Hi jake Hi Qazi I copied the Dropbox link At the end of the webinar For the downloadable content And it says the file doesn’t exist .. Did I download the right link ???
I've been doing Flame for over 11 years. These tutorials have taught me so much more about how to effect color than the brute forced methods I've developed.
This has been an extremely useful video. I recently started shooting in S-log and up until now I have not being getting the full benefit of shooting that way. Thank you very much. The HDR Palette method is my preferred method.
Great way of contrasting temp and tint and the offset wheel using the vectorscope! That really showcased the nuanced control. Also, love the pro tip of how to make the log wheels (HDR) colorspace aware at the node level.
Great video! Question, why would you ever use the primaries palette, as opposed to the HDR palette, given the latter seems much more subtle and camera aware?
Super useful tips here :D ! Thanks a lot ! I tend to use more and more offset/printerlights to balance my shots and fine tune the white points with gain, and blackpoints with the shadows wheel controlling the low range ^^
This was a super useful guide and very insightful as to why you'd use one set of correction tools over another. I'm definitely going to be using different sets of tools for different results now! I've always been unsatisfied with the temp/tint adjustments. I would perhaps ask for maybe a "why" video behind this though, because what wasn't discussed was perhaps the philosophy behind finding certain white balances or white points and you instead mostly corrected it entirely by eye, you didn't even use the vector-scope to attempt to get your actors skin on the flesh line. So with that, getting insight as to the why's behind how you white balance a certain way would also be really helpful.
The philosophy is super subjective. That was kind of the whole point to this video. To demonstrate that often times, there are multiple ways to accomplish something, and they will all give you a similar result. The decision to be made is based on YOUR experience, judgment, and style. I can tell you why I choose one over the other, but it won't help you build your own preferences.
@@jvke.p Nope!, I think Explanation video will be help to to determine that in what scenario which one to use on regular basis or anything. The HDR method seems more authentic but should we use this with 8-bit footage... I mean that's what I am using:).
Great tutorial. Never used really used offset be4. It helped me a lot with getting toned cinematic look today. Definitely gonna start using it a lot. Thank you :)
Hi, what is the correct point for white balance. Means how you decides that it's white balanced, by which scope? We have auto white balance, trusting that is not good but just wanna know the difference.
RGB Parade and Vectorscope. But honestly, what really guides you in this kind of decisions is your eye and your experiencie with the aesthetic your are trying to create.
Very helpful tutorial, thanks. Often while using color wheels, in Primary or HDR windows for example, it is difficult to control or see the movement of the white central dot because the relevant movements are very small. Here Jake suggests that in HDR one should use the x and y controls instead. I don't understand why Resolve doesn't have a way to make finer movements using a mouse or stylus (using a modifier key, for example). Many of us do not have control panels that allow making the often very small adjustments that are needed. Resolve should also have a magnified display option for color wheels, that zooms in on the dot's movement.
sounds like a good idea to me! I actually have a couple mouses that allow you to assign a button to change the DPI. so you can press a button and get much more refined movements.
Awesome thank you for the knowledge. Been using P lights a lot more, thanks to the process I learned from the free lance masterclass course. Definitely worth every penny and then some.
Man you graded sooooooooo good for Parker walbeck's video, the colours are soooo similar we failed toooo🔥🔥🔥❤️❤️ And I don't even know I'm waiting for this tutorial but it is very helpful, keep rocking man.
Pretty cool methods, the HDR one was new for me, always a bit intimidated by that tab. However, can't help but feel the answer in all of them was 'eye-ball it' till its the White balance you want 🤣 Typically there is a 'line the colours up in the histogram / waves and get it to go white on the overlap' approach or something. This was a bit more amorphous
@@jvke.p Yeah this is it really, I'd love to know if there is a structured approach to it or if it is the case of just learning the craft, developing our eye and getting there that way - In which case it can't really be taught!
I have to do a video shoot, which requires video of multiple parts of a manufacturing company. The video MUST be shot continuous (no cuts) and the camera will go to several different parts of the facility, each with different lighting conditions. If I do the custom white balance at the start of my shot, will the colors still be accurate if I go from area to area in the facility? Or do I have to re-do the custom white balance as I go to each area? I ask because I can not stop/start the recording per my clients request. For this scenario is custom white balance preferred, or should I do AWB?
There’s a lot of variables here. But the biggest question is how will lighting change throughout the shoot? If it’s still consistent lighting you can leave it at a custom wb and expect a uniform result. AWB will fluctuate and be very difficult to fix as it changes. If the lighting is varied tho and constantly changing, you may still be better off leaving it at a mean WB based on all the different lighting scenarios and key frame the balance node to account for all the changes.
