Thanks a lot for this short and clear video. One question from my side: IF I have only one kind of footage, all from the same Nikon camera with same settings, is it ok to use a Adjustment Clip with your two ICST and OCST nodes on it, rather than repeat all for every single clip ? Thanks alot for your response and greetings from Switzerland !
There are tons of videos on youtube about Log Color grading in DaVinci for many different camera brands, but very few that deals with Nikon N-Log, so your video is very unique. I am an avid Nikon user since years for photography, and I have a solid knowlwdge on Raw image processing using Capture One. Currently I own a Z8, and I am just trying to extend my scope onto video shooting with this camera, and processing them in Davinci. Your video is a great help for me to step into this new area, and very informative (I watched your other one under Nikon Canada too.) Should you have any opportunity, please go on crating Nikon’s video related content, I am very much interested on camera settings for Log and Raw recording, and Color correction/grading these formats in Davinci. Thanks, Jozsef
I appreciate the feedback. I am going to be focusing on video content creation from a Nikon perspective so if that's something you're interested in, subscribe to my channel. The support is appreciated
I have bought Nikon zf and 1st time shooting and editing in the Nlog video. Your video very helpful to me. Thanks for sharing. Subscribed to your channel.
Thanks lot Daniel, please do share your grading workflow 😊 Also when shooting footage (Z9 in my case) could you touch on your preferred shooting settings, for example should you shoot camera right and pull down shadows? Rock on Brother! 🤘
Appreciate the feedback! My videos will get there. I'm taking it step by step as I've heard through work and my personal travels there isn't a lot of simple explanations for Nikon users online. I want to create content for all skill levels!
What´s the advantage using your method instead of using "DaVinci YRGB Color Managed" and click the "automatic color management" box. In Camera Raw I set it to "Nikon Raw" and decode using "Camera metadata". I tried your method and my method described and don´t really see a difference, but that might be me. Therefore the question, what´s the advantage using your method. With the Nikon LUT I agree the results are so so depending on the light situation.
Your way works, but I find my way allows me to change my output more easily. For example, say my project needed to be output in an HDR colour space after I've completed my grade. Additionally, my way allows you to have footage from multiple manufacturers/cameras in the same project without introducing issues. I like to have a consistency to my workflow so I minimize the possibility of me making an error.
@@Daniel.Germinario Nikon just released an official video using the same process! :) ruclips.net/video/cukGr8p0E1c/видео.html I always just used the CineTools LUTs.
There is no visible difference when setting the color space to Rec.709-A and using one node for CST with Rec.2020 to N-Log, then applying the timeline color space to both. Any thoughts?
The issue with this is you're setting your timeline colour space to one where you have the least latitude for exposure and colour. The whole point in shooting in LOG is to have the most flexibility. Da Vinci Wide Gamut is one of the largest colour spaces, but converting to, and then making all our adjustments in that colour space, we have the most flexibility to alter our image before compressing it down to Rec.709. You may not see a visible difference (especially before pushing/pulling an image) but there is one.
Nope there isn't. You can use Rec.709-A or (Scene) on Mac. I haven't noticed any difference personally but when I am using either PC or Mac, I use the same setup as the video describes.
could you not just use the colour managed workflow option under settings ? This means you dont have to make the two extra nodes for CST's and it does the heavy lifting for you ?
You absolutely could. The reason I like to use this method is not every project is going to provide you all the exact same footage. You may have multiple cameras such as a Nikon and then a DJI Drone. Using the colour managed work flow could create issues/extra work in the long run if that's the case. I personally use one method to keep my projects consistent, kind of like muscle memory.
Honestly, I'm not certain as to why it isn't great. If you want to use a LUT, I'd recommend downloading the new ones RED created for Nikon N-Log. You can find them on Nikons website. I did make another RUclips video about them following this video.
@@Daniel.Germinario I used those too and it still looks pretty bad. I use FCPX. I will say using Davinci, it comes out better using CST but I prefer FCPX so I'm stuck there.
I can certainly give some guidance in using the flat picture control! I'll create a video for that soon! You wouldn't use a colour space transform for that! Stay tuned!
