I don't think I've ever uploaded a 25 minute tutorial, but I've gotten so used to teaching in class that it just feels right! Regardless of if you shoot with Zcam, these techniques are good on any Log gamma curve. Just make sure you expose correctly, and you will be golden! Keep Climbing!
i came here to learn how to take zlog2 to rec.709 in DR since there is no camera gamma preset, but although i didnt specifically get that, i did picked up a few new things about color grading :)
Color grading has always been one of my biggest struggles. Watching tutorials has never helped a whole lot either. At least not until I found your channel a couple months back. Dude you actually explain what the things you are making adjustments do and nobody else does that. So thank you!
Just wanted to say thanks for all the help and inspiration that has come from your channel,hope its ok i shared a link to some of your content on my website,im still small for a channel/brand but wanted to help get some exposure to your content to other new creators,this channel has been invaluable to everything i have learned here,thanks again
impressive! I'll never be able to replicate something like this, and it's still not clear to me how the various adjustment levels work in davinci....but thanks to this video i have at least a base on how to start color grading from zlog2. i have a zcam since yesterday so thanks a lot for your contribution
This is absolutely one of the best color grading tutorials that I have ever seen. Looking to buy a Z-Cam S6 to record Z-Raw to an Atoms Ninja-V and post in Resolve Studio. I've heard that I can't work with Z-Raw in Resolve. Is that true? Is there a workflow for Z-Raw in Resolve?
nice video. I am bit confused Z cam is 10 bit what if you color under rec2020 instead of rec709 wouldnt it better or can it be done under rec 2020 ? thank you
"Pre production is where color grading starts". That is so true. I recently did a project and did not follow this rule and now im paying the price for it smh. Lesson learned I guess!
Fantastic tuto. I am thinking buying the Zcam 6k full frame. What kind of lens y will recommend. Yes difficult question. Each lens more less do a kind of job. Where I am I do documentary, commercial, wedding, concert. I was interesting buy the DZO film lens the zoom Brundle. But only cinematic. What do y think.? The vignetting is going to be too much? Congrat for yr tuto. You go really deep for basic tuttto. 👌👌👌
Hi I have a "stupid" question 😕 how did you import zlog to davinci? Can it be imported right away or it has to be converted? Cuz I'm planning to buy zcam but I need to make sure about it. Thx a lot
Does the Zlog plug-in in Resolve give full functionality for reading all aspects of ZRAW files? Or does it just read the color information, but does not give other controls for ISO, white balance, etc?
Hey there - just wondering when using a monitor LUT to film do you choose exposure based on the waveforms taken from the rec709 monitor LUT or Native zlog2?
So, i found you because i was curious about black men with relaxed hair; i noticed it has been a very very long time since you made a hair video, and in this recent video, you shaved all your hair... did something not work out with it? Too much upkeep? Did it turn out to not actually be healthy for your hair? I hope you have time to answer, have a nice day
Hi Sidney, I am a new Z cam F6 user and I'm having a hard time understanding color profiles with video codecs. Do you have resources that could help me to understand how to use them at their max potential?
The one resource I used to use seems to be no longer available... but to be honest man, just shoot pro res 422hq and zlog 2 for maximum quality. Even ProRes 422 is okay. You should be good to go :)
Struggling getting the right exposure for the SBG zcam luts, often too saturated and crushed on my zlog2 footage at 50% and up intensity - any further tips?
@@sidneybakergreen So I can use them as Monitor luts? It may help me get the correct exposure. I'm really struggling to find correct monitor lut to use with zlog2 - Even zcam's don't give me a good exposure
The goal is to be legal within the Rec709. That’s why I went back and mapped the colors back into the color space. Using a lut to get into rec709 isn’t the only option.
@@sidneybakergreen It definitely isn't the only way, but unless you are using mathematical functions (including colour space transforms)... It would not be perfectly accurate. So doing it by hand is at the end imperfect colour transformation. At least that is the little I know about it, and that it's better to not colour correct but colour grade, the footage that has already been transformed into rec 709 beforehand. Anyhow, I really liked the outcome of your grading, I was just wondering if it would be any different using the rec 709 first method.