@@jvke.p Jake, thank you so much for your help. I'm not really sure, to be honest. I haven't been to this location before, but I'm assuming the worst in that the lighting conditions will change. If they do change, should I keep it on auto white balance? As well, if the change is minimal, would you recommend, picking something like one of the presets? Edit: Just re-read your post. When you say "mean WB"... Do you mean picking one of the presets? Like Daylight or Fluorescent preset modes?
I prefer dealing with exposure before color, because colors will shift when exposure gets tweaked. Thus it makes sense to white balance after exposing.
You can do the exposure first if it’s a particularly poorly exposed shot. And you need to get the exposure closer to help define a proper white balance. BUT, you should still place the balance node prior to the exposure node, even if you fix exposure first.
One crazy important tip I want to share is this. Make sure you properly set your white balance in camera first!! I shoot with a fuji xt4 so I don’t have RAW footage to work with. You can use custom white balance and aim at something white like a piece of paper (there are better tools for this) and the fuji will do the rest!
I would add that before this, get your lighting sorted. Always go to the source first. I shot the other day inside with tungsten lighting, and also had a fill light which I thought I had balanced to match (by eye). I was way off. In post I had the bg looking orange and the foreground looking blue after applying the LUT. It was a nightmare to fix since the foreground elements do not stay fixed in the shot.
Great to work scene / camera referred, vs display referred, but you should be aware that setting your Color Management settings to Rec709 in project settings is causing when not using color management is causing the application to incorrectly compute the math values when using the tools. Its suggested to set your timeline color space to the color space in which you are making corrections, not your output (after your ODT / CST). This will make the controls react more favorably and correctly compute your highlight and shadow compression (when using tonemapping)
right. this is true if you leave your HDR palette to 'Use TImeline' for color space and gamma. But I demonstrate changing it to match the camera footage. Granted, to take full advantage of the tool, yes, you would want your timeline color space to be scene referred. Just didn't want to distract from the purpose/goals of this video specifically.
thanks again for this awesome tutorial. But how do we doo if our camera is not in the list of color space and gamma? can we do it with a manufacturer CST Plugin?
Did you guys try to grade on mac M1??? if you can do a video about proper grade on mac m1 - that can helps a lots of people... For now I just CAN'T follow you - that color transform just wouldn't work, coz after the export colours will be shifted. So in M1 cases the settings has to be different. The only thing what's works for me in Davinci for now - it's (IN COLOR MANAGEMENT - REC 709 A ) and on the export panel under advanced settings - color space Tag and gamma Tag - REC 709. Is there any other way to build color correction in Davince for M1 macs users? Thanx!
Love this video. I watched the webinar, I may have missed the downloadable link for the node tree. Is there a way to still get it? I sent a message on Instagram as well.
Another fantastic tutorial. I always learn new techniques in Resolve here that I never hear about anywhere else. Setting the Color Management to match your camera is something new to me. And worth giving a go. Thanks a million.
I wanted it to be seen in a real world use case. I’m balancing almost every shot. But the changes are often very small. I wanted to demonstrate that even with small changes, the difference can be seen.
@@jvke.p wasn't really a criticism, more that I'd like to have seen you correct a nasty one, give me more of a clue with my own shoddy footage. Great work man
@@dazzdeadmeadow well by definition it was a critique, which is fine lol. i'm just explaining why I chose to use this clip vs a clip with botched white balance
this is great, but I find you're not accurately explaining your thought process behind what you're doing. For example, when balancing with the offset tool, you just said "I'm going to pull this down." and then "it looks a little cool, so I'm going to put some red in there". how do you know when your footage is balanced properly before beginning grading? are you looking at your scopes? and if so, how do you know the image is balanced based on your scope? it seems everything that any colourist does in RUclips tutorials is just "by eye" or what feels right, which is extremely frustrating for a beginner because we don't have the experience in knowing when something is pushed too far or not
In general I liked the content. However at times it’s very difficult to understand because the pace is way too fast and enunciation is poor. Each one of these methods needs a cleaner explanation.
All is good in the beginning. 10 bit 422 s-gamut3.cine etc etc in the end it’s the same old story.. ancient rec709!!! Why people aren’t switching to bt2020?
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
FREE 1-Hour Color Grading Training: bit.ly/3lhuf6i
Hi jake
Hi Qazi I copied the Dropbox link
At the end of the webinar
For the downloadable content
And it says the file doesn’t exist ..
Did I download the right link ???
@@karliemorris7318 same here
Same here, still happening
As a total beginner, can i start with this course ?