@@Daniel.Germinario The last node got incredibly oversaturated. I stopped at the first three nodes. Once I added the last node to covert back rec 709, it got too saturated.
@@nigerian-nightmare Interesting! Without seeing your specific footage and how you've set the project and node tree up I can't say for certain why that's the case. I've never had that issue.
Are you referring to my explanation or the process? I can try to assist if you have questions. Alternatively, since this video was posted Nikon has released LUTs created by RED which work very well to convert your footage from N-Log to Rec.709
Totally understand! Well I hope you were able to follow along. My goal is to make content that even a beginner can follow and learn. Thanks for watching!
Extremely easy to follow and listen to. So many other Resolve tutorials deliver their advice too quickly for me to understand. Well done and thanks.
I appreciate that feedback! Thank you for watching
I watched so many videos trying to figure this out and how this works. This was by far the best and easiest to follow & understand. Thank you!
You're very welcome! Glad I could help you 🙏
Thanks a lot for this short and clear video. One question from my side: IF I have only one kind of footage, all from the same Nikon camera with same settings, is it ok to use a Adjustment Clip with your two ICST and OCST nodes on it, rather than repeat all for every single clip ? Thanks alot for your response and greetings from Switzerland !
Absolutely you can do that. I'll create a video on a couple ways you can apply this to your entire project!
There are tons of videos on youtube about Log Color grading in DaVinci for many different camera brands, but very few that deals with Nikon N-Log, so your video is very unique. I am an avid Nikon user since years for photography, and I have a solid knowlwdge on Raw image processing using Capture One. Currently I own a Z8, and I am just trying to extend my scope onto video shooting with this camera, and processing them in Davinci. Your video is a great help for me to step into this new area, and very informative (I watched your other one under Nikon Canada too.) Should you have any opportunity, please go on crating Nikon’s video related content, I am very much interested on camera settings for Log and Raw recording, and Color correction/grading these formats in Davinci. Thanks, Jozsef
I appreciate the feedback. I am going to be focusing on video content creation from a Nikon perspective so if that's something you're interested in, subscribe to my channel. The support is appreciated
@@jozsefbognar5896 Same here, I’m loving the Z8.
I have bought Nikon zf and 1st time shooting and editing in the Nlog video. Your video very helpful to me. Thanks for sharing. Subscribed to your channel.
Appreciate the feedback! Thank you so much!
I'd love to see your WB method.
Thanks lot Daniel, please do share your grading workflow 😊 Also when shooting footage (Z9 in my case) could you touch on your preferred shooting settings, for example should you shoot camera right and pull down shadows?
Rock on Brother! 🤘
Appreciate the feedback! My videos will get there. I'm taking it step by step as I've heard through work and my personal travels there isn't a lot of simple explanations for Nikon users online. I want to create content for all skill levels!
What´s the advantage using your method instead of using "DaVinci YRGB Color Managed" and click the "automatic color management" box. In Camera Raw I set it to "Nikon Raw" and decode using "Camera metadata". I tried your method and my method described and don´t really see a difference, but that might be me. Therefore the question, what´s the advantage using your method. With the Nikon LUT I agree the results are so so depending on the light situation.
Your way works, but I find my way allows me to change my output more easily. For example, say my project needed to be output in an HDR colour space after I've completed my grade. Additionally, my way allows you to have footage from multiple manufacturers/cameras in the same project without introducing issues. I like to have a consistency to my workflow so I minimize the possibility of me making an error.
@@Daniel.Germinario Nikon just released an official video using the same process! :) ruclips.net/video/cukGr8p0E1c/видео.html I always just used the CineTools LUTs.
Thank you. I appreciate the info. There are very few video's that deal with N-Log. Glad you took the time to share. Liked and Subscribed
Appreciate that!
There is no visible difference when setting the color space to Rec.709-A and using one node for CST with Rec.2020 to N-Log, then applying the timeline color space to both. Any thoughts?
Are you setting your output colour space or timeline to Rec.709-A?
