Nice demo. It would have been useful to explain why temp/tint create an undesired effect. They are just gain operators on two axis. They aren't designed to serve as balancing tool on log data but rather normalized SDR images. Offset or HDR temp controls work for log but he most accurate balancing would be to convert to linear and then apply only gain changes with primary temp/tint or the gain wheel, then convert back to log.
Hi there, appreciate your input. I'd like to try your suggest method but didn't quite get the last part: So you would 1.Convert to 709 2.Adjust the RBG in only the gain wheel 3.Adjust temp/tint Is that correct?
@@mikechen121 If you're working with log footage, convert from your current log space to the same space but linear gamma, then use the gain wheel, convert back to log afterwards. So for instance DaVinci WideGamut / Intermediate to DWG/Linear and the back after the adjustment. When using a CST to convert make sure tone mapping is set to none. If you use RCM or manual management with proper timeline tagging of your working space you can actually set a node itself to linear gamma (rightclick it) which removes the need for extra set of CST nodes.
@@VladislavNovickij Владислав, но ведь такое вмешательство, я имею в виду грубое вмешательство с изменением ползунков +/- 10 единиц возможно, только при условии, что вся нужная информация имеется в наличии как в RED 3D RAW если, взять ролик снятый в 8 битах или даже 10 бит лог, такого чистого результата добиться не получится
@@odessitfromshz По поводу 8 бит согласен там все по другому, легко сломать кортинку, но даже в 8 бит работая с колесами можно многое сделать и сохранить чистый результат. А что косаемо 10бит, я в своем следущем ролике показал как скопировав все что делал тут 10бит также идеально выглядет 👌 там более чем достаточно информации.
Man this just opened my eyes to more stuff I need to learn, I always felt that temp and tint didn’t cut it but didn’t know why. Thanks for sharing this!!!
Originally Resolve was made for "correcting" telecine that was shot 709 colorspace. Temp and tint expect 709, not logarithmic footage. This is the reason why many of the tools don't work well with log-like footage. Auditioning different tools for balancing is a good idea. OFFSET, HDR global wheel, linear node's gain wheel, OFX Chromatic Adaptation. Alternative way is to prioritize balancing subjects skin (like he does in the video with offset). After that use curves on a node after to hue v hue and hue v sat the rest of the image. I prefer to do as much as possible with primaries as possible and after use curves to mold the image in line.
@@timovepsalainen4927 The Temp and Tint sliders didn't even exist before DaVinci 12.5, so clearly were not "designed for telecine" nor Rec709. They are just gain with predefined vectors, and should be done in linear. If you set correctly your timeline colorspace and are color managing properly your clips, then changing the node where you're gonna use Temp and Tint to Gamma > Linear is enough for them to behave correctly.
You're right. When I graded my last film, I used the Temp too and it made my image just as purple-orange and washed out as yours at first! This is an eye-opener!
The first time i tried resolve i didnt like the results of the temp picker and intuitively i did exactly what you did. Thanks for proving that this is not unorthodox at all.
The main difference is that when using the offset wheel you are basically offsetting the different color channels while the inclinations and shapes of the curves stay unchanged. this has the advantage of affecting the white balance equally at all levels but it also alters the white and black points which is why he had to redo it later. the tint and temp sliders are also not affecting the shapes of the curves but they adjust the angle starting from the black point keeping it intact. the downside is that they are configured for rec709 signal and thus a rec709 blackpoint. nevertheless they are a good compromise if you want a more straight forward adjustment with less tweaking.
Wow!! Very helpful! Thanks! I saw some other tutorial where the guy said he liked to switch to linear to make this adjustments and adjust exposure as well. What are your thoughts on this?
I was skeptical at first. But the results are undeniable. Looking forward to that next video! Great content. Maybe a little bit more explanation on what you were looking for in your waveform. If I were to repeat this process, I’m not sure if there’s a rule of thumb for the waveform or if it’s just up to the eye. But other than that great job.
Never let waveform dictate what you should and should not do. "Keep blacks black and whites white" is not what it is about. Look at the photo, if you see something, verify your guess from scopes. I use 99% only histogram and vectorscope.
This is abit controversial. I dont think NEVER is the right word to put. Since the you are adding more step to the original tempt and tint adjustment. Maybe if u make same steps or lesser; the title will make more sense.