@@karliemorris7318 same here
I've been doing Flame for over 11 years. These tutorials have taught me so much more about how to effect color than the brute forced methods I've developed.
Glad to hear that. Let's go!
This are fantastic tutorials, happy to subscribe to one of our workshops as soon as I find the time! Thanks so much!
Thx, hard to comprehend this stuff but after 100s of shorts im finally starting to get the hang of it. Color grading is beyond fun…
This has been an extremely useful video. I recently started shooting in S-log and up until now I have not being getting the full benefit of shooting that way. Thank you very much. The HDR Palette method is my preferred method.
Great way of contrasting temp and tint and the offset wheel using the vectorscope! That really showcased the nuanced control. Also, love the pro tip of how to make the log wheels (HDR) colorspace aware at the node level.
your each footage is good already, I never see you fix the bad footage or fix the wrong white balance footage
Hence the title of this video: can't you apply some of this knowledge to fix your shots?
I've seen them fix plenty of badly balanced pieces of footage. Look before you comment.
Great video! Question, why would you ever use the primaries palette, as opposed to the HDR palette, given the latter seems much more subtle and camera aware?
I've learned some new techniques and tools from this video. Thank you!
Super useful tips here :D ! Thanks a lot ! I tend to use more and more offset/printerlights to balance my shots and fine tune the white points with gain, and blackpoints with the shadows wheel controlling the low range ^^
😀💪🏾
This was a super useful guide and very insightful as to why you'd use one set of correction tools over another. I'm definitely going to be using different sets of tools for different results now! I've always been unsatisfied with the temp/tint adjustments.
I would perhaps ask for maybe a "why" video behind this though, because what wasn't discussed was perhaps the philosophy behind finding certain white balances or white points and you instead mostly corrected it entirely by eye, you didn't even use the vector-scope to attempt to get your actors skin on the flesh line. So with that, getting insight as to the why's behind how you white balance a certain way would also be really helpful.
The philosophy is super subjective. That was kind of the whole point to this video. To demonstrate that often times, there are multiple ways to accomplish something, and they will all give you a similar result. The decision to be made is based on YOUR experience, judgment, and style. I can tell you why I choose one over the other, but it won't help you build your own preferences.
@@jvke.p Nope!, I think Explanation video will be help to to determine that in what scenario which one to use on regular basis or anything. The HDR method seems more authentic but should we use this with 8-bit footage... I mean that's what I am using:).
Bro you're videos are the best on youtube
Ty 😀
why davinci doesnt have feature to select skin and do the correct WB by itself ?
i did not find any practice footage can u plz tell me where i found those footages?
Great tutorial. Never used really used offset be4. It helped me a lot with getting toned cinematic look today. Definitely gonna start using it a lot. Thank you :)
Hi, what is the correct point for white balance.
Means how you decides that it's white balanced, by which scope?
We have auto white balance, trusting that is not good but just wanna know the difference.
RGB Parade and Vectorscope. But honestly, what really guides you in this kind of decisions is your eye and your experiencie with the aesthetic your are trying to create.
@@a.s.6623 thanks, hover to white region and use parade/vectro, but an image with no white gonna take sone time for fresh/medium graders.
Great Tutorial is this.
Colour Space Transform setting for mobile phone recorded video ? I need help for this question.
Great tut Jake thx! Thx for using mouse that everyone can follow up
If you use DWG for your time line color space, the WB and EXP corrections should be before or after the CST transform node (footage->DWG)?
in google picture edit their is a option reduce black point how do same with video edit in video editor.
PLEASE SONY A6400
TUTORIAL COLOUR GRADING
I've always used gain because it looks most natural to me. Am I doing it wrong then?
Looking at this today that footage looks green.
Very helpful tutorial, thanks.
Often while using color wheels, in Primary or HDR windows for example, it is difficult to control or see the movement of the white central dot because the relevant movements are very small. Here Jake suggests that in HDR one should use the x and y controls instead. I don't understand why Resolve doesn't have a way to make finer movements using a mouse or stylus (using a modifier key, for example). Many of us do not have control panels that allow making the often very small adjustments that are needed. Resolve should also have a magnified display option for color wheels, that zooms in on the dot's movement.
sounds like a good idea to me! I actually have a couple mouses that allow you to assign a button to change the DPI. so you can press a button and get much more refined movements.
Thanks for the answer and idea, Jake!
Same gripe. Would be nice to have a 3x Zoomed-In-Color-Wheel option. Who's really dragging colors all the way out anyhow?
Is there a special reason why you are not using DaVinciYRGB Color Managed with a DaVinci Wide Gamut Intermediate or ACES timeline?
