4 Left & Right.
Should A, B, and C be in thier positions with final lighting and lenses? The logic there is that the correction would be on "real world" images.
Or should all three be in the center position with about the same frame size? Does capturing the Same lighting conditions and angle help the DaVinci Bots figure out a match?
Is it even attempting to Match Shots to each other, or just each to the chart? I'm pretty sure the latter.
So what this video crystallized for me was when you pointed out that the Chart Matching is communicating with or informed by the Color Management. So...
A) We've moved away from manually color correcting and into a Color Managed Workflow.
B) Shooting then Matching to the Color Charts is a second step that should bring the raw footage even more inline.
C) Now, Resolve has Automatic Shot Matching tools as well. Could you not have picked a "hero" and as a third step told Resolve to match A to B?
And then after all that, we grab the Rings and Balls....
* my grammar here is a disaster. And I'm mixing two main points.
I hope you can follow what I was attempting to ask...
Seriously yes. I spent most of my week matching Canon HG70 consumer camcorder to Canon 90d. (yeah, low end I know, it's a volunteer gig).
Hahah! So glad this video is helpful for you :) And hey, the best camera you have is the the camera you have! No shame there :)
phenomenal tutorial and explanation!!
Thank you so much Kevin! Appreciate you watching and commenting.
Great tutorial! I need to remember to shoot color charts more often 😅
great video!
Thank you!
Love it!! Such a useful video
Thanks Spencer.
Congratulations for your work.
In a node workflow with CST_in and CST_out (DWG Space work) where do you place the node camera mach? TNK
Thanks so much. There's different places you can place it, but we'd suggest immediately after CST_in, configured to match in your working colour space. Hope that helps.
@@team2films thanks for the quick response.👍
@@team2films If the CST-in is going from Slog3 to DWG (and the CST-out is going from DWG to Rec709) and you place the color chart node just after the CST-in, what should the color chart Source Gamma, Target Gamma, and Target Color Space be? FYI - Project Color science is DaVinci YRGB (not color managed) Thank you!
@@GeorgeFerree It would be DWG / Intermediate for both Source and Out, because you're working post-CST to DWG and pre-CST from DWG to Rec709. So your Color Chart Node is operating within DWG / Intermediate.
may be i used wrong one now i know its better to use a dedicated colour chart for video thanks for helping me out
You are very welcome. Thank-you.
Thanks for this tutorial. I surely have learnt some new things in this tutorial. I have also subbed to your channel. Again thanks for your help.
Our pleasure! Pleased you found it helpful.
Great video, thank you. Out of curiosity, what monitor are you using? Thanks!
Thanks. It's an LG Ultrafine 4k.
I was looking for this EXACT video - thank you!!
Glad you found us :) Thanks for watching.
What would be more useful is rather than correcting them both to a different standard, is if you could match camera B to camera A without changing camera A, ie: the color checker in camera A should be used as the reference for the color checker tool to automatically correct to rather than correcting to pre-defined values.
Yeah, that's a good idea. We'll make some videos about match grading workflows soon.
Love the tutorial but I can't seem to get it to let me split the screen with two clips and use the color match feature at the same time. I just downloaded this yesterday and usually use Premiere.
I have the selected clips on the screen and when I select the color match tool it goes to only one.
Thanks so much. Sorry the color match tool won't work at the same time as the split screen tool. Use the color match tool first, then turn the split screen on and use the other color grading tools to finish off the match grade.
Welcome to Resolve, you're going to love it.
thank you so much for your video! if I wanner work in DR wide-gamma mode, how can I configure it?
We're working in DR wide gamut in this video.
NICE Solution ✌
Thanks
thanks!❤
Thanks back at ya!
Thanks again good tutorial. I only have one issue when wanting to use the Phantom LUTS and the Color Chart (same one) ... they seem to kind of don't like one another and colors are way off when combined.
Good observation! Yes, that's not fun when they are at odds with one another. LUTS are designed to work with specific input and output colour spaces. Same is true of the Colour Match tool. Perhaps double check your node tree to make sure that each tool is being handed the image in the colour space it expects.
Great video!
when placing the colorchecker in the scene, should it be facing the keylight, of the fill light or somewhere in between?
I notice the one in this example is at an angle from the keylight and is shadowed compared to the person.
Your key and fill light might have different issues. Somewhere in between is usually best as you are trying to correct for the average or typical light in the scene.
It’s important however that the chart does not catch reflections or glare as that will ruin the result. In this instance that’s why the chart is slightly off angle.
Does that answer your question?
@@team2films yes it did, thank you for your response.
And I suppose if I’m using a coloured fill light or other coloured light I should turn that off while filming the colour checker.
Thank you, that tool always confused me - especially the fact that it only asks for the Input Gamma not caring about the Input Color Space which doesn't make much sense. How does it know which gamut those colour values in the video correspond to? And one more question - how could you copy and apply the adjustments made in Davinci Wide gamut context (Davinci Color Managed example) to a node in Rec709 context? Asking not because I understand how they work but rather out of even more confusion about those contexts and lack of information on how exactly nodes operate, why they have their own settings for gamut and gamma, how they are affected by the timeline colour space, etc. Oh, and by the way, is it a good advice to use colour match tool to interpret material instead of CST and use it at the beginning of a node tree, to continue working with a limited footage in Rec709?
Heya Alex, great questions as always.