I had not idea, Thank you for showing this method, I just tried your technique on 2 cameras with baked in color and WOW it worked and it blew me away. If you do not more like this for beginners like me, be sure to show how you switch between saved versions and how get the scopes like have in your presentation. The examples and the pace it which you teach was perfect for me. Thank you for the video
Hello Blad, the info you are sharing is very helpful and easy to understand, I am a beginner and I can follow your teaching very well, very much looking forward to more Videos like this. cheers
This was very impressive. Would love a full node tree breakdown soon. My film emulation powergrade used temp and tint until I changed to HDR mapped Log TEMP/TINT…. But now I will use your method and never go back
Great video, short and yet full of good infos! You mention at one point, that if you push in Lift you have to counterbalance the Gamma - is that a certain rule? Or when exactly do you have to counter balance the image like this?
Thanks, just look at Your waveform. Lift affects the gamma too, so changes done in the lift always affects gamma and if You want to keep the mids/gamma in place You have to go counterbalance. The same happens when You adjust the gamma You affect the lift and gain a bit, When You go with the gain You are affecting the gamma to but not lift, thats why these adjustments are more natural than standard shadows, midtones, highlights wheels that are affecting only their values. I use the last ones just for some small corrections only.
So you are saying that if we use multiple controls for different aspects of the image, we get better results as compared to using just a single control? That is truly mindblowing. I am going to go and try using all pedals in my car now instead of just one. Hope the result will also be great! ;)
😁 I’m saying that we should just understand how to use all pedals and use them when ever we need. Yea its like a rally driver in You example. Uses all but professionally 🤗
You should take a peek at the "Chromatic Adaptation" node on the color page. It's given me unbelievable results quickly. You set it first in the chain, before the CST in, and set "Luminant Type" to "Color Temperature" for both "Source Illuminant" and "Target Illuminant" and then you can change the source kelvin to what the actual scene temperature is and it adapts the colors in a very natural way. Lifesaver!
Good tutorial. I don't do colour balance in videos but it made me think that maybe there's a better way to to colour grade photos in Lightroom and/or Photoshop.
Thanks. Maybe, but with the photos its different because we usually deal with a true RAW photos when temp and tint works as on camera. 🙌 But I also edit photos in Davinci Resolve now, maybe because I’m get used to it more 😅
You should note in the video that Lift/Gamma/Gain/Offset are just separate tools (like for Shadows, Midtones, Highlghtes and General) vs White Balance which affects color in all ranges at once. As in example footage in this video there was different color casts in different areas (1 color cast in shadows, 2nd in midtones and 3d in highlights) it is undoubtfully impossible to fix with tool which changes color for all areas - separate adjustments needed =)
@@jjaard Thanks for Your feedback. Thats why I’ve made this episode to show that Temp and Tint are not the main and not good tools for fixing such bad white balance. This is made more for amateurs or beginners to understand of how to deal with that when want to get the best results 🤗
Очень красивый цвет 👏 Причем на вашем видео он мне понравился ничуть не меньше, чем на примере. В процессе просмотра появился вопрос: при работе с RAW материалом, вы используете его полный функционал? Я понимаю, что сегодня был пример без него, но если бы вы работали для себя? Можно же установить баланс белого и экспозицию по вкусу для получения более пригодного исходника.
Im sorry can you repeat that? I was too busy vibing to that beat.😎 😜 Interesting method, I wonder what it looked like when they were shooting on set. How is it that the light in the BG was so much cooler with your method vs temp and tint? Ive always felt unsatisfied with temp and tint’s results. If Ive got this right your primary adjustment order is: Offset, lift, gamma and then fine tune from there?
This is amazing. My problem is I don't know how to read the scopes and why you push certain colors up and down by looking at the waveform and vectorscope. I'd love to know what I'm moving and why.
Hey, thanks. The main thing of the waveform to understand is that 0 is the darkest point and 100 is the brightest point. So from 0 up to 100 is everything in between. In Davinci Resolve You can go to the Waveform settings and choose Colorize option and set to RGB, then the waveform will display Red Green and Blue channels separately. And also if You go to 3 dots of the scopes, turn on - Display Qualifier Focus and navigate Your mouse cursor to the specific image area, it will show You the exact place where it is on the Weveform and You will be able to see what color is higher there and which one is lower. So You know which one to add and which one to reduce 👌
Hello, Friend I'm watching your videos. So These are amazing. I have a nub question. I've got a Canon R10 and i'm trying record in HDRPQ 10Bit, but i don't know how i can color grade this case in davinci resolve. Do you have any tutorial or a post about it? Thanks so much.
i'm a bit confused on the process. for example i understand why you brought the reds down in the offset but why did you bring the blues down that far in the lift, or any of the left adjustments for that matter. what is it you're looking for in order to stop dropping/raising those adjustments? i didn't really hear the reasonings, though the image definitely looked way cleaner.