@@marekmucha2300 okay let’s talk through this. What’s an imperfect rec 709 conversion? For the record the manual correction done in the beginning served as the conversion. Maybe not the provided “mathematical lut” but for the luminance values desired for the story while still being in Rec 709. The timeline is already set to Rec709 gamma2.4. That’s why the CIE scope was used. There is a plethora of ways an image can look in rec 709. If I was to convert into rec 709 right away, my highlights would be blown. This is why I used the HDR nodes to grade within rec 709. To set my black and white points where I wanted them within rec 709. Because mathematical functions don’t tell the story, colorist do. I hope that makes sense that an imperfect rec 709 correction is one that is outside of the color space. One that would lead to fines by the FCC. That’s why I used a color space transform node at the end to map All of my corrections into the color space with saturation mapping. The color space selected was timeline which is in rec 709 2.4
@@sidneybakergreen Imperfect = Colour Information not translated into rec 709 with 100% efficiency, therefore changing colour information will behave differently. For example RGB colours will behave only with 0 to 100% efficiency depending on the conversion, and some of that some of that information might be lost, mistreated as a different information and so on, if that makes sense. What I know is, that without using conversion, log colour information is being treated differently, in other words improperly. By no means I'm not in depth technical, that's why I'm using conversion. Your Highlights wouldn't be blown, because I'm talking about colour editing, not correcting, usually you apply the lut in the second layer, so you can manipulate the highs and lows, exposure, in the first and colour in the rec 709.
@@marekmucha2300 Yes that’s how you’d use a lut. What you’re referencing is going outside of the color space. That’s the only time it’s going to matter. When I did the transform at the end to map the gamut thats to get rid of colors people would never see in rec 709 to begin with which would then cause the colors to shift to accommodate. Not using a lut and grading by hand is almost always better unless you simply can’t grade by hand. The colors will not behave differently while grading. The timeline has a set color space. You’re referencing what I corrected for at the end which is the preferred way to do it without boxing yourself into a lut that has limited information.
@@yveslacroixproductions for the purposes the grading of Zlog 2, most people in the zcam usergroup, which is who this video is created for, are working in 709 2.4. This tends to be the default color space in resolve. Furthermore, that default will remain the same when using the color space transform because it's timeline default. This is a simple Rec 709 grade. And because we can't tell resolve that we're using the Zlog 2 curve and the zcam color science (lack of resolve support) this is the most accurate way to grade this profile.
@@sidneybakergreen 709 2.4 is your output that i do agree is the most common. but if you work in aces or rcm or yrgb then you have to set the input and it doesn't act the same depending in what the input is, and if you cannot set a proper input...
@@yveslacroixproductions We are 1) not working in a color managed workspace, nor do we have the ability to because we are using ZLOG 2. I'll give you some time while you insist an argument to go though the menu and find the Zcam profile, that doesn't exist, so we could work in a color managed work space. When using the DaVinci YRGB Color Science, you don't have to worry about an input color space. Working in a color managed workspace is also not required when grading from scratch. This is an easy way for beginners to match their profiles, or get into 709 with ease. With regards to ACES... We are not working in ACES. We are not working in SRGB. We are working in Rec 709. I have videos on this channel detailing how to use an ACES workflow. This isn't a color managed grade.
I don't think I've ever uploaded a 25 minute tutorial, but I've gotten so used to teaching in class that it just feels right! Regardless of if you shoot with Zcam, these techniques are good on any Log gamma curve. Just make sure you expose correctly, and you will be golden! Keep Climbing!
Every second was worth it!
Good stuff! Is there somewhere we can download the color chart from?
i came here to learn how to take zlog2 to rec.709 in DR since there is no camera gamma preset, but although i didnt specifically get that, i did picked up a few new things about color grading :)
@@Indpendent01 use Arri LOG-C and adjust from there :)
Color grading has always been one of my biggest struggles. Watching tutorials has never helped a whole lot either. At least not until I found your channel a couple months back. Dude you actually explain what the things you are making adjustments do and nobody else does that. So thank you!
My team and I love your coming to your channel for any color grading issues we come across. Thank you so much for your content.
Hey Sidney!! Thanks for answering my questions in the group!!
Amazing stuff! Thanks!
Beautiful Sidney! Thank you for sharing some workflows and doing a great job explaining your examples. I look forward to more of your content :)
You are a very talented, fantastic teacher! Thank you very much for this video, and your lovely FilmX Cinematic LUT Pack :)
My world is a little bigger now. I come from 16 Bit editing of still photos and see I have much to learn. Thank you!
Hi Sidney, great video! I've been loading up on your zcam videos. I cut/grade on resolve, but my zcam gets here in 2 days! Excited for more vids!
Great teachings! You've got me
wow this is incredible content. thank you!
