Today i watched your video on color space for the first time and quickly i came to know that you are too much knowledgeable person for color grading. And the best part is that you explain in a proper way.
I agree. I did not go over using RED Ipp2 mapping for slog3, but that is another way to get another rec709 interpretation if you like the way RED's color management pipeline works :) Its all about how you interpret data from the camera.
I stay away from telling people really the best way to do anything because I don't think that exists, I just try to show alternatives to buying third party LUTs or manual corrections that can take a long time... that kind of thing. I would rather provide people with knowledge that allows them to determine what they think is best rather than assume methods I show are the best. I can make a video like this for pocket 6k gen5 footage but I will need to be given some material to work with.
I tried to speed this up because I felt the video was getting a little long, but I can create a longer form tutorial that explains why I'm doing what I'm doing. Essentially, I provide exposure/contrast adjustment, color balance correction, color tinting/saturation/exposure via color warp, and luma/saturation curve. Often I will add a vignette and sometimes sharpness fall off or grain depending on the situation. Please feel free to email me with any particular questions etc.
You have mentioned a few settings to reduce the contrast of an Aces clip. Does that apply to all log footage or is that slog3 specific. Will similar setting work on Vlog. I find V log in Aces to be very contrasty with deep shadows.
Fantastic tutorial Tony! You have a way of explaining things so well! Question: is there a way to convert any of these rec709 conversion methods into LUTs so that I can load them to my 10 bit field monitor? Is there a special node order and DaVinci Color Management settings to achieve this? I saw another RUclipsr showing how to export LUTs and is very confusing, he was deleting the CST node before exporting the LUT??
To create a lut you will need to do a node based workflow. Results should be the same, but some monitors don't read or display the log profiles a hundred percent accurately like the atomos. Feel free to email me or head to our discord. discord.gg/tMWnnR6m
@@TonyDae So when can we let resolve adjust it automatically. And the part about setting the output color space from rec 709 to srgb as per the monitor, was a bit too much for me to comprehend. The color space management game seems too complex as of now.
@V.M DAS Input mapping will give different results. I generally use it for HLG or some other HDR input color space. For output, basically you can grade using either an sRGB monitor that is calibrated for sRGB or grade using a Rec709 monitor that is calibrated for rec709. The output during the grade should match whatever your monitor is. Then, when you output for delivery, you can change the colorspace to the deliverable color space. For example: Let's say I have an sRGB monitor calibrated to sRGB but I need to deliver for rec709 gamma 2.4 (standard broadcast). I can set my output to sRGB and grade. Then when I render, I can change the output color space to Rec709 gamma 2.4 and it will be correct for broadcast. You can also do this for other deliverables, like P3 or HDR, and get an output color space that will look mostly correct. You can "trim" or adjust some of the color or contrast for outputs too to get it closer to what you want.
@@TonyDae Thanks again. That clears a lot of things. I have one more doubt if you have the time. I'm not a professional CG artist. I used to shoot sony (A6500 which had 8 bit color) and now I use Panasonic and its vlog (10 bit color). When I shot sony's 8 bit color I was given an advise to shoot slog 2 with the rec 709 as the input color space to help with the issues of 8 bit color grading. that helped a bit but created a few problems for me with my LUT based grading process. Currently am starting to work in RCM which I personally find much easier. I'm not sure if this method is technically relevant. I currently use the Dell U2415 monitor in the standard preset. I guess that's the sRGB mode. So, if I understood you correctly, I should be working in the sRGB output color space and convert it to rec 709 when I render the file for optimum output and better visual referance.
Today i watched your video on color space for the first time and quickly i came to know that you are too much knowledgeable person for color grading. And the best part is that you explain in a proper way.
Very impressive! Thank you again !!!
lovely video
I guess it is about how you use your equipment, rather than what your equipment is.
Although, I do have my preferences
I agree. I did not go over using RED Ipp2 mapping for slog3, but that is another way to get another rec709 interpretation if you like the way RED's color management pipeline works :)
Its all about how you interpret data from the camera.
Quick advice: improve the sound quality. Great stuff though! Just what I was looking for.
I have a better mic but its really uncomfortable to do these videos and use those mics. Will look for a better solution. Thanks for the feedback!
@@TonyDae subbed and looking forward to seeing you grow!