Yes I have to learn explaining more in the video of why I do that, sorry if it was hard to understand. As I see that the picture shadows were too blue and not enough red, I drop blues in the lift way lower the green channel and add the red so it sits higher than the green because I know that I will need to compensate (go an opposite direction) them in gamma, then they will sit in one place of the waveform. Otherwise I can always make it step by step I mean if I would drop blues until the greens in the lift and add the red until the greens too, yes I would get neutral shadows but also too saturated skin, so I would go to the gamma red and blue to fix that but then these changes will affect the shadows too, so I will have to go back to the lift and push blues down again and reds up and so on. I would need to jump from Lift to Gamma and back again few times and finally would get to the same red and blue numbers as on the video.
thank you for responding, after doing some experimenting i can see why you made the changes you did. thank you for explaining i appreciate it! @@VladislavNovickij
@@_thewatcher27 Thanks for Your question. Usually I also watch on my waveform. I see that theres way too much blue and so on in my shadows so I go down with it and go even further down because I know that I will be going in an oposite direction in gamma that will compensate that difference. Just don’t be afraid to experiment and You’ll get that feeling of how strong You can push any of the colors. But theres still also a way to do it little by little by lift - gamma, lift - gamma.
Interesting ideas. Obviously you know what you’re doing. Personally I use a color temperature meter when shooting which gives me a better starting point and don’t need to use temp and tint anyway. Thanks.
Thanks. Sure, agree 300%, if the footage is balanced in camera the colorist just go for creative looks. In this case I show how to deal with not ideal balanced shots. So its always possible to make it better 🤗👌
Wow the difference is huge. It would be also nice to explain the logic behind those changes, ex why you decided to drop the reds in Lift etc so we understand how to apply those edits in various situations. But great video overall ❤
I guess it depends on what you want. If you need a closer to camera image, than you use temp and tint. You can also use a WB pipet and click on white. Working with wheels you do a deeper grading creating a look which is far from what camera sees.
Thanks for the response. In this case the Temp and Tint wont get You to what was on location. This was the raw file that I specially pushed to the warmer look. Camera raw settings change to correct Kelvin value gives the result like my Primary wheels. The background was lit on location as a blu tone 👌 And pipet wont work here good too it would just do the same what was done in Temp and Tint manually. ❤️
Except part of the reason this works well is BECAUSE this is raw footage! The real question is why he didn’t use the temp/tint in the raw section first.
@@HakimZziwaTips Yes it works the same with 10bit footage. Its hard to break an image If You make corrections in the Primary Wheels 👌 but You can break it easy with the secondaries if You push them to much.
wow this is just amazing. But we need to understand whats really happening with the colors as we might have to use this trick in other situations . A detailed explaining video would be very good
I think you are mixing to different things here. Temp/Tint have the same function as in photography - just to get the correct white balance. And what you‘re aiming for is a certain color look that no professional would realize using Temp/Tint. You either use the primaries, HDRs or for example the color warper.
Thanks but in this case not. In photography we are dealing with Raw image settings of temp and tint which are the same as on camera, In this case temp is backed in the image. This is different. This was done specially to show that its still posible to correct that later. While this was a RAW file before CSTs, if I do changes in Raw settings with Temp slider then it gives the same result as my Primary wheels. Its just an example of how to deal with such incorrectly shot files 🙌
Thanks, You can make the same balancing with an 8 bit footage. When You do adjustments in Primary wheels they do not break an image so fast as secondaries like hue vs hue and so on. You can also send me an 8 bit footage You are struggling in and I could maybe try to correct and grade it 👌
Great info, looking forward to trying it out tonight. I’ve always fought the temp/tint but never developed a good process. Thank you! And yes, you don’t need a music bed! I’m anti music bed these days. Don’t think it helps anything.
@@VladislavNovickij Well, I tried it out and it works phenomenally well! I still had a shot or two tonight where I needed a touch of tint or temp, but usually it’s in addition to your method. Well done!👍 Thank you so much for sharing! Thank you!
Good Video! Never saw some some footage likt this corrected. I am curious about the counter arguments professionals could make to these ways. Anyway, i will stay in contact with ur content!