This is unreal, thank you!
Just wanted to say thanks for all the help and inspiration that has come from your channel,hope its ok i shared a link to some of your content on my website,im still small for a channel/brand but wanted to help get some exposure to your content to other new creators,this channel has been invaluable to everything i have learned here,thanks again
Love it
Thank you ♥️
impressive! I'll never be able to replicate something like this, and it's still not clear to me how the various adjustment levels work in davinci....but thanks to this video i have at least a base on how to start color grading from zlog2. i have a zcam since yesterday so thanks a lot for your contribution
Color grading my favorite topic! Thanks for always sharing your content with the community! #clickclickclick
This is absolutely one of the best color grading tutorials that I have ever seen. Looking to buy a Z-Cam S6 to record Z-Raw to an Atoms Ninja-V and post in Resolve Studio. I've heard that I can't work with Z-Raw in Resolve. Is that true? Is there a workflow for Z-Raw in Resolve?
You mean ProRes Raw?
@@sidneybakergreen Yup!
I'm looking at the zcam e2-s6 is it worth then the pocket 6k
You are a genius
Great video mate! I run the S6G. How do you recommend to expose for the right in zlog2? What do you take care of?
ETTR
Amazing tutorial..only issue i'm having is the qualifier selection, yours is silky smooth, mine is a noisy mess..
nice video. I am bit confused Z cam is 10 bit what if you color under rec2020 instead of rec709 wouldnt it better or can it be done under rec 2020 ? thank you
Good job thanks a lot
"Pre production is where color grading starts". That is so true. I recently did a project and did not follow this rule and now im paying the price for it smh. Lesson learned I guess!
Great video... how do I take your course and how much does it cost?
sidneybakergreen.com/coloristhq
Fantastic tuto. I am thinking buying the Zcam 6k full frame. What kind of lens y will recommend. Yes difficult question. Each lens more less do a kind of job. Where I am I do documentary, commercial, wedding, concert. I was interesting buy the DZO film lens the zoom Brundle. But only cinematic. What do y think.? The vignetting is going to be too much? Congrat for yr tuto. You go really deep for basic tuttto. 👌👌👌
I’m going to be testing out DZO lenses soon. Can’t speak on them yet. I’ll let you know though. I use sigma art glass as of now
Sidney Baker-Green thanks for your answer. Look forward this tuto . Have a good day. Fred
Hi I have a "stupid" question 😕 how did you import zlog to davinci? Can it be imported right away or it has to be converted? Cuz I'm planning to buy zcam but I need to make sure about it. Thx a lot
Unboxphoria like the footage? You drag and drop it. You don’t need it for a color space transform just grade manually or use the color plugin by Zcam
Does the Zlog plug-in in Resolve give full functionality for reading all aspects of ZRAW files? Or does it just read the color information, but does not give other controls for ISO, white balance, etc?
Yes it does
There is a course error when I try to enroll. Please get back to me! Also there is no contact mail under the link on your webpage.
Hey there - just wondering when using a monitor LUT to film do you choose exposure based on the waveforms taken from the rec709 monitor LUT or Native zlog2?
709 or whatever space you’re monitoring in
@@sidneybakergreen Thankyou
“I need a nap”
My silent cry for help 😂
👏👏👏👏👏
where can I get zlog 2 ?
So, i found you because i was curious about black men with relaxed hair; i noticed it has been a very very long time since you made a hair video, and in this recent video, you shaved all your hair... did something not work out with it? Too much upkeep? Did it turn out to not actually be healthy for your hair? I hope you have time to answer, have a nice day
Hi Sidney, I am a new Z cam F6 user and I'm having a hard time understanding color profiles with video codecs. Do you have resources that could help me to understand how to use them at their max potential?
The one resource I used to use seems to be no longer available... but to be honest man, just shoot pro res 422hq and zlog 2 for maximum quality. Even ProRes 422 is okay. You should be good to go :)
@@sidneybakergreen Thanks I will try it out and follow your tutorials. Maybe your course in the future also.
Struggling getting the right exposure for the SBG zcam luts, often too saturated and crushed on my zlog2 footage at 50% and up intensity - any further tips?
The luts are destined to be exposed to the right. So if it’s too crushed you haven’t exposed bright enough.
@@sidneybakergreen Ah thankyou - are the LUTs meant to work as monitor luts/ at 100% intensity in post or always need to be dialed?
