This is honestly a very destructive workflow. For 1 in the raw tab your converting the file to 709, and then your grading, basically you throw away all the advantages of raw and log, and conduct all of your grading on a 709 image. In the Raw tab the output should be redwidegamut log3g10 and you should really change from legacy to Ipp2. Secondly, besides the fact that a proper input gamma wasn't placed in your CST node to correctly use the film lut, you proceeded to use the color warper after the film lut, which led to a ton noise in your background that is clearly visible even after youtube compression. Additionally taking such a narrow approach such as the color warper to create what is a global overall look is very destructive as the effect will introduce a ton of issues when trying to using across multiple shots. Even using the depth mapper, which in itself is a useful tool, using it in this way is still such a narrow approach, when a power window could have produced the same affect in a much smoother, quicker and transferable way. I really appreciate Film Riot and all you give, but your color grading tutorials specifically have done a good job in showing people how granular you can get with the tools in resolve but has failed in showing proper workflows and logical approaches as when grading. Sure I can make 1 shot match using color warper and qualifiers and 3d keyers and magic mask, but can I transfer that look across a short film or a show? You want to approach your canvas with broad strokes, primaries, curves, you can very close to the fablemans look with just those tools, the film lut wasn't a bad idea but from a technical standpoint was implemented incorrectly. When you get to the finer details then you might want to breakout the small brush, qualifies, magic mask, color warper. I hope you don't take this as a shot but as constructive criticism to help you with continuing your efforts in educating people on the film industry.
I'm final cut user trying to learn DaVinci and to be honest this shit sounds way to technical for me. Let me stay here in my little Final Cut corner and relax yes. But its nice listening to you guys that know your way around this software
@@desronclarke3919 it’s really not that bad, just a lot of misinformation and bad practices that abound. So it takes a lot of time to learn what’s right, what works, so on so forth, but it’s definitely worth it it.
@@desronclarke3919 Davinci has the best color grading but since I'm not a colorist...I just cheat and slap a lut on that I like. Am I going to win any awardsfor color grading? Nope. But story is #1 and a pleasant look is enough for me. If I have enough $$$, I'll hire a grader.
Can you make an episode on matching grades between shots? Especially with your more complicated grades like like the first one? The grade looks really complex and seemed tailored specifically to that shot (especially the depth map), and I’d be interested to see how to apply something like that across an entire project where a depth map may not be necessary at all
Some things about using the film look LUT are done incorrectly. The LUT expects actual film, but the next best thing we can provide is rec.709 as the gamut (color space) and Cineon Log as the gamma (tonal curve). Ryan only sets the output gamma as Cineon Log. This setup would presume that the incoming signal is already with a rec.709 gamut (color space) and that the timeline gamma is set to whatever the incoming signal's tone curve (gamma) is. The correct way in this case, as the footage is of gamut (color space) REDcolor4 and gamma REDgamma4 (as was set in the camera raw panel), would be to set the input color space to REDcolor4, the input gamma to REDgamma4, the output color space to rec.709 and the output gamma to Cineon Log. That being said, REDcolor4 and REDgamma4 are legacy color science and these days REDWideGamutRGB and RED Log3G10 are used instead. This is my 2c.
@@uberjava And don't get me started on all the wonderful LUT Packs that RUclipsrs sell (there are of course some actually good ones one there, but they're a needle in a haystack).
@@KaurH Well ya.. it’s interesting that it’s become a thing for the masses, fuelled by free Davinci, affordable ‘cine’ kit and RUclips. Whatever is technically correct in terms of workflows is secondary to getting views and selling subscriptions to asset sites. So don’t get mad at it all..
Watching how close it was done is equally entertaining as watching the movie. I don't even have a video editing software on my pc or not intending to use one. You always did a great job on explaining things so that even an average film enthusiast like me can understand the process and enjoy.
the part where josh says "Logo" is so nostalgic. I remember when I was like 13 when I first saw one of your vids. now I am 23 , still have the same shit pc but Its not stopping me from trying to render a 720p 1min clip for nearly an hour but damn the knowledge.