Nice demo. It would have been useful to explain why temp/tint create an undesired effect. They are just gain operators on two axis. They aren't designed to serve as balancing tool on log data but rather normalized SDR images. Offset or HDR temp controls work for log but he most accurate balancing would be to convert to linear and then apply only gain changes with primary temp/tint or the gain wheel, then convert back to log.
Thanks, this comparison is more like beginners would do with the temp and tint. Your method would go for a pro level 🤗
Hi there, appreciate your input. I'd like to try your suggest method but didn't quite get the last part: So you would 1.Convert to 709 2.Adjust the RBG in only the gain wheel 3.Adjust temp/tint Is that correct?
@@mikechen121 If you're working with log footage, convert from your current log space to the same space but linear gamma, then use the gain wheel, convert back to log afterwards. So for instance DaVinci WideGamut / Intermediate to DWG/Linear and the back after the adjustment. When using a CST to convert make sure tone mapping is set to none. If you use RCM or manual management with proper timeline tagging of your working space you can actually set a node itself to linear gamma (rightclick it) which removes the need for extra set of CST nodes.
@@VladislavNovickij Владислав, но ведь такое вмешательство, я имею в виду грубое вмешательство с изменением ползунков +/- 10 единиц возможно, только при условии, что вся нужная информация имеется в наличии как в RED 3D RAW если, взять ролик снятый в 8 битах или даже 10 бит лог, такого чистого результата добиться не получится
@@odessitfromshz По поводу 8 бит согласен там все по другому, легко сломать кортинку, но даже в 8 бит работая с колесами можно многое сделать и сохранить чистый результат. А что косаемо 10бит, я в своем следущем ролике показал как скопировав все что делал тут 10бит также идеально выглядет 👌 там более чем достаточно информации.
Man this just opened my eyes to more stuff I need to learn, I always felt that temp and tint didn’t cut it but didn’t know why.
Thanks for sharing this!!!
Thank You, glad it helps 🤗
Completely agree with this.
Originally Resolve was made for "correcting" telecine that was shot 709 colorspace. Temp and tint expect 709, not logarithmic footage. This is the reason why many of the tools don't work well with log-like footage.
Auditioning different tools for balancing is a good idea. OFFSET, HDR global wheel, linear node's gain wheel, OFX Chromatic Adaptation.
Alternative way is to prioritize balancing subjects skin (like he does in the video with offset). After that use curves on a node after to hue v hue and hue v sat the rest of the image.
I prefer to do as much as possible with primaries as possible and after use curves to mold the image in line.
Dude, THANK YOU for saying that. Makes sense 😮😮😮
@@timovepsalainen4927 The Temp and Tint sliders didn't even exist before DaVinci 12.5, so clearly were not "designed for telecine" nor Rec709. They are just gain with predefined vectors, and should be done in linear. If you set correctly your timeline colorspace and are color managing properly your clips, then changing the node where you're gonna use Temp and Tint to Gamma > Linear is enough for them to behave correctly.
What a difference, very clean image and so will the vectorscope!!!
👌
I legit assumed a lot of my footage was unusable becuase temp would not fix this. This is actually amazing. Thanks!
@@99Plastics Thank You too, happy to help 🙌
You're right.
When I graded my last film, I used the Temp too and it made my image just as purple-orange and washed out as yours at first!
This is an eye-opener!
Thank You 👌
The first time i tried resolve i didnt like the results of the temp picker and intuitively i did exactly what you did. Thanks for proving that this is not unorthodox at all.
Thanks 👌
Clean Tutorial ❤ Expecting More Videos
Thank You, new video with full color grading process of this shot is in my channel already 🙌
The main difference is that when using the offset wheel you are basically offsetting the different color channels while the inclinations and shapes of the curves stay unchanged. this has the advantage of affecting the white balance equally at all levels but it also alters the white and black points which is why he had to redo it later. the tint and temp sliders are also not affecting the shapes of the curves but they adjust the angle starting from the black point keeping it intact. the downside is that they are configured for rec709 signal and thus a rec709 blackpoint. nevertheless they are a good compromise if you want a more straight forward adjustment with less tweaking.
So i guess if the image is almost balanced and only needs a bit of tweaking its ok to use temp and tint?
wow. this was amazing and super helpful for me! thank you Vladislav!!
Thank You Tommy 🙌
Wow!! Very helpful! Thanks! I saw some other tutorial where the guy said he liked to switch to linear to make this adjustments and adjust exposure as well. What are your thoughts on this?
Thanks, there are alot of different ways, so everyone choose its own 🙌
I was skeptical at first. But the results are undeniable. Looking forward to that next video! Great content. Maybe a little bit more explanation on what you were looking for in your waveform. If I were to repeat this process, I’m not sure if there’s a rule of thumb for the waveform or if it’s just up to the eye. But other than that great job.
