@@ColindeSilva We at AMVR got DNG RAW video recording even for videos, 30FPS & 60FPS too😊 ruclips.net/video/_CxOdw7P75s/видео.html You can check Patrick's channel too, he too did some tutorials on how Cinema DNG RAW video recording works on android phones :)
@@iamakkkshay yep I know about RAW I'm also shooting RAW 10 bit DNG's video on my Samsung Note 8 with the motion Cam App 🤳 but I would like to know more about maximizing my 8-bit quality 🤩🙏🏾
Amateurs often think that there cant be a big difference between 8bit and 10bit footage since the two numbers are relatively close to each other but in reality 8bit gives you 16.7 million colors whereas 10bit gives you 1.073 billion colors
But realistically you dont gain that much more color that actually makes any difference at all, realistically its only good for having options in editing as the human eye cannot see all the colors or tell a difference.
they just see 8 bit and 10 bit...they don't know it's 2^8 = 256 and 2^10 = 1024 meaning in an 8 bit footage you have 256x256x256 colors for each of the RGB channel while in a 10 bit you have 1024x1024x1024 colors... It changes exponentially and hence this drastic difference! Definitely gives a vast amount of room and freedom while color grading.
Last year I had a project where I was running in the exact same problem. It was a pain to match shots. But luckily, I learned a lot about color grading on this channel since then. Thanks man!
thanks, I was literally just doing this and also figured out the alternative for qualifiers as shown in your video. but I still use qualifiers to smoothen my skin using the MD tool.
Surprisingly enough I've always managed to pull clean keys from 8 bit footage when it was c200, but as you said I feel c200's 8bit is really solid compared to other 8 bit footage. And the footage I was working on was almost always shot in studio so controlled lighting conditions, I guess that helps :) The only time I was having trouble is whenever they decided to include props or clothes the same color as the background (usually I was asked to treat the BG color seperatly, which in most case worked with the qualifier but in some cases when the same color was introduced in the frame, that was just a nightmare xD )
I agree on all accounts. C200 is another animal. Wardrobe and art design goes a long way. Separation is created on set with every department doing their part and that's the thing that many filmmakers overlook.
@@SnehithPamarathi there is this video called top 5 color grading mistakes for 8bit footage (jake pierrelee) and he shows you how. Not sure if its as good as his course, but its a good starting place imo
Maybe it's also the chroma subsampling. In theory 4:2:2 footage should work better with the qualifier. When you do a key with the qualifier you can see that the hue and saturation controls work with less pixels, but the luminance appears to have more information.
AMAZING! Thank you for the insight and the tool tip! I've got a Panasonic GH-5 for my A cam and 2 G85s for B cam and B-Roll. This will help "homogenize" the results a little (until I can afford a GH-6). Thanks again !
Thx. That was a good video. Agree. Just wondering if it is only 8 vs 10bit? The arri prores seems to be already quiet a upgrade to 8bit. Would be interesting to see how all the in between footage, that is quiet common now (Fuji / Panasonic 10bit 4:2:0/ 4:2:2, h.264 vs h.265, All-I vs Longgop) compare. I mean in general just try to use hue vs hue seems to be a wise.
Hey Waqas, I have a very important question for you: I'm wondering what's the proper workflow when it comes to getting the files from the client ? Should he send me the whole premier pro/davinci project, do my grade and then send him back the project or should I just ask him only all the footage of his project and then send him back all the clips in prores ? I have a client that has a premier pro project but it's a big mess to import the project into davinci with XML file, would be much easier to grade only the clips he needs. Thanks for your help :)
@Waqas Qazi is there any major differences to this workflow if I recorded in HLG3 as opposed to slog. Most youtube videos recommend using HLG when shooting 8bit because it gives more dynamic range, do you agree?