@filmriot are we not gonna talk about hitting 2 million!?!?! Congratulations! Been watch way, way, way, wayyyyyyyyyyyyyy before a million lol. 12 years strong here! @filmriot
Great video. I'm glad that you guys are showing more Davinci tutorials. Now if you could go back and remake all your previous videos using Resolve instead of Premiere, lol
All over the 'net. DaVinci has afew basic tutorials which can get you started. Color grading is an art, and it takes years to get excellent results. Hire an editor whose work you like.
@Scott Slotterbeck thanks for the reply. I use Premiere Pro to color grade, but I just wanted to learn DaVinci ins and outs because I heard it's excellent for color grading. I can color grade pretty well, I've been doing it for 7 years but not in DaVinci resolve.
If I had access to a RED camera or if I was given RED RAW footage to work with, then I most probably would be a Professional Colourist. And if I was a Pro Colourist, I would not be scouring RUclips for tutorials on how to keep my client happy. But as it is, I'm a punter with a prosumer camera shooting in vLog 10bit 4:2:2. Maybe you could adapt your Tutorials to the vast majority of the RUclips viewers and assume that they do NOT have access to +£30K rigs?
@@scottslotterbeck3796 The information is transferable with enough underpinning knowledge. And somebody with easy access to a RED camera or the footage from that camera to digitally manipulate in Resolve, won’t be trawling through RUclips looking for tips how to best serve their client. If, on the other hand somebody found a random clip, on a copyright website like Artgrid, that they just wanted to experiment with then I doubt they would have that underpinning knowledge. There is nothing wrong with aspirational thought to wanting to have or use the best cameras money can buy. But in reality, the vast majority of people who watch this channel will have consumer cameras that produce Rec 709 8bit, or if they are lucky some version of log 10bit and do not have that underpinning knowledge.
Pretty good video, the only point where I disagree is when you added sharpness. If you really look at the Fabelmens it’s not overly sharp, it’s soft… it’s that wonderful soft film look. And when you added sharpness you kind of ruined it… If anything I would’ve gone the other way and softened the man’s face.
bruh… you literally talk about Halation, you then click the “glow” effect right next to it adding more work for yourself that is just really not needed… Honestly i was looking to ignore the node tree but its just so honestly broken and complete overkill and I can’t watch anymore.
Could you talk any faster? You’re flying through this like there’s a fire in your house. And the other half of your video is basically a commercial. What a bunch of BS.
This is honestly a very destructive workflow. For 1 in the raw tab your converting the file to 709, and then your grading, basically you throw away all the advantages of raw and log, and conduct all of your grading on a 709 image. In the Raw tab the output should be redwidegamut log3g10 and you should really change from legacy to Ipp2. Secondly, besides the fact that a proper input gamma wasn't placed in your CST node to correctly use the film lut, you proceeded to use the color warper after the film lut, which led to a ton noise in your background that is clearly visible even after youtube compression. Additionally taking such a narrow approach such as the color warper to create what is a global overall look is very destructive as the effect will introduce a ton of issues when trying to using across multiple shots. Even using the depth mapper, which in itself is a useful tool, using it in this way is still such a narrow approach, when a power window could have produced the same affect in a much smoother, quicker and transferable way. I really appreciate Film Riot and all you give, but your color grading tutorials specifically have done a good job in showing people how granular you can get with the tools in resolve but has failed in showing proper workflows and logical approaches as when grading. Sure I can make 1 shot match using color warper and qualifiers and 3d keyers and magic mask, but can I transfer that look across a short film or a show? You want to approach your canvas with broad strokes, primaries, curves, you can very close to the fablemans look with just those tools, the film lut wasn't a bad idea but from a technical standpoint was implemented incorrectly. When you get to the finer details then you might want to breakout the small brush, qualifies, magic mask, color warper. I hope you don't take this as a shot but as constructive criticism to help you with continuing your efforts in educating people on the film industry.