The best explanation
Knowledge is an art, but education is another art in its own right
Awesome thank you for the knowledge. Been using P lights a lot more, thanks to the process I learned from the free lance masterclass course. Definitely worth every penny and then some.
Merci. Good sense of colors ! Brilliant demonstrations and very actual (refreshed)
Man you graded sooooooooo good for Parker walbeck's video, the colours are soooo similar we failed toooo🔥🔥🔥❤️❤️
And I don't even know I'm waiting for this tutorial but it is very helpful, keep rocking man.
Pretty cool methods, the HDR one was new for me, always a bit intimidated by that tab. However, can't help but feel the answer in all of them was 'eye-ball it' till its the White balance you want 🤣 Typically there is a 'line the colours up in the histogram / waves and get it to go white on the overlap' approach or something. This was a bit more amorphous
Yea the “line them up” approach works as a rule of thumb. But what are you going to do when the entire scene is skin tone and foliage?
@@jvke.p Yeah this is it really, I'd love to know if there is a structured approach to it or if it is the case of just learning the craft, developing our eye and getting there that way - In which case it can't really be taught!
I have to do a video shoot, which requires video of multiple parts of a manufacturing company. The video MUST be shot continuous (no cuts) and the camera will go to several different parts of the facility, each with different lighting conditions. If I do the custom white balance at the start of my shot, will the colors still be accurate if I go from area to area in the facility? Or do I have to re-do the custom white balance as I go to each area? I ask because I can not stop/start the recording per my clients request. For this scenario is custom white balance preferred, or should I do AWB?
There’s a lot of variables here. But the biggest question is how will lighting change throughout the shoot? If it’s still consistent lighting you can leave it at a custom wb and expect a uniform result. AWB will fluctuate and be very difficult to fix as it changes.
If the lighting is varied tho and constantly changing, you may still be better off leaving it at a mean WB based on all the different lighting scenarios and key frame the balance node to account for all the changes.
@@jvke.p Jake, thank you so much for your help. I'm not really sure, to be honest. I haven't been to this location before, but I'm assuming the worst in that the lighting conditions will change. If they do change, should I keep it on auto white balance? As well, if the change is minimal, would you recommend, picking something like one of the presets?
Edit: Just re-read your post. When you say "mean WB"... Do you mean picking one of the presets? Like Daylight or Fluorescent preset modes?
@@fpvflyer4758 mean as in, try to average out what all the different lighting scenarios are and choose a WB that will be best for the most scenarios
@@jvke.p How do I manually do that? I'm sorry I am totally new to all of this. And thank you immensely for your help 🙏
Hi there! Nice video! I was wondering what is "APPLY OOTF"? (2:07) I could't find any video about this, do you have any explanation? thanks!
学习了学习了，感谢！
You are really good..
I prefer dealing with exposure before color, because colors will shift when exposure gets tweaked. Thus it makes sense to white balance after exposing.
You can do the exposure first if it’s a particularly poorly exposed shot. And you need to get the exposure closer to help define a proper white balance. BUT, you should still place the balance node prior to the exposure node, even if you fix exposure first.
Success to you brother....
One crazy important tip I want to share is this. Make sure you properly set your white balance in camera first!! I shoot with a fuji xt4 so I don’t have RAW footage to work with. You can use custom white balance and aim at something white like a piece of paper (there are better tools for this) and the fuji will do the rest!
I would add that before this, get your lighting sorted. Always go to the source first. I shot the other day inside with tungsten lighting, and also had a fill light which I thought I had balanced to match (by eye). I was way off. In post I had the bg looking orange and the foreground looking blue after applying the LUT. It was a nightmare to fix since the foreground elements do not stay fixed in the shot.
@@ArcanePath360 very good point!!
Great to work scene / camera referred, vs display referred, but you should be aware that setting your Color Management settings to Rec709 in project settings is causing when not using color management is causing the application to incorrectly compute the math values when using the tools. Its suggested to set your timeline color space to the color space in which you are making corrections, not your output (after your ODT / CST). This will make the controls react more favorably and correctly compute your highlight and shadow compression (when using tonemapping)
right. this is true if you leave your HDR palette to 'Use TImeline' for color space and gamma. But I demonstrate changing it to match the camera footage. Granted, to take full advantage of the tool, yes, you would want your timeline color space to be scene referred. Just didn't want to distract from the purpose/goals of this video specifically.
Really really helpful! Lots of thanks. I'd just suggest you de-ess your audio or clip some of the higher frequencies for more pleasant listening. :)
Camera used to shoot that video?
thanks again for this awesome tutorial. But how do we doo if our camera is not in the list of color space and gamma? can we do it with a manufacturer CST Plugin?