Question: if I buy a Sony zve1 10 bit camera but record in 420 8 bit or 422 8 bit or even 420 10 bit - But I record the LUT naked in internally will I see a big difference if I’m not color grading in post? I ask because I’d like to record long form video without overheating. 😊
🎯 Key Takeaways for quick navigation: 02:22: [ruclips.net/video/kpQL0mHzeoc/видео.html](ruclips.net/video/kpQL0mHzeoc/видео.html) ⚠️ Qualifiers on 8-Bit Footage Cause Issues - Beginners use qualifiers to isolate and adjust color in footage. - This can lead to banding and artifacts in 8-bit footage due to limited color information. 04:48: [ruclips.net/video/kpQL0mHzeoc/видео.html](ruclips.net/video/kpQL0mHzeoc/видео.html) 10-Bit Footage vs. 8-Bit Footage - 10-bit footage has more color information than 8-bit footage. - This allows for cleaner color grading and manipulation in 10-bit footage. - Qualifiers can be used more effectively with 10-bit footage. Made with HARPA AI
great video as always, just now ì got a small project but its the Sony A7 iii, bummers its 8 bit Slog2. (H264), how would you set up the color transform input for this? I normally use a node at the end in the timeline mode!
the moment you realise that your most footage are in bad condition which you thought was perfect then you f your mind up why the hell my color grades are awful
any way I can send you Some Canon R6 10 Bit footage? Maybe you can make some more of these types of videos. I find myself wanting to use Resolve but I always go back to adobe and my red giant plugins
well canon 8bit isn't bad at all and let's say it's a documentary filmed on c200... there's is no way to shoot an entire documentary in raw (storage issue) so it most likely be shot in 8bit since there is no 10bit in the c200... or even the c100 mark ii must be use a lot for documentary since its files are so small yet still 8bit.
Most newbies who shoot in s-log (2, 3), I find they make the biggest mistake, when shooting in 8 bit. Best profile for shooting, on Sony, is CINE4 or HLG, I find. Just stay away from the s-logs, while on 8 bit, generally speaking. Most of you don't think of this and jump right on the "pros" settings. I am not a pro, but I after watching videos like this, some while ago, I chose to never use s-log on my camera. Am very happy with CINE4. FYI. :)
The most common mistake while working with 8 bit footage, is working with 8 bit footage. (just kidding, not everyone has 10 bit or higher capable cameras)
Ok so its been a few weeks since i saw this video and tonight i found out something I REALLY need to address here. I moved BACK to davinci resolve because it REALLY is a true "colorist" platform to be on AND a fantastic editing software. I can edit 10x faster on Resolve than i can in Premier Pro. But today? I decided to move back to Premier for a specific video because for some reason I feel like the qualifier in resolve is just not working the same way it is in Premier.........and its not. I took the same clip, put it in resolve, tried to qualify my skin tons and no dice. It broke apart completely. Grabbing other colors in the frame. It just would not work and looked horrible. But if I used the HSL Secondary in Premier Pro? Its night and day. At this moment im still an 8-bit shooter on an A6600. I think im hitting this point until i get my FX30 in, Davinci is not meant for someone on an 8-bit platform. Theres alot a magic under the hood in Davinci for sure....but it neglects 8 bit footage enitrely where as im feeling Premier accounts for anyone. I think tonight i realized until I get my new FX30 in and can move to 10-bit footage? Ill put resolve to the side until then
It seems as though Hue vs Hue is the prior we approach for 8-bit footage in DVR. I had similar terrible results using a different approach and found a video similar to this. I was able to get far better results with the approach described here.
@@chaddonal4331 Yea now that im on the FX30 and shoot 10-bit and actually more often than not its 16-bit RAW, i have zero issues with qualifying now but learned using making Hue vs Hue curves to make changes with 8-bit...but even in 10 bit i do it because i actually found it to be easier, faster, and overall a better result? Im not sure why. I guess for example if I shoot in SLOG3, my skin tones are too magenta. So i just move the magenta away in the hue vs hue in the overall image and the only change i see is my skin tones starting to look correct. I found that to be easier evven on 10-bit and 16-bit footage and qualifiers makes my Davinci Resolve want to take a shit on my computer lol
Thanks for this on. Well, after an ethnic dance around the fire with your 8 bit footage u can get a result that I can call as workable. But from a workflow perspective its more time consuming and just overall less fun. Theres no turning back after 10+ bit in any terms).
Please more 8 bit stuff I know you are a High end 🤩🙏🏾 Master but I would love to see some more low end stuff for us 8bit RUclipsr 🤭 🙏🏾
Agreed - more GoPro-specific content for action shooters!