I'm final cut user trying to learn DaVinci and to be honest this shit sounds way to technical for me. Let me stay here in my little Final Cut corner and relax yes. But its nice listening to you guys that know your way around this software
Agreed. Fun fact, the color warper produces a 3D LUT internally, and as such is quite destructive.
100% right
@@desronclarke3919 it’s really not that bad, just a lot of misinformation and bad practices that abound. So it takes a lot of time to learn what’s right, what works, so on so forth, but it’s definitely worth it it.
@@desronclarke3919 Davinci has the best color grading but since I'm not a colorist...I just cheat and slap a lut on that I like. Am I going to win any awardsfor color grading? Nope. But story is #1 and a pleasant look is enough for me. If I have enough $$$, I'll hire a grader.
Can you make an episode on matching grades between shots? Especially with your more complicated grades like like the first one? The grade looks really complex and seemed tailored specifically to that shot (especially the depth map), and I’d be interested to see how to apply something like that across an entire project where a depth map may not be necessary at all
Some things about using the film look LUT are done incorrectly. The LUT expects actual film, but the next best thing we can provide is rec.709 as the gamut (color space) and Cineon Log as the gamma (tonal curve). Ryan only sets the output gamma as Cineon Log. This setup would presume that the incoming signal is already with a rec.709 gamut (color space) and that the timeline gamma is set to whatever the incoming signal's tone curve (gamma) is.
The correct way in this case, as the footage is of gamut (color space) REDcolor4 and gamma REDgamma4 (as was set in the camera raw panel), would be to set the input color space to REDcolor4, the input gamma to REDgamma4, the output color space to rec.709 and the output gamma to Cineon Log.
That being said, REDcolor4 and REDgamma4 are legacy color science and these days REDWideGamutRGB and RED Log3G10 are used instead.
This is my 2c.
Yup! Another technique I’m trying recently is using an ACES Transform OFX to transform to ADX10 instead of Cineon Film Log
@@he.smile_Using ADX10 is another interesting take on it.
Here in lies the difference between tutorials for the RUclips generation and tutorials by Filmlight for working colourists.
@@uberjava And don't get me started on all the wonderful LUT Packs that RUclipsrs sell (there are of course some actually good ones one there, but they're a needle in a haystack).
@@KaurH Well ya.. it’s interesting that it’s become a thing for the masses, fuelled by free Davinci, affordable ‘cine’ kit and RUclips. Whatever is technically correct in terms of workflows is secondary to getting views and selling subscriptions to asset sites. So don’t get mad at it all..
Happy new year Film Riot 🎥 🎞 🎦 🎬 📽 ✨, love u guys from over here 🇰🇪
Watching how close it was done is equally entertaining as watching the movie. I don't even have a video editing software on my pc or not intending to use one. You always did a great job on explaining things so that even an average film enthusiast like me can understand the process and enjoy.
Great color grading guys, those shots look amazing!! I learn so much from this and I thank you for sharing your knowledge.
the part where josh says "Logo" is so nostalgic. I remember when I was like 13 when I first saw one of your vids. now I am 23 , still have the same shit pc but Its not stopping me from trying to render a 720p 1min clip for nearly an hour but damn the knowledge.
Now apply this grade to whole feature film...
This workflow will take a long time...I would never use powerwindows, only if it is absolutely necessary
This is awesome. Thanks for walking throught the steps. Great end result.
@filmriot are we not gonna talk about hitting 2 million!?!?! Congratulations! Been watch way, way, way, wayyyyyyyyyyyyyy before a million lol. 12 years strong here! @filmriot
Yes! I love some good resolve tutorials.
Always so detailed with the workflow. TQ
Love your videos! They are really helpfull. Keep going!
Great stuff, thanks for your breakdown!