Check the video published just before this one!
Beautifully explained. Thanks!
In previous videos, you put your CST right after your WB node. Why have you moved CST to the last node now?
It’s generally best practice to have it as the last node for a proper conversion
Bhai not initiliaza GPU say message not start please reply
link for downloads not working
hey Qazi can I use the same color space transformation for my fujifilm x-t2 F log ??
Couldn't you use the RGB sliders or the printer light key combos so you can set your white balance using your keyboard?
yes. as i mentioned, its the same as printer lights
What is the shortcut or step to view the gradient view at 5:55?
This is helpful. Thank You So Much
Thank you so much. Clear, precise and Informative
Can someone tell me how they manage it that these workshops are free? How do they profit from that?
thank you!
Please explain Harry potter colour grading
Thanks 😊
Love the depth and the quality of this video! You should have 1 million subs with these videos🙌
Did you guys try to grade on mac M1??? if you can do a video about proper grade on mac m1 - that can helps a lots of people... For now I just CAN'T follow you - that color transform just wouldn't work, coz after the export colours will be shifted. So in M1 cases the settings has to be different. The only thing what's works for me in Davinci for now - it's (IN COLOR MANAGEMENT - REC 709 A ) and on the export panel under advanced settings - color space Tag and gamma Tag - REC 709. Is there any other way to build color correction in Davince for M1 macs users? Thanx!
Considering that you’re working with RED footage, how does the Camera Raw Temp, Tint, and Exposure compare to these methods?
It’s another option to use when you have the raw clip, but this was only a prores file. Not a raw file
thank u for this video
Love this video. I watched the webinar, I may have missed the downloadable link for the node tree. Is there a way to still get it? I sent a message on Instagram as well.
Mind blown 3.5 times #fcmfam
💪🏾💪🏾💪🏾
how is this any better than adjusting the raw data on red like iso and WB?
it wouldn't necessarily be better. its just another option. If you have the raw metadata to work with, start there.
it will be more beautiful if you share the footage or file working on for tutorial practice purpose
Watch the free training
Another fantastic tutorial. I always learn new techniques in Resolve here that I never hear about anywhere else. Setting the Color Management to match your camera is something new to me. And worth giving a go. Thanks a million.
Let's go!
I didn't know about changing the input gamma and gamut on the HDR palette and at the node level. Thank you bro for this info! #fcmfam
Let's go! 💪🏾
आप के द्वारा दी गई जानकारी कार्य करनी है
आप को तहे दिल से धन्यवाद करता हूँ
Might of been better to start with a clip that had a bad white balance
I wanted it to be seen in a real world use case. I’m balancing almost every shot. But the changes are often very small. I wanted to demonstrate that even with small changes, the difference can be seen.
@@jvke.p wasn't really a criticism, more that I'd like to have seen you correct a nasty one, give me more of a clue with my own shoddy footage. Great work man
@@dazzdeadmeadow well by definition it was a critique, which is fine lol. i'm just explaining why I chose to use this clip vs a clip with botched white balance
It should be a criticism. That was not a white balance tutorial i give you that. Started off with an almost perfect image 🤦♂️
How to color grade look like squid game movie?
this is great, but I find you're not accurately explaining your thought process behind what you're doing. For example, when balancing with the offset tool, you just said "I'm going to pull this down." and then "it looks a little cool, so I'm going to put some red in there". how do you know when your footage is balanced properly before beginning grading? are you looking at your scopes? and if so, how do you know the image is balanced based on your scope? it seems everything that any colourist does in RUclips tutorials is just "by eye" or what feels right, which is extremely frustrating for a beginner because we don't have the experience in knowing when something is pushed too far or not
pls share log footge
It can be found on artgrid 👍🏼
magnificent
Where is Qazi ? 🤷🏻♂️
awesome
Can pls someone call me the track in the recap?? I neeeeed haha
From your permission, I need videos to learn how to make colors
Japanese subtitles please
In general I liked the content. However at times it’s very difficult to understand because the pace is way too fast and enunciation is poor. Each one of these methods needs a cleaner explanation.
Watch in half time
🌟🌟🌟🌟🌟
Keep saying the course is completely free yet you register and see 800 dollars
Webinar is free.
nung qua
🔥❤️❤️🔥🇧🇩
Heyyyy you're not Qazi
First
So, you're the reason Sam Kolder lost in fulltime filmmakers challenge
aye. das me
bro you talk fast
All is good in the beginning. 10 bit 422 s-gamut3.cine etc etc in the end it’s the same old story.. ancient rec709!!! Why people aren’t switching to bt2020?
Very helpful, thank you.
Very helpful. Thank you!