@@samuelguce I generally use in at 100% intensity, but you can adjust them in a node before we apply the lut
@@sidneybakergreen So I can use them as Monitor luts? It may help me get the correct exposure. I'm really struggling to find correct monitor lut to use with zlog2 - Even zcam's don't give me a good exposure
@@samuelguce yes they will help you get a good exposure
I'm wondering, why didn't you convert the log into rec 709? as doing it manually, the colour transformation is not going to be perfect?
The goal is to be legal within the Rec709. That’s why I went back and mapped the colors back into the color space. Using a lut to get into rec709 isn’t the only option.
@@sidneybakergreen It definitely isn't the only way, but unless you are using mathematical functions (including colour space transforms)... It would not be perfectly accurate. So doing it by hand is at the end imperfect colour transformation. At least that is the little I know about it, and that it's better to not colour correct but colour grade, the footage that has already been transformed into rec 709 beforehand. Anyhow, I really liked the outcome of your grading, I was just wondering if it would be any different using the rec 709 first method.
@@marekmucha2300 okay let’s talk through this. What’s an imperfect rec 709 conversion? For the record the manual correction done in the beginning served as the conversion. Maybe not the provided “mathematical lut” but for the luminance values desired for the story while still being in Rec 709. The timeline is already set to Rec709 gamma2.4. That’s why the CIE scope was used. There is a plethora of ways an image can look in rec 709. If I was to convert into rec 709 right away, my highlights would be blown. This is why I used the HDR nodes to grade within rec 709. To set my black and white points where I wanted them within rec 709. Because mathematical functions don’t tell the story, colorist do. I hope that makes sense that an imperfect rec 709 correction is one that is outside of the color space. One that would lead to fines by the FCC. That’s why I used a color space transform node at the end to map
All of my corrections into the color space with saturation mapping. The color space selected was timeline which is in rec 709 2.4
@@sidneybakergreen Imperfect = Colour Information not translated into rec 709 with 100% efficiency, therefore changing colour information will behave differently. For example RGB colours will behave only with 0 to 100% efficiency depending on the conversion, and some of that some of that information might be lost, mistreated as a different information and so on, if that makes sense. What I know is, that without using conversion, log colour information is being treated differently, in other words improperly. By no means I'm not in depth technical, that's why I'm using conversion. Your Highlights wouldn't be blown, because I'm talking about colour editing, not correcting, usually you apply the lut in the second layer, so you can manipulate the highs and lows, exposure, in the first and colour in the rec 709.
@@marekmucha2300 Yes that’s how you’d use a lut. What you’re referencing is going outside of the color space. That’s the only time it’s going to matter. When I did the transform at the end to map the gamut thats to get rid of colors people would never see in rec 709 to begin with which would then cause the colors to shift to accommodate. Not using a lut and grading by hand is almost always better unless you simply can’t grade by hand. The colors will not behave differently while grading. The timeline has a set color space. You’re referencing what I corrected for at the end which is the preferred way to do it without boxing yourself into a lut that has limited information.
😂
problem is you forgot the essential, which to tell if you're using aces or rcm or yrgb to set your colors
I forgot nothing in this case.
@@sidneybakergreen oh so you don't know what color system you're in and working in ? because it changes the way resolve works
@@yveslacroixproductions for the purposes the grading of Zlog 2, most people in the zcam usergroup, which is who this video is created for, are working in 709 2.4. This tends to be the default color space in resolve. Furthermore, that default will remain the same when using the color space transform because it's timeline default. This is a simple Rec 709 grade. And because we can't tell resolve that we're using the Zlog 2 curve and the zcam color science (lack of resolve support) this is the most accurate way to grade this profile.
@@sidneybakergreen 709 2.4 is your output that i do agree is the most common. but if you work in aces or rcm or yrgb then you have to set the input and it doesn't act the same depending in what the input is, and if you cannot set a proper input...
@@yveslacroixproductions We are 1) not working in a color managed workspace, nor do we have the ability to because we are using ZLOG 2. I'll give you some time while you insist an argument to go though the menu and find the Zcam profile, that doesn't exist, so we could work in a color managed work space.
When using the DaVinci YRGB Color Science, you don't have to worry about an input color space. Working in a color managed workspace is also not required when grading from scratch. This is an easy way for beginners to match their profiles, or get into 709 with ease.
With regards to ACES... We are not working in ACES. We are not working in SRGB. We are working in Rec 709. I have videos on this channel detailing how to use an ACES workflow.
This isn't a color managed grade.