@@Daniel.Germinario both
The issue with this is you're setting your timeline colour space to one where you have the least latitude for exposure and colour. The whole point in shooting in LOG is to have the most flexibility. Da Vinci Wide Gamut is one of the largest colour spaces, but converting to, and then making all our adjustments in that colour space, we have the most flexibility to alter our image before compressing it down to Rec.709. You may not see a visible difference (especially before pushing/pulling an image) but there is one.
Your video very helpful to me. Thank you for making this video
Glad I was able to help! That's the whole reason why I do this! 😁. Please feel free to ask questions or give video suggestions 😊
Hi Daniel is there a difference on the color settings in Davinci resolve if latop is Windows or Apple operating system?
Nope there isn't. You can use Rec.709-A or (Scene) on Mac. I haven't noticed any difference personally but when I am using either PC or Mac, I use the same setup as the video describes.
@@Daniel.Germinario Thanks Daniel for your time, much appreciated
Would love to see a series of NRAW and Nlog work flows.
Thanks for the suggestion. I actually released one about a week ago! I plan on doing an NRAW one soon.
Hi, thanks for this video. Can you show us more how to colour grade Nikon footage. Thank you!
That'll definitely be a future video!
What's the best way to export this as a LUT that I can use in an external monitor?
Great question! I'll look into this, a excellent topic for a new video!
Hi, thanks again Daniel. So would I use the 2nd and or the 3rd node to add a Lut.
Your LUT would come after the 2nd Colour Space Transform node.
@@Daniel.Germinario Thanks again, I’m really getting into DaVinci.
could you not just use the colour managed workflow option under settings ? This means you dont have to make the two extra nodes for CST's and it does the heavy lifting for you ?
You absolutely could. The reason I like to use this method is not every project is going to provide you all the exact same footage. You may have multiple cameras such as a Nikon and then a DJI Drone. Using the colour managed work flow could create issues/extra work in the long run if that's the case. I personally use one method to keep my projects consistent, kind of like muscle memory.
Did you shoot this? What is the name of the model?
Yes I did. The models name is Vera Bambi. @VeraBambiLIVE on Instagram
Is there a way to save this a preset so you don't have to do wit with every single project?
Yes there is! I'll make a video on it soon. Very simple to do!
Is there any reason why the Nikon LUT absolutely sucks???
Honestly, I'm not certain as to why it isn't great. If you want to use a LUT, I'd recommend downloading the new ones RED created for Nikon N-Log. You can find them on Nikons website. I did make another RUclips video about them following this video.
@@Daniel.Germinario I used those too and it still looks pretty bad. I use FCPX. I will say using Davinci, it comes out better using CST but I prefer FCPX so I'm stuck there.
@BRNDNSLVRA how are you exposing you're footage? In N-Log, if you don't over expose, you'll be getting some significant noise in the shadows.
@@Daniel.Germinario Im shooting around +0.07 - +1.3
Hmmm it's hard to say without seeing your footage. I'm also not as familiar with FCPX I've had no issues with the RED luts in Premiere or Da Vinci
What about Nikon flat? Z30, Z50 doesn't have n-log.
I can certainly give some guidance in using the flat picture control! I'll create a video for that soon! You wouldn't use a colour space transform for that! Stay tuned!
@@Daniel.Germinario Will be waiting for it!
Your method did not work for me at all.
Could you be more specific as to how? I've never run into issues with this method.
@@Daniel.Germinario The last node got incredibly oversaturated. I stopped at the first three nodes. Once I added the last node to covert back rec 709, it got too saturated.
@@nigerian-nightmare Interesting! Without seeing your specific footage and how you've set the project and node tree up I can't say for certain why that's the case. I've never had that issue.
Jesus…..its completely overwhelmingly confusing
Are you referring to my explanation or the process? I can try to assist if you have questions. Alternatively, since this video was posted Nikon has released LUTs created by RED which work very well to convert your footage from N-Log to Rec.709
@@Daniel.Germinario it’s not you…l I am new to videography expanding from photography
Totally understand! Well I hope you were able to follow along. My goal is to make content that even a beginner can follow and learn. Thanks for watching!