Thank You for Your response 🙌 Yes I’ll try to learn explaining more 🤗
Never let waveform dictate what you should and should not do. "Keep blacks black and whites white" is not what it is about. Look at the photo, if you see something, verify your guess from scopes. I use 99% only histogram and vectorscope.
you are incredible! one of my favorite tutorials ever!!
Thank You 🤗🙌
thanks for the breakdown. attempting to learn this art of color grading is challenging but this helps to simply the approach for color balance.
Thank You 🙌 Glad it helped 🤗
@@VladislavNovickij You're approach in explaining things are great. Keeping it simple but effective along with showing options for more controls.
@@Sk8luv33 Thanks for Your feedback, it means alot to me ❤️
This is abit controversial. I dont think NEVER is the right word to put. Since the you are adding more step to the original tempt and tint adjustment. Maybe if u make same steps or lesser; the title will make more sense.
I had not idea, Thank you for showing this method, I just tried your technique on 2 cameras with baked in color and WOW it worked and it blew me away. If you do not more like this for beginners like me, be sure to show how you switch between saved versions and how get the scopes like have in your presentation. The examples and the pace it which you teach was perfect for me. Thank you for the video
Cool thanks for Your feedback 🫶 Sure I’ll be showing more and explaining more in the next videos 🙌
Wow... Have watched around 20-30 videos but didn't find it as helpful as this one... Well explained
Thank You 🤗
Brilliant video. Amazing result.
Good lesson. I usually dont like any tutorial on RUclips, but this is the correct way to work Nice for the young colorist
Thank You 🙌
Wow! A nicer approach on balancing the colors. Definitely trying this technique on my next grade. Thanks for this Sir!
Thank You 🙏
Wow. This is something I'll watch more than once! Thanks so much.
Thanks for watching 🤗
Hello Blad, the info you are sharing is very helpful and easy to understand, I am a beginner and I can follow your teaching very well,
very much looking forward to more Videos like this. cheers
Thank You 🙌 I’m glad You find it helpful 🤗
Great video Vlad! Easy and straight forward, gonna do this for my grades from now on, look forward to more content like this!
Thanks 👌
ohhhh dear! You are really good! Well done 🤩
@@Moscizwysokosci Thank You, hope it will help You 🤗✊
This was very impressive. Would love a full node tree breakdown soon.
My film emulation powergrade used temp and tint until I changed to HDR mapped Log TEMP/TINT…. But now I will use your method and never go back
Thanks alot. I have a full node tree breakdown in my las video. Welcome to watch it 🙌❤️
Great demonstration! The one thing I wish you had also shown is how the primaries result compares to actually setting the appropriate WB in raw.
Thanks. Yes I had to show that too. It is 99% same as primaries it was 2000 kelvin difference in raw settings.
@@VladislavNovickij I definitely like the result!
That was absolutely amazing. Thank you!
Thanks. Glad you enjoyed it.
Thanks for the video.
That’s a very good way to balance up the footage.
@@Freemusic623 Thanks for watching 🙌
Great video, short and yet full of good infos! You mention at one point, that if you push in Lift you have to counterbalance the Gamma - is that a certain rule? Or when exactly do you have to counter balance the image like this?
Thanks, just look at Your waveform. Lift affects the gamma too, so changes done in the lift always affects gamma and if You want to keep the mids/gamma in place You have to go counterbalance. The same happens when You adjust the gamma You affect the lift and gain a bit, When You go with the gain You are affecting the gamma to but not lift, thats why these adjustments are more natural than standard shadows, midtones, highlights wheels that are affecting only their values. I use the last ones just for some small corrections only.
Wow! What a great explanation, I have totally been doing color wrong. Thank you for the detailed explanation.
Thank You 🙌
Brilliant. Thank you so much! God bless!
Thank You 🙏
Hey great tutorial, why is the video so warm at the beginning?
Hi, thank You. It was pushed so to simulate bad white balance in camera to show how to deal with that 🤗
I've found this to be helpful balancing my photography funnily enough
Great 🤗 Thanks for Your response 👌
So you are saying that if we use multiple controls for different aspects of the image, we get better results as compared to using just a single control? That is truly mindblowing. I am going to go and try using all pedals in my car now instead of just one. Hope the result will also be great! ;)
😁 I’m saying that we should just understand how to use all pedals and use them when ever we need. Yea its like a rally driver in You example. Uses all but professionally 🤗
Best tutorial for color balancing 👏
Nice example! Can you please tell what's your color management here? Mainly interested in which CS do you grade in
Thanks, I use CST here and work in Davinci Wide Gamut
will definitely be trying this from my next project onwards!
