⚠This Video is a Re-Upload!⚠ Hey everyone! I’m super sorry for the confusion but I made two mistakes in the table in my previous video. But now, everything is correct. Still let’s address frequently asked questions from the initial upload: 1) I shoot N-Log with Rec.2020 Gamut, but it shows up as Rec.709 → Don’t do anything. The Rec.709 tag interpretation is lossless and correct. 2) I shoot Apple Log with Rec.2020 Gamut and it shows up as Rec.2020 → Set the colour space override to Rec.709 since we want to use the Rec.709 interpretation of the footage. 3) Why not change the LUT settings? My recommendation is to set the colour space override to Rec.709 so you don’t have to bother with the LUT input settings. Also, changing the colour space override will trigger the automatic colour conform as intended (automatically off for the Rec.709 interpretation of your footage). I recommend this because this leaves less room for error and you only have to take care about one setting, rather than two. Again, interpreting the footage as Rec.709 is lossless and will not impose any limitations as explained in the video.
Wow! Thanks so much for providing an objective approach and explaining inner workings of FCP in such a clear way. This is exactly the type of information I needed.
I totally get your point, but I don’t see the appeal of HDR just yet. You need to be able to monitor HDR properly in order to grade it and this is where the first problems arise. Yes, all newer MacBooks can monitor HDR but the majority of external monitors aren’t there. So, don’t get me wrong, I understand why you’re asking that and it’s a legitimate question but I don’t think HDR is a thing to worry about for the vast majority of people just yet. That being said, I’m open to change my mind. And if I can afford a ProDisplay XDR someday, I will dive into HDR. But now, I can’t even monitor it properly, other than on my MacBook and that’s not a good solution. 🙈
@@iamericlenzHi Erich, Thanks for your response - I totally get where you’re coming from, and you’re absolutely right: without the proper monitors, HDR in a professional setting is incredibly difficult to manage. Most of us don’t have access to those expensive displays, which makes proper grading quite a challenge. I, for example, don’t have one of these monitors either, and for certain aspects of color, I have to rely on color charts and only really see the final result visually at the end. It’s a bit of guesswork at times, but surprisingly, it works out quite well in practice-though, as you said, it’s only really suitable for personal projects. In my case, I’m making ambitious videos for family and friends, and I love delivering in Dolby Vision because of the incredible color depth and contrast it offers. Even with basic color grading, the results are noticeably better compared to not grading at all. I mostly shoot in Apple Log for that added flexibility. That said, I’m starting to understand more and more why there are so few HDR delivery workflows on RUclips that fully explain the process. It sometimes feels like we’re still in the Wild West, and I find myself a bit alone in that journey. But I really appreciate your work and the great content you’re putting out-it’s been a huge help! Best regards from Switzerland, Patrick
@@patrickkurmann Thank you! You are absolutely right. If I made a tutorial on that, it needs to be air-tight. So I appreciate that you understand my hesitation. I also see why HDR is fascinating, but I'd still ague the true art lies in an intentional and well-made colour grade. HDR allows for more saturated colours and brighter ones. But in the art of colour grading, what you don't see is as important as what you see. Again, I see why HDR will be the next big shift as a baseline standard but having more information on screen isn't always desirable. So at the end of the day, I'll always argue for learning colour grading. :)
Hi Eric, Great video about a complicated subject but you make sense of it. However, what happened to the Raw information? Raw is in the title but you don't refer to the workflow at all. It would be very useful if you could present the workflow in the way you do with Log and HLG. Would be a great asset for us ProResRaw shooters. Thanks.
Hi Eric - Can you tell me where I look in FCPX to find out if a clip was shot in Log, Natural, CineD, etc? I have looked everywhere and searched everywhere. Thank you for any help you can provide! Jim
⚠This Video is a Re-Upload!⚠
Hey everyone! I’m super sorry for the confusion but I made two mistakes in the table in my previous video. But now, everything is correct.
Still let’s address frequently asked questions from the initial upload:
1) I shoot N-Log with Rec.2020 Gamut, but it shows up as Rec.709 → Don’t do anything. The Rec.709 tag interpretation is lossless and correct.
2) I shoot Apple Log with Rec.2020 Gamut and it shows up as Rec.2020 → Set the colour space override to Rec.709 since we want to use the Rec.709 interpretation of the footage.