You are not just 8bit you know🤭
We got the RAW😊🙌
@@iamakkkshay As far as I know, not for video, just photo - which is not what this channel is about :-)
@@ColindeSilva We at AMVR got DNG RAW video recording even for videos, 30FPS & 60FPS too😊
ruclips.net/video/_CxOdw7P75s/видео.html
You can check Patrick's channel too, he too did some tutorials on how Cinema DNG RAW video recording works on android phones :)
@@iamakkkshay yep I know about RAW I'm also shooting RAW 10 bit DNG's video on my Samsung Note 8 with the motion Cam App 🤳 but I would like to know more about maximizing my 8-bit quality 🤩🙏🏾
Amateurs often think that there cant be a big difference between 8bit and 10bit footage since the two numbers are relatively close to each other but in reality 8bit gives you 16.7 million colors whereas 10bit gives you 1.073 billion colors
That
But realistically you dont gain that much more color that actually makes any difference at all, realistically its only good for having options in editing as the human eye cannot see all the colors or tell a difference.
@@pilsplease7561 exactly, for casual vloggers and such it isn't too important.But for aspiring cinematographers it's huge.
they just see 8 bit and 10 bit...they don't know it's 2^8 = 256 and 2^10 = 1024 meaning in an 8 bit footage you have 256x256x256 colors for each of the RGB channel while in a 10 bit you have 1024x1024x1024 colors... It changes exponentially and hence this drastic difference! Definitely gives a vast amount of room and freedom while color grading.
but the shirt is still changing the color same as if u used qualifier
Then you garbage mask it out if it's a big deal.
Last year I had a project where I was running in the exact same problem. It was a pain to match shots. But luckily, I learned a lot about color grading on this channel since then. Thanks man!
You're welcome, brother. 😀
thanks, I was literally just doing this and also figured out the alternative for qualifiers as shown in your video. but I still use qualifiers to smoothen my skin using the MD tool.
Thank you. Perfect timing because i´m working on a project right now and got this struggle with my a6300.
Fellow
Happy to help.
Yeah definitely more 8bit please. I do shoot raw but love my 8bit camera because it has amazing features.
Will do
@@theqazman thank you, really appreciate all you do 🙌🏾
@@Altcine 🤩🙏🏾🙏🏾🙏🏾
@@theqazman 🤩🙏🏾🙏🏾🙏🏾
Surprisingly enough I've always managed to pull clean keys from 8 bit footage when it was c200, but as you said I feel c200's 8bit is really solid compared to other 8 bit footage. And the footage I was working on was almost always shot in studio so controlled lighting conditions, I guess that helps :) The only time I was having trouble is whenever they decided to include props or clothes the same color as the background (usually I was asked to treat the BG color seperatly, which in most case worked with the qualifier but in some cases when the same color was introduced in the frame, that was just a nightmare xD )
Eh I just think peoples go to is always the qualifier when really it should just be the hue vs hue. It’s way faster and much cleaner. Peace
I agree on all accounts. C200 is another animal. Wardrobe and art design goes a long way. Separation is created on set with every department doing their part and that's the thing that many filmmakers overlook.
Awesome video, as always. I learn so much at this channel. Thanks for sharing.
WOW! Thank you this was helpful for someone who can only afford a camera that is capped at 8-bit 😀
Everything always so clear and straight to the point. Thank you! 🙏
You're very welcome
I so appreciate you man!!! All the way from Namibia.
Please make a in-depth tutorial on how to isolate skin tones perfectly using qualifiers and windows.
Get my masterclass
@@theqazman I wanted to, but it is kind of expensive for me even after your discounted price :( maybe someday in future I will.
@@SnehithPamarathi there is this video called top 5 color grading mistakes for 8bit footage (jake pierrelee) and he shows you how. Not sure if its as good as his course, but its a good starting place imo
@@Crimbtw thanks. I will look into it.
@@SnehithPamarathi np
Great Video ! Can you make a video on how to make the colors in 4:50 ?
Maybe it's also the chroma subsampling. In theory 4:2:2 footage should work better with the qualifier.
When you do a key with the qualifier you can see that the hue and saturation controls work with less pixels, but the luminance appears to have more information.
Thank you for the good informations you give here, i look forward to have your full course 🙏
Hit me up when you sign up. 💪🏾
I use the A7iii and just started out with resolve. Thanks for creating this video! 🙏
Of course
great video as usual , keep it up dude
Ty. will do.
Super duper! Thanks, Waqas!! That was helpful!!!
You're welcome
Try Tetra DCTL guys. it's awesome.
Great video !!!!!! Thank you 4 sharing
fantastic please more 8bit :)
For sure
Haven't started the video yet but pretty sure it's going to be qualifiers haha
Haha. Nailed it.