Greatwork, may i know if did you color manage this footage/clips?
Thank You. No, I use Color Space Transforms in my node tree.
Game changing tutorial! Thank you! Liked and Subscribed!
@@brandonwatsonmedia Thank You 🤗
This is the colour grading video I've been looking for. Thank you
Great video, could you explain in another video, what exactly you do for CST in - CST out , if you have the will and time 😊 thanks
Yes, I’ll do the full color grading of this shot, node by node in the next video 👌
@@VladislavNovickij Amazing, thank you so much Vladislav! 🙏
@@ViziaFilmsThe new video is ready with all explanations 👌
please, more tutorials like this!!!
Thanks, will post a full color grading of this shot, node by node soon 🙌
amazing tutorial, thank you lots ❤❤
@@girraaa Thanks for watching 🤗
You should take a peek at the "Chromatic Adaptation" node on the color page. It's given me unbelievable results quickly. You set it first in the chain, before the CST in, and set "Luminant Type" to "Color Temperature" for both "Source Illuminant" and "Target Illuminant" and then you can change the source kelvin to what the actual scene temperature is and it adapts the colors in a very natural way. Lifesaver!
Thanks 👌
Never knew this technique. I have subscribed sir. Thank you for the valuable info
Thank You for watching and Your subscription 🤗
Well, I was obviously doing it wrong as I was using Temp to balance. THANK YOU so much for this insightful video!
Thank You for Your response 🤗
Good tutorial.
I don't do colour balance in videos but it made me think that maybe there's a better way to to colour grade photos in Lightroom and/or Photoshop.
Thanks. Maybe, but with the photos its different because we usually deal with a true RAW photos when temp and tint works as on camera. 🙌 But I also edit photos in Davinci Resolve now, maybe because I’m get used to it more 😅
Still inspiring 😋
You should note in the video that Lift/Gamma/Gain/Offset are just separate tools (like for Shadows, Midtones, Highlghtes and General) vs White Balance which affects color in all ranges at once. As in example footage in this video there was different color casts in different areas (1 color cast in shadows, 2nd in midtones and 3d in highlights) it is undoubtfully impossible to fix with tool which changes color for all areas - separate adjustments needed =)
@@jjaard Thanks for Your feedback. Thats why I’ve made this episode to show that Temp and Tint are not the main and not good tools for fixing such bad white balance. This is made more for amateurs or beginners to understand of how to deal with that when want to get the best results 🤗
Очень красивый цвет 👏
Причем на вашем видео он мне понравился ничуть не меньше, чем на примере.
В процессе просмотра появился вопрос: при работе с RAW материалом, вы используете его полный функционал?
Я понимаю, что сегодня был пример без него, но если бы вы работали для себя? Можно же установить баланс белого и экспозицию по вкусу для получения более пригодного исходника.
Спасибо. Конечно, если есть регулировки RAW так это меняет все 🤙
Incredible tutorial, really impressed👏👏👏
Glad You like it 🙌 Thanks
Awesome bro, just got into davinci and this is helping a lot!
Thanks for watching 🤗
A very useful and basic technique. Thanks!
Im sorry can you repeat that? I was too busy vibing to that beat.😎 😜
Interesting method, I wonder what it looked like when they were shooting on set. How is it that the light in the BG was so much cooler with your method vs temp and tint?
Ive always felt unsatisfied with temp and tint’s results. If Ive got this right your primary adjustment order is: Offset, lift, gamma and then fine tune from there?
Love this! Straight to the point!
Great video, easy to understand the steps 🙏🏼
Thank You 🙏
Thank you so much for the tutorial, i was having bad times on my color grading and i dont know what to do, then i saw your video, very big help for me
Happy if it helped, thank You 🙌
I was new in videography, everytime i shoot, i dont know how to color grade😅
@@scenemode2967 Stay here I’ll be sharing my experience 👌
@@VladislavNovickij i will, i want to improve my color grading, thank you very much🙌
This is amazing. My problem is I don't know how to read the scopes and why you push certain colors up and down by looking at the waveform and vectorscope. I'd love to know what I'm moving and why.