Great video. I'm glad that you guys are showing more Davinci tutorials. Now if you could go back and remake all your previous videos using Resolve instead of Premiere, lol
This is exactly what I was looking for.
Do you guys have some masterclass on grading in DaVinci Resolve and why not?
Excelente video, colores muy bellos! Thank you!
Can you recreate the look of Raiders Of The Lost Ark?
Another kickass episode of Film Riot! How can I secure a Red 4XL hoodie? Or Black. Thank you
So good.
learned quit a bit from you video thanks
Great video thanks RYAN 🙏
Thank you bro!
Is there a training video where one can learn davinci resolve completely.
All over the 'net. DaVinci has afew basic tutorials which can get you started.
Color grading is an art, and it takes years to get excellent results. Hire an editor whose work you like.
@Scott Slotterbeck thanks for the reply. I use Premiere Pro to color grade, but I just wanted to learn DaVinci ins and outs because I heard it's excellent for color grading. I can color grade pretty well, I've been doing it for 7 years but not in DaVinci resolve.
Perfect tutorial
If I had access to a RED camera or if I was given RED RAW footage to work with, then I most probably would be a Professional Colourist. And if I was a Pro Colourist, I would not be scouring RUclips for tutorials on how to keep my client happy.
But as it is, I'm a punter with a prosumer camera shooting in vLog 10bit 4:2:2.
Maybe you could adapt your Tutorials to the vast majority of the RUclips viewers and assume that they do NOT have access to +£30K rigs?
The info is transferrable with modification.
@@scottslotterbeck3796 The information is transferable with enough underpinning knowledge. And somebody with easy access to a RED camera or the footage from that camera to digitally manipulate in Resolve, won’t be trawling through RUclips looking for tips how to best serve their client.
If, on the other hand somebody found a random clip, on a copyright website like Artgrid, that they just wanted to experiment with then I doubt they would have that underpinning knowledge.
There is nothing wrong with aspirational thought to wanting to have or use the best cameras money can buy.
But in reality, the vast majority of people who watch this channel will have consumer cameras that produce Rec 709 8bit, or if they are lucky some version of log 10bit and do not have that underpinning knowledge.
Your explanations are waaaay to fast. In the magic mask, how did you get the character to show up by himself and the background invisible?
crazy. i didn't know this movie even existed until you posted this video
Me neither. It is truly a beautiful look.
Hey Ryan, can I ask you what’s with the announcement of my rode reel winners
Pretty good video, the only point where I disagree is when you added sharpness. If you really look at the Fabelmens it’s not overly sharp, it’s soft… it’s that wonderful soft film look. And when you added sharpness you kind of ruined it… If anything I would’ve gone the other way and softened the man’s face.
💚Great video as always 💚 How can you modify the colors of more than one shot in one scene?
Please make a video about the ARRI Logc 4 LUT for the camera 35 and the DaVinci, thank you
Janusz Kamiński's name is pronounced "yanush", just for the sake of future awesome videos 😅
this video rules
magic mask is insane
Can you possibly do a color grading tutorial based off the color grade of the HBO series The Last of Us?
Can you do one for BABYLON
Where was the Filmconvert Nitrate?! Lol
👌👌👌
Can you make more tutorials for davinci resolve
But where’s intercept?
👍
More cemetary colors. I just click away these days. I don't want to be depressed.
Love from bihar
They get paid by the hour. Or by the node.
Hey why not try making the new avatar like your own animation and stuff, a parody
bruh… you literally talk about Halation, you then click the “glow” effect right next to it adding more work for yourself that is just really not needed… Honestly i was looking to ignore the node tree but its just so honestly broken and complete overkill and I can’t watch anymore.
Overkill grading.. 7 steps too many
2nd
What?
First
Could you talk any faster? You’re flying through this like there’s a fire in your house. And the other half of your video is basically a commercial. What a bunch of BS.
Thanks for watching.
This whole workflow is a catastrophe… sorry guys, really dig your channel, but this is not worthy.
3rd