AMAZING! Thank you for the insight and the tool tip! I've got a Panasonic GH-5 for my A cam and 2 G85s for B cam and B-Roll. This will help "homogenize" the results a little (until I can afford a GH-6). Thanks again !
Awesome info, thanks Qazi!
You're welcome
Thanks Qazi for the tutorial...
You're welcome
Thank you for the advice!! I was looking inspiration on a Black&White look, you should do one about it!
Will do.
Thank you! Great insightful information!
You're welcome
Just Thank you!!!
You're welcome
Great tips, thanks Qazi.
Ty
this was really great, wish i knew this a week back, would have done a lot better with the video i was editing. thanks man
VERY USEFUL THANK YOU SIR
You're welcome
thank for always helping us
You're welcome
thankSS !!
Thx. That was a good video. Agree. Just wondering if it is only 8 vs 10bit?
The arri prores seems to be already quiet a upgrade to 8bit. Would be interesting to see how all the in between footage, that is quiet common now (Fuji / Panasonic 10bit 4:2:0/ 4:2:2, h.264 vs h.265, All-I vs Longgop) compare.
I mean in general just try to use hue vs hue seems to be a wise.
Plz give more 8 bit stuff :).. How to isolate skin with 8 bit footage
Really useful. more 8 bit stuff please
Will do
Hmmm I rarely use qualifier on anything other than the sky if it’s white and bright. Easy to select in that instance.
i use both :)) key then curve
Great information. Thanks. 👍👍
You're welcome
Awesome tip!!!
hello men, can you make more tutorials about HSL. Let dive in more deep in HSL
Will do
Thank you Waqas
You're welcome
Hey Waqas, I have a very important question for you: I'm wondering what's the proper workflow when it comes to getting the files from the client ? Should he send me the whole premier pro/davinci project, do my grade and then send him back the project or should I just ask him only all the footage of his project and then send him back all the clips in prores ? I have a client that has a premier pro project but it's a big mess to import the project into davinci with XML file, would be much easier to grade only the clips he needs. Thanks for your help :)
If I'm working online, I'd ask them to send me an exported prores from premiere then split them up myself in davinci
@Waqas Qazi is there any major differences to this workflow if I recorded in HLG3 as opposed to slog. Most youtube videos recommend using HLG when shooting 8bit because it gives more dynamic range, do you agree?
Question: if I buy a Sony zve1 10 bit camera but record in 420 8 bit or 422 8 bit or even 420 10 bit - But I record the LUT naked in internally will I see a big difference if I’m not color grading in post? I ask because I’d like to record long form video without overheating. 😊
Hi there, you should also advise people about Chroma subsampling like 444 422 or 420 which is the case here, not only the 8bit challenge.
Can you talk about LOG on these cameras? Like Sony A6400, if it’s real LOG, if it’s worth to use it?
Which music video is that? You even provided a clip from that music video in your one hour free class. I want to see the final grade of that video.
Big Fan bro. Thank you
You're welcome
🎯 Key Takeaways for quick navigation:
02:22: [ruclips.net/video/kpQL0mHzeoc/видео.html](ruclips.net/video/kpQL0mHzeoc/видео.html) ⚠️ Qualifiers on 8-Bit Footage Cause Issues
- Beginners use qualifiers to isolate and adjust color in footage.
- This can lead to banding and artifacts in 8-bit footage due to limited color information.
04:48: [ruclips.net/video/kpQL0mHzeoc/видео.html](ruclips.net/video/kpQL0mHzeoc/видео.html) 10-Bit Footage vs. 8-Bit Footage
- 10-bit footage has more color information than 8-bit footage.
- This allows for cleaner color grading and manipulation in 10-bit footage.
- Qualifiers can be used more effectively with 10-bit footage.
Made with HARPA AI
Excellent!
Ty
Slog3 pink skintone fix please
No matter the footage, I anyways always use the curve tools. What can a person do about noisy footage in resolve free?
Agree 100%
💪🏾
great video as always, just now ì got a small project but its the Sony A7 iii, bummers its 8 bit Slog2. (H264), how would you set up the color transform input for this? I normally use a node at the end in the timeline mode!