3) Why not change the LUT settings? My recommendation is to set the colour space override to Rec.709 so you don’t have to bother with the LUT input settings. Also, changing the colour space override will trigger the automatic colour conform as intended (automatically off for the Rec.709 interpretation of your footage). I recommend this because this leaves less room for error and you only have to take care about one setting, rather than two.
Again, interpreting the footage as Rec.709 is lossless and will not impose any limitations as explained in the video.
Thanks for clarifying. I was wondering what you might have corrected in the presentation.
I so appreciate the effort to get things right, more than get the most views!
This is the guy I always tried to sit behind in Algebra class in high school. Thank you SO much for this great FCPX info. You are an amazing teacher.
Haha :D Thank you very much!
Wow! Thanks so much for providing an objective approach and explaining inner workings of FCP in such a clear way. This is exactly the type of information I needed.
Thank you! Great that was helpful!
just starting to use picture profiles, this video was so helpful and informative. thank you very much!!
Glad it was helpful! :)
Hi Erich. Do you plan a video for Rec2020 delivery (HLG or PQ)? Your video is awesome and it’s among other countless Rec709 based videos.
I totally get your point, but I don’t see the appeal of HDR just yet. You need to be able to monitor HDR properly in order to grade it and this is where the first problems arise. Yes, all newer MacBooks can monitor HDR but the majority of external monitors aren’t there.
So, don’t get me wrong, I understand why you’re asking that and it’s a legitimate question but I don’t think HDR is a thing to worry about for the vast majority of people just yet.
That being said, I’m open to change my mind. And if I can afford a ProDisplay XDR someday, I will dive into HDR. But now, I can’t even monitor it properly, other than on my MacBook and that’s not a good solution. 🙈
@@iamericlenzHi Erich, Thanks for your response - I totally get where you’re coming from, and you’re absolutely right: without the proper monitors, HDR in a professional setting is incredibly difficult to manage. Most of us don’t have access to those expensive displays, which makes proper grading quite a challenge. I, for example, don’t have one of these monitors either, and for certain aspects of color, I have to rely on color charts and only really see the final result visually at the end. It’s a bit of guesswork at times, but surprisingly, it works out quite well in practice-though, as you said, it’s only really suitable for personal projects.
In my case, I’m making ambitious videos for family and friends, and I love delivering in Dolby Vision because of the incredible color depth and contrast it offers. Even with basic color grading, the results are noticeably better compared to not grading at all. I mostly shoot in Apple Log for that added flexibility.
That said, I’m starting to understand more and more why there are so few HDR delivery workflows on RUclips that fully explain the process. It sometimes feels like we’re still in the Wild West, and I find myself a bit alone in that journey. But I really appreciate your work and the great content you’re putting out-it’s been a huge help!
Best regards from Switzerland,
Patrick
@@patrickkurmann Thank you! You are absolutely right. If I made a tutorial on that, it needs to be air-tight. So I appreciate that you understand my hesitation.
I also see why HDR is fascinating, but I'd still ague the true art lies in an intentional and well-made colour grade. HDR allows for more saturated colours and brighter ones.
But in the art of colour grading, what you don't see is as important as what you see.
Again, I see why HDR will be the next big shift as a baseline standard but having more information on screen isn't always desirable. So at the end of the day, I'll always argue for learning colour grading. :)
Just watching and enjoying (thank you!) but out of interest what is the "all seeing single eye" graphic referring to?
It's just a running gag on the channel. :D
Hi Eric, Great video about a complicated subject but you make sense of it. However, what happened to the Raw information? Raw is in the title but you don't refer to the workflow at all. It would be very useful if you could present the workflow in the way you do with Log and HLG. Would be a great asset for us ProResRaw shooters. Thanks.
BINGO !
Thank you !
Thank you! You’re welcome! :)
Hi Eric - Can you tell me where I look in FCPX to find out if a clip was shot in Log, Natural, CineD, etc? I have looked everywhere and searched everywhere. Thank you for any help you can provide! Jim
Usually, these metadata don’t get recorded or show up. There is no way of knowing from the file because it doesn’t carry the metadata.
@@iamericlenz Thanks for your help, Eric.
I love your content but I would love it more if you did Davinci Content..
Thank you! My future videos will be about understanding concepts. These will apply to everything. :)