Great man :) Do one on the pocket 6k gen 5 if you can :) like what would be the best way to have the best colors or highlight roll off etc..
I stay away from telling people really the best way to do anything because I don't think that exists, I just try to show alternatives to buying third party LUTs or manual corrections that can take a long time... that kind of thing. I would rather provide people with knowledge that allows them to determine what they think is best rather than assume methods I show are the best.
I can make a video like this for pocket 6k gen5 footage but I will need to be given some material to work with.
wanted to see how you did the grade but you made it super fast. Can you please make some grading tuts? Great video BTW
I tried to speed this up because I felt the video was getting a little long, but I can create a longer form tutorial that explains why I'm doing what I'm doing. Essentially, I provide exposure/contrast adjustment, color balance correction, color tinting/saturation/exposure via color warp, and luma/saturation curve. Often I will add a vignette and sometimes sharpness fall off or grain depending on the situation. Please feel free to email me with any particular questions etc.
@@TonyDae Thank you so much. Subed
You have mentioned a few settings to reduce the contrast of an Aces clip. Does that apply to all log footage or is that slog3 specific. Will similar setting work on Vlog. I find V log in Aces to be very contrasty with deep shadows.
When you're working in ACES you should be able to apply the same adjustments to whatever you input rather easily with similar results.
@@TonyDae Have you done a video on the entire ACES workflow..?
No, but feel free to contact me via email
@@TonyDae Will do. Thanking you in advance for the help.
I love this. Now I just need an FX3 or A7C to work with.
Fantastic tutorial Tony! You have a way of explaining things so well! Question: is there a way to convert any of these rec709 conversion methods into LUTs so that I can load them to my 10 bit field monitor? Is there a special node order and DaVinci Color Management settings to achieve this? I saw another RUclipsr showing how to export LUTs and is very confusing, he was deleting the CST node before exporting the LUT??
To create a lut you will need to do a node based workflow. Results should be the same, but some monitors don't read or display the log profiles a hundred percent accurately like the atomos. Feel free to email me or head to our discord.
discord.gg/tMWnnR6m
@@TonyDae i did not know that about the Atomos. I just sold mine this week lol! Thank you for answering my question.
very generous tutorial!
Does it applies to 8 bit workflow the same?
Yes
In the first step can you explain the reason for turning tone mapping to 'none' instead of 'davinci'
Input mapping is set to none because I didn't want Resolve to adjust the input transform going into the working color space.
@@TonyDae So when can we let resolve adjust it automatically.
And the part about setting the output color space from rec 709 to srgb as per the monitor, was a bit too much for me to comprehend. The color space management game seems too complex as of now.
@@TonyDae Thanks for your effort in easing things a bit.
@V.M DAS
Input mapping will give different results. I generally use it for HLG or some other HDR input color space.
For output, basically you can grade using either an sRGB monitor that is calibrated for sRGB or grade using a Rec709 monitor that is calibrated for rec709. The output during the grade should match whatever your monitor is. Then, when you output for delivery, you can change the colorspace to the deliverable color space.
For example:
Let's say I have an sRGB monitor calibrated to sRGB but I need to deliver for rec709 gamma 2.4 (standard broadcast). I can set my output to sRGB and grade. Then when I render, I can change the output color space to Rec709 gamma 2.4 and it will be correct for broadcast.
You can also do this for other deliverables, like P3 or HDR, and get an output color space that will look mostly correct. You can "trim" or adjust some of the color or contrast for outputs too to get it closer to what you want.
@@TonyDae Thanks again. That clears a lot of things. I have one more doubt if you have the time. I'm not a professional CG artist. I used to shoot sony (A6500 which had 8 bit color) and now I use Panasonic and its vlog (10 bit color).
When I shot sony's 8 bit color I was given an advise to shoot slog 2 with the rec 709 as the input color space to help with the issues of 8 bit color grading. that helped a bit but created a few problems for me with my LUT based grading process. Currently am starting to work in RCM which I personally find much easier. I'm not sure if this method is technically relevant.
I currently use the Dell U2415 monitor in the standard preset. I guess that's the sRGB mode. So, if I understood you correctly, I should be working in the sRGB output color space and convert it to rec 709 when I render the file for optimum output and better visual referance.
Just started, if there's not a color space transform in this video, I'm flipping a table over.
Its like you have seen my content before.