First here, yay!!!! Good job Waqas
Let's go!
the moment you realise that your most footage are in bad condition which you thought was perfect then you f your mind up why the hell my color grades are awful
Super ;)
Can you edit video that shoot on mobile using FILMIC PRO application and shoot in falt picture format?
Make a tutorial on 8bit footage high key look
any way I can send you Some Canon R6 10 Bit footage? Maybe you can make some more of these types of videos. I find myself wanting to use Resolve but I always go back to adobe and my red giant plugins
If a director gives you 8 bit footage, he should by fired 🤣
For real it should be higher and if delivery of lower is needed just tweak the export settings
well canon 8bit isn't bad at all and let's say it's a documentary filmed on c200... there's is no way to shoot an entire documentary in raw (storage issue) so it most likely be shot in 8bit since there is no 10bit in the c200... or even the c100 mark ii must be use a lot for documentary since its files are so small yet still 8bit.
@@DNdavidsonsnation I used an atmos to shoot 4:2:2 10 bit with my c100 and we filmed an entire documentary show with that.
You'd be surprised.
@@earthpond8043 ok?
Most newbies who shoot in s-log (2, 3), I find they make the biggest mistake,
when shooting in 8 bit.
Best profile for shooting, on Sony, is CINE4 or HLG, I find.
Just stay away from the s-logs, while on 8 bit, generally speaking.
Most of you don't think of this and jump right on the "pros" settings.
I am not a pro, but I after watching videos like this, some while ago,
I chose to never use s-log on my camera. Am very happy with CINE4.
FYI. :)
you are the best
Ty
i forgot the qualifier was even a thing cause i barely even use it o.o
Good
The most common mistake while working with 8 bit footage, is working with 8 bit footage. (just kidding, not everyone has 10 bit or higher capable cameras)
#facts
I'm so done with my a6300. I can't wait to upgrade my camera because of this exact problem!!!
Hi waqas, should you edit 8 bit footage for asian skin on next video😂
Can you please do a look recreation to a horror film like, Anabelle 2 or Conjuring ?
Sounds fun
@@theqazman I bet it is :D
Ok so its been a few weeks since i saw this video and tonight i found out something I REALLY need to address here. I moved BACK to davinci resolve because it REALLY is a true "colorist" platform to be on AND a fantastic editing software. I can edit 10x faster on Resolve than i can in Premier Pro. But today? I decided to move back to Premier for a specific video because for some reason I feel like the qualifier in resolve is just not working the same way it is in Premier.........and its not. I took the same clip, put it in resolve, tried to qualify my skin tons and no dice. It broke apart completely. Grabbing other colors in the frame. It just would not work and looked horrible. But if I used the HSL Secondary in Premier Pro? Its night and day. At this moment im still an 8-bit shooter on an A6600. I think im hitting this point until i get my FX30 in, Davinci is not meant for someone on an 8-bit platform. Theres alot a magic under the hood in Davinci for sure....but it neglects 8 bit footage enitrely where as im feeling Premier accounts for anyone. I think tonight i realized until I get my new FX30 in and can move to 10-bit footage? Ill put resolve to the side until then
It seems as though Hue vs Hue is the prior we approach for 8-bit footage in DVR. I had similar terrible results using a different approach and found a video similar to this. I was able to get far better results with the approach described here.
@@chaddonal4331 Yea now that im on the FX30 and shoot 10-bit and actually more often than not its 16-bit RAW, i have zero issues with qualifying now but learned using making Hue vs Hue curves to make changes with 8-bit...but even in 10 bit i do it because i actually found it to be easier, faster, and overall a better result? Im not sure why. I guess for example if I shoot in SLOG3, my skin tones are too magenta. So i just move the magenta away in the hue vs hue in the overall image and the only change i see is my skin tones starting to look correct. I found that to be easier evven on 10-bit and 16-bit footage and qualifiers makes my Davinci Resolve want to take a shit on my computer lol
来自中国的观众，收益良多，感谢qazi
Most of us aren't colorists, we instead are in a big need of color correct our own videos, never bigger than 8 bit, rec 709 stuff.
qalifier
🤫
Hi you are legend pro colorist i love all your videos that i see . I'm 8 bits user. Canon DSLR
LFG🔥
Thanks for this on. Well, after an ethnic dance around the fire with your 8 bit footage u can get a result that I can call as workable. But from a workflow perspective its more time consuming and just overall less fun. Theres no turning back after 10+ bit in any terms).
I was scared ! thx god I never use that tool