Hey, thanks. The main thing of the waveform to understand is that 0 is the darkest point and 100 is the brightest point. So from 0 up to 100 is everything in between. In Davinci Resolve You can go to the Waveform settings and choose Colorize option and set to RGB, then the waveform will display Red Green and Blue channels separately. And also if You go to 3 dots of the scopes, turn on - Display Qualifier Focus and navigate Your mouse cursor to the specific image area, it will show You the exact place where it is on the Weveform and You will be able to see what color is higher there and which one is lower. So You know which one to add and which one to reduce 👌
you got me on this one... I cannot wait to see the full version
Thanks, adding it soon
Thank you for this tip!
@@brainkideous Thank You for watching 🤗
Hello, Friend
I'm watching your videos. So These are amazing.
I have a nub question. I've got a Canon R10 and i'm trying record in HDRPQ 10Bit, but i don't know how i can color grade this case in davinci resolve.
Do you have any tutorial or a post about it?
Thanks so much.
This has opened a new pathway to master! Good explanation🤘
Lovely grade! Would you still recommend starting with "Whitebalance" when I use raw-files?
Thank You. Whitebalance in raw settings tab, if You use raw files.
i'm a bit confused on the process. for example i understand why you brought the reds down in the offset but why did you bring the blues down that far in the lift, or any of the left adjustments for that matter. what is it you're looking for in order to stop dropping/raising those adjustments? i didn't really hear the reasonings, though the image definitely looked way cleaner.
Yes I have to learn explaining more in the video of why I do that, sorry if it was hard to understand.
As I see that the picture shadows were too blue and not enough red, I drop blues in the lift way lower the green channel and add the red so it sits higher than the green because I know that I will need to compensate (go an opposite direction) them in gamma, then they will sit in one place of the waveform.
Otherwise I can always make it step by step I mean if I would drop blues until the greens in the lift and add the red until the greens too, yes I would get neutral shadows but also too saturated skin, so I would go to the gamma red and blue to fix that but then these changes will affect the shadows too, so I will have to go back to the lift and push blues down again and reds up and so on. I would need to jump from Lift to Gamma and back again few times and finally would get to the same red and blue numbers as on the video.
thank you for responding, after doing some experimenting i can see why you made the changes you did. thank you for explaining i appreciate it! @@VladislavNovickij
Super helpful. Will be using this on my next video thank you!
Thanks 🙏
This was amazing! Thank you for this video
Thanks for Your feedback 🙌
Around 3:43 where you adjusted the lift. What is the guide so you know youre pushing a value to the right direction?
@@_thewatcher27 Thanks for Your question. Usually I also watch on my waveform. I see that theres way too much blue and so on in my shadows so I go down with it and go even further down because I know that I will be going in an oposite direction in gamma that will compensate that difference. Just don’t be afraid to experiment and You’ll get that feeling of how strong You can push any of the colors. But theres still also a way to do it little by little by lift - gamma, lift - gamma.
Increíble ! Saludos desde colombia !
Thank You 🙌
Interesting ideas. Obviously you know what you’re doing.
Personally I use a color temperature meter when shooting which gives me a better starting point and don’t need to use temp and tint anyway. Thanks.
Thanks. Sure, agree 300%, if the footage is balanced in camera the colorist just go for creative looks. In this case I show how to deal with not ideal balanced shots. So its always possible to make it better 🤗👌
Thank you. I appreciate your skills!
@@richardsisk1770 Thank You too, I really appreciate You response. Really hope to see Your comments on my future episodes 🤗
worth enough and eye opening.. thnx to vladislav
Thanks for watching ❤️🙌
Fantastic demonstration!
Glad You like it, thanks 🙌
Thanks very much for this great input. Such a great difference!
Wow the difference is huge. It would be also nice to explain the logic behind those changes, ex why you decided to drop the reds in Lift etc so we understand how to apply those edits in various situations. But great video overall ❤
Thanks alot, please check my last video of full color grading of this shot. I explain there more “why” 🤗👌
Phenomenal job. Can you please show us your workflow and your go to method when you grade?. Thanks
Thanks, yes its in my new video I had added. You can check it out👌
I would have used some temp and tint, but also the color wheels too.
I guess it depends on what you want. If you need a closer to camera image, than you use temp and tint. You can also use a WB pipet and click on white. Working with wheels you do a deeper grading creating a look which is far from what camera sees.
Thanks for the response. In this case the Temp and Tint wont get You to what was on location. This was the raw file that I specially pushed to the warmer look. Camera raw settings change to correct Kelvin value gives the result like my Primary wheels. The background was lit on location as a blu tone 👌 And pipet wont work here good too it would just do the same what was done in Temp and Tint manually. ❤️
@@VladislavNovickij which camera was that?