1. It can infer the colour primaries because it knows what colour the swatches should be.
2. Any grade (and a color match is essentially a grade) is designed to work in a specific colour space. They cannot be copied to different colour spaces.
3. No, I'd recommend using proper colour management to normalise an image first. Color match is 'guessing' the colour primaries and white point and it's doing that after only analysing 28 colour swatches that do not cover the entire spectrum. It's better to normalise using color management, and then use colour match to fix and remaining discrepancies.
Does that answer your questions?
@@team2films To a major extent, thank you
Thanks very helpful and clear
You are welcome! Thanks 🤩
Perfect Video！
Thanks so much!
How did u setup the two clips to one viewer?
Which Monitor youa re using, I/m Planning to buy the one which you have!!! So Please tell me about which monitor is it??
It’s an ASUS PA32UCXR
At 4:22 how did you find out that it is ok to leave the settings at Auto when operating in color managed mode? Is there anyway to check what Resolve chose for each of those Auto settings?
That's a good question. Auto uses the settings configured in your project color management settings.
How would I go about calibrating a color card AFTER editing a film? I’ve been told that color is one of the last things you do when editing a film. Would I need to calibrate/color correct a shot before editing or after?
Hello, thanks for watching. You can correct your film with the color checker card after editing, but ideally you should have shot the color charts during production. It’s important they are shot with the same camera, lenses, lighting and in the same location to get accurate results.
Nailed it
Great tutorial except what’s a managed or unmanaged timeline? Seems like key information that’s been missed.
Check out our colour management masterclass! Search for it on our channel :)
Hi, can u match non Log footage aswell with a Color Chart?
Yes, most definitely. The footage in our demo was all log.
Cool but if you work with CST you would choose a way like 1. Node: CST BRAW Film Gen 5 to ACEScct 2. Node Color Match ACEScct to ??? because I want CST out as ACEScg
Material BRAW Film Gen 5, Mission Colormatch, output as ACEScg: 1. Node Color Match Source BRAW Film Gen 5 Target ACEScct ColorSpace ACES (AP1) 2. Node ACES Transform Input ACES cct to ACEScg?
How would you use this tool if you’re using another LUT at the end of the node tree?
It depends on what kind of LUT you are using. If it's a creative LUT that applies a look, that would most likely work fine. If it's a technical LUT for normalising an image, you'll want to give consideration to where you place your colour chart node and its settings. You need to make sure it's configuring to output in the correct colour space given where it sits in your node tree.
@@team2films im using Phantom Luts. Whenever I try using the colour checker tool it doesn’t correct the colours but it almost looks as though it adds another LUT on top of the footage.
How to reverse this process, I want to add CGI to neutral plate and then reverse the neutrailize process to make color back to where it was before
Colour charts are designed to help you produce a neutral image. An ideal workflow would be to render your CGI into an intermediate colourspace like ACES. The compositor or colourist can then grade them to match. Does that help?
Thank you!
Do I need to use the color chart on every take or just once per scene and just copy the node where the color match was used and paste it on other takes?
Once per scene is typically sufficient. Then as you said, that node can get copied to other shots.
@@team2films If its a 1 cam shoot, do I also need to use the color chart for a different angle of the scene?
@@426Studios Not really. Colour charts are helpful for matching different camera, lens, filtration and lighting combos. You could use a colour chart though to profile a given camera. But in that case it's something that you could do once and then save as a power grade.
they still look very different
More can always be done and there is a need to be brief when demonstrating, but I'm not sure we would say they are 'very' different!
What a weird way to position a speed editor 😄
Hahahah, we don't do that anymore, but it served its purpose at the time. Thanks for watching.
I don’t know. Maybe just have a button “match” and the software makes it automatically? Such a complicated process in the time of AI, so many things happening- it speaks like humans, cleaning noise out from voice over, … and now this? Don’t know.
Thanks so much for watching and commenting. I'm sure more advancements will be made to this tool in the future. In the meantime, it's a great tool and it's there if you need it. That sounds like a great feature, but I'm sure an enormous amount of engineering would have to go into making it.
well i think it is a little bit bullshit ordinary people will not see differenes so it just shiny shit.
Fair enough :) Thanks for watching though.
So much unnecessary work and at the end they still didn’t match. A color space transform would have completed the job way faster without any thinking. Color charts are only used to get a balanced image. And no one uses them anymore.
Thanks for watching. Many professional productions use color charts. Also, please note that a color space transformation WAS used on the first example prior to additional matching with the color match tool.
As regards the final result, more can always be done but there is a need to be brief when demonstrating. The main purpose of this video is to outline the principles rather than demonstrate a perfect grade. I'm sure it will be useful to many in their work.
Hope that helps!
Yep, as I commented above - we see them and we use them if we need them. Always good to get more perspective when things go wrong to do an analysis. I would probably put the chart on top of the other in the still - zoom in and swipt half way on the swatch row or column - then adjust the hue to match.
I tend to agree, I find the end result pretty disappointing. If you need to start going into Color channels anyway to tweak them, you can also just use CSTs and then work by eye and grade normally. The fact it clips the highlights into oblivion is another head scratcher. At least you can correct that somewhat by tweaking the white point. Good explanatory video nonetheless.
I'm going to be honest. I need you as a girlfriend. I need a girlfriend who knows davinci resolve and avid media composer. A girl who knows how to code would be helpful too. I'm not apologizing for this comment.
Sorry, don't know Avid! 😂 Thank you for watching.