I'm very thankful for all the feedback Im getting from you guys :) If you want to continue to support me, leave likes and watch the whole videos so other people can benefit from this stuff as well!
Thnx for another great video. Love these breakdowns and would love to see more. I don't mind them going all the way to 20min or even 1hour. I soak it all in :)
Thanks for this Gavin. Always great getting an insight into approaches to grading real work. Always something to learn. Can i ask a question please? I noticed that you used a CST to take you from the Sony s/log colour space to Cineon in order to use the Kodak Film emulation Lut. So how did you go to the colour space of S/Log? Did you set the Input Colour Space at Project Setting level? Or did you group the clips and use a CST in the Pre-Group area of the workspace. Or was there another approach. Also I agree with what you said about many (though not all) RUclipsrs. I spent a good year listening to what many of them had to say.....only to have to unlearn much of it later when i began to know better. Cullen Kelly was one of my 'Go to' people. Although admittedly i have to watch his stuff several times over as his highly technical approach sometimes goes over my head. But he gives me an insight into how the tools work which i beieve is never a bad thing and has made my work so much better. Although, i have to say, sometimes i do like to just 'Riff' a grade....and have had some fantastic results doing just that. So anyway, sorry about the long post Gavin. Bottome line? Just wanted to say thank for this content. Great stuff. And I'll look forward to your next insight. Hope you have a great 2023.
No worries! I love that you took the time to write me this text :) I actually got an slog image (prores444) delivered by the dop so I didnt have to change anything there. Cineon is what my Kodak Lut wants to get a proper technical image. I rarely want raw files of my clients. Prores444/dnxhr444 is enough 99% of the time. I think this video is a bit too basic for my tastes.. Ill have to change that in the upcoming ones I guess. Something between this and Cullen Kelly is probably my goal :)
@@Gavin_Haughey_Colorist I was wondering how often you would work like that as prs444 should be more than enough, especially if its only shot on h265-10bit. Do you ask your client or editor to send you one prores444 file or export the timeline into individual clips with an xml?
love your videos Gavin, also what did you put in your pre-group and post-group? Why didn't you put deflicker on some shots ? the headlights of the car flicker a bit
Thank you Thomas! Nothing in pre and post group! Just put all shots in there in case I wanted to add grain in the end. Surprisingly, the client didnt want to deflicker it :)
I'm very thankful for all the feedback Im getting from you guys :) If you want to continue to support me, leave likes and watch the whole videos so other people can benefit from this stuff as well!
Thnx for another great video. Love these breakdowns and would love to see more. I don't mind them going all the way to 20min or even 1hour. I soak it all in :)
Thanks for video, I am waiting for next one :D
Brazil man ! tanks.
Thanks for this Gavin. Always great getting an insight into approaches to grading real work. Always something to learn.
Can i ask a question please? I noticed that you used a CST to take you from the Sony s/log colour space to Cineon in order to use the Kodak Film emulation Lut. So how did you go to the colour space of S/Log? Did you set the Input Colour Space at Project Setting level? Or did you group the clips and use a CST in the Pre-Group area of the workspace. Or was there another approach.
Also
I agree with what you said about many (though not all) RUclipsrs. I spent a good year listening to what many of them had to say.....only to have to unlearn much of it later when i began to know better. Cullen Kelly was one of my 'Go to' people. Although admittedly i have to watch his stuff several times over as his highly technical approach sometimes goes over my head. But he gives me an insight into how the tools work which i beieve is never a bad thing and has made my work so much better. Although, i have to say, sometimes i do like to just 'Riff' a grade....and have had some fantastic results doing just that.
So anyway, sorry about the long post Gavin.
Bottome line? Just wanted to say thank for this content. Great stuff. And I'll look forward to your next insight.
Hope you have a great 2023.
No worries! I love that you took the time to write me this text :)
I actually got an slog image (prores444) delivered by the dop so I didnt have to change anything there. Cineon is what my Kodak Lut wants to get a proper technical image. I rarely want raw files of my clients. Prores444/dnxhr444 is enough 99% of the time.
I think this video is a bit too basic for my tastes.. Ill have to change that in the upcoming ones I guess. Something between this and Cullen Kelly is probably my goal :)
@@Gavin_Haughey_Colorist
Thanks Gavin. Good to know. Appreciate the reply.
All the best.
@@Gavin_Haughey_Colorist I was wondering how often you would work like that as prs444 should be more than enough, especially if its only shot on h265-10bit. Do you ask your client or editor to send you one prores444 file or export the timeline into individual clips with an xml?
love your videos Gavin, also what did you put in your pre-group and post-group? Why didn't you put deflicker on some shots ? the headlights of the car flicker a bit
Thank you Thomas! Nothing in pre and post group! Just put all shots in there in case I wanted to add grain in the end. Surprisingly, the client didnt want to deflicker it :)
Niiiice!
It would help if you actually show more what is going on in each node. Not just turning it on and off ;) And why you add certain things to the grade.
I see! So more in depth for the different nodes so you can exactly see what I did! Got it!
that was a little bit boring :D but the grading is cool! :D
Sometimes, creating looks is actually boring.. or rather easy and basic.
@@Gavin_Haughey_Colorist thats true, better keep it real