Yo this is such a life saver for all those that do not shoot RAW. Thank you so much bro, well broken down, of course requires some practice too.
Thanks so much bro 🙌
Except part of the reason this works well is BECAUSE this is raw footage! The real question is why he didn’t use the temp/tint in the raw section first.
@@VladislavNovickij would the results be the same for non RAW footage? guess I would have to try it, thought I would ask.
@@HakimZziwaTips Yes it works the same with 10bit footage. Its hard to break an image If You make corrections in the Primary Wheels 👌 but You can break it easy with the secondaries if You push them to much.
this is actually a great help.. Thanks..
wow this is just amazing. But we need to understand whats really happening with the colors as we might have to use this trick in other situations . A detailed explaining video would be very good
Thanks, I’ll try to explain more in the next video when I’ll be showing the full color grading of this shot from start to finish.
This was really good! Hopefully you make a video about how you use your nodes .
Thanks. Sure, I’ll make the full color grading of this shot in the next video
I think you are mixing to different things here. Temp/Tint have the same function as in photography - just to get the correct white balance. And what you‘re aiming for is a certain color look that no professional would realize using Temp/Tint. You either use the primaries, HDRs or for example the color warper.
Thanks but in this case not. In photography we are dealing with Raw image settings of temp and tint which are the same as on camera, In this case temp is backed in the image. This is different. This was done specially to show that its still posible to correct that later. While this was a RAW file before CSTs, if I do changes in Raw settings with Temp slider then it gives the same result as my Primary wheels. Its just an example of how to deal with such incorrectly shot files 🙌
That's very interesting, definitely will try it!
Thank you for tips and I have same your red Komodo so I am subscribe you. Can you show full nodes structure so I need more learn. Thx again.
Thanks. I will do the whole node structure in the next video 👌
Woow, this is insane 🔥🔥🔥🔥
🤗
Pls post more long form tutorials for us 🙏 I love it, it's simple to understand.
Thanks, will post my full color grading process of this shot soon
Very cool, would like to watch more.
Also I use 8-bit footage from mirrorless Nikon so maybe you could also make some 8-bit specific tutorial:)
Thanks, You can make the same balancing with an 8 bit footage. When You do adjustments in Primary wheels they do not break an image so fast as secondaries like hue vs hue and so on.
You can also send me an 8 bit footage You are struggling in and I could maybe try to correct and grade it 👌
Ohhh now I know why I never nailed the WB. That was amazing. Subscribed!
Thanks 🙌❤️
Wow that looks crazy good. Looking forward to trying this out now
Thank You 🙌
Love your channel
Thanks for watching👌
Looking forward to more videos! Super Clean
Thanks, I have new video about full color grading of this shot, step by step, welcome to check it out 🙌
This is jaw-droppingly good. So well done. Subscribed.
Glad You like it, thank You
Great video! Please make a video on your node structure..
Thanks alot. Full color grading node by node is coming next 👌
Great info, looking forward to trying it out tonight.
I’ve always fought the temp/tint but never developed a good process.
Thank you!
And yes, you don’t need a music bed!
I’m anti music bed these days.
Don’t think it helps anything.
Thanks
@@VladislavNovickij Well, I tried it out and it works phenomenally well!
I still had a shot or two tonight where I needed a touch of tint or temp, but usually it’s in addition to your method.
Well done!👍
Thank you so much for sharing!
Thank you!
Happy it helped 💪
@@VladislavNovickijI’ve been using it quite a bit! If you’re ever in LA, I’ll buy you lunch!
thakyou so much for this ! 🙌🙌
Thanks. I’m happy if it helped You 🤗
very helpful. I learned a lot from your video. Thank you
Good Video! Never saw some some footage likt this corrected. I am curious about the counter arguments professionals could make to these ways. Anyway, i will stay in contact with ur content!
Thanks. There are always different ways to do that. I just shared my own. The main mision is to get great result without damaging the footage 👌
Great video, new things to learn all the time :)
Thanks, I’m also learning everyday 🤗 Life is for learning 👌
Try chromatic adaptation in ofx before cst in, usually works pretty well
Thanks, I’ll check that out 👌
Thanks a lot !! ✨
New subscriber from the uk keep up the good work
BIG THANKS..!! Like and follow from Ecuador..!!
Thank You 🤗
woow i like this way is better , thank you for the video
Thank You for Your feedback 👌