@@peterschuber1541 It can be. It depends on what flavor of raw you’re using and how you transform it. What footage are you working with and trying to match?
life saving video aha. I was tearing my hair out trying to colour match between a cannon and a fuji (im pretty novice at grading) and this helped me get suuuuper close thank you! The other multicam management tips also helped the workflow a ton. Excellent vid!
Thank you so much! Glad this was helpful! Matching cameras is always a pain because even when you color manage and cameras are all set exactly the same, cameras still have white balance/tint shifts and different lenses have varying color bias and contrast, unless you adapt the same third party brand, especially with vintage glass, but it’s still a pain. The new ColorSlice tool is also a very good tool to use for this as well, and I definitely prefer it over the color warper. Although I still prefer DCTLs for that purpose, but that’s a whole other topic.
Hi! Total noob here. I've followed your steps, and applied some color corrections. But it's only showing on the second timeline that I created to match. How do I then apply to all clips from the same camera?
@@CameraTim I made a multicam clip. A few of my cameras had 15-20 clips each. So I took one of each over to a new, simplified, multicam for color correction. I thought this was following your work flow, but maybe I messed up.
@@deadneck13I wish RUclips allowed screen shots. Haha! So one thing I didn’t talk about in this video that I’ve since made my default workflow is grouping clips. I actually don’t use project level color management in my normal workflow. So the way you could approach this is in your timeline where all of the source clips are, make sure the same camera is in the same layer (just to make the next step much simpler), then disable each track except for one of them. Go into the Color page, highlight all the clips in the Clips panel (assuming they’re the same camera), right-click on any of them, and select Add to New Group. You can name it whatever you want, I usually just use the camera model/name. Once you do that, you’ll notice two more tabs above the node tree, Group Pre-Clip and Group Post-Clip. These will allow you to make adjustments on every clip within that group before and after the Clip nodes. That way you don’t have to use the Apply Grade function to every instance of that camera. Let me know if this step helps.
Tim, still going through the video and it's very good. I have a situation I'm in... I purchased a ton of B-Roll from Storyblocks for a music video that I shot in S-Cinetone which is essentially Rec.709 (Scene). The Storyblocks footage is roughly 12 different cameras (some I need to color grade a bit) and I have no clue what cameras they used? What would you suggest doing? I really appreciate any help you can provide. 🙏
@@OfficeofthePacific So if you don’t know the cameras they used, it’s going to be a little difficult to guess what it is if you’re using a log profile. You can always try and see which ones look the most accurate and get at least somewhat close. If they’re Rec.709 footage though, that’s a lot easier of course. In terms of matching, one thing I didn’t mention in this video because DCTLs are a Studio-only feature, but Tetra DCTLs are amazing because they provide clean red, yellow, green, cyan, blue, and magenta adjustments for each color channel. So utilizing a Vectorscope to see what colors need to go which direction when comparing the footage is the most ideal. The key thing is you want to make sure you’re putting all the footage in the same color space (most likely DaVinci Wide Gamut unless you have a separate preferred working space), that way the tool performs uniformly across all the footage, regardless of log or 709 profile. That would be at least a solid start.
Im at 9 min into the video can you make a chapter list like other CC's so I can skip all this and get to the color part of the video like you listed in the title?
Great tutorial - you managed to capture a number of complex concepts and present them clearly in the context of Multicam editing in a way that I've not seen before. I've been following Cullen Kelly for quite some time so I picked up on concepts that he has been advocating. One thing that Cullen advocates (that you did not) is to always grade under your look. So you could have done everything you showed us with the timeline look already applied (imagine if you had a Kodak or Fuji Film LUT on your timeline node). Have you run into a downside grading under your look? Thx.
Thank you so much! I love Cullen’s approach to color grading and color science. I definitely binge a lot of his content. There are a couple reasons I didn’t mention grading under looks. The main ones would be trying to explain timeline level and group level grades would just add more complexity on a video that was already longer than I wanted it to be. And the second was that even if you did grade under a look, the core principle of matching cameras would still apply the same. So you could still incorporate look dev while matching cameras, like if you wanted to use the 2383, 3510, or whatever look you’re going for, and then just make sure you’re doing the look on your main camera, then match the others to it and ensure they’re all using the same look if you’re doing it on a Group level. So yeah, that’s probably why I didn’t mention it. Haha!
I would like to know if all the people to work in Davinci Resolve with a Rec709 color space has a Monitor or TV across Decklink mini monitor calibrated with Display Cal or similar. If not, how do they know the final signal is it finer not?
I’ve calibrated my monitor to Rec.709/Gamma 2.4, so I have a reasonable view on my monitor, but I also ensure that my waveform and vectorscope are hitting proper values (and I have some additional tools that allow for better monitoring as well), which help in determining if the image is going to look correct on most viewing displays.
Found you! I called Fujifilm and they sent me an email response that F-Log was more Rec 2020 than Rec 709. Of course I've been working Rec 709. So with the CKC LUTs and also the Monitor Calibration node at the end - I'm going to have to redo footage.
You did! And yeah, it took me a little while to figure out that the color space of F-log was Rec.2020. It’s interesting though that if you go into the project level Color Management settings, if you change your space to F-log without checking the use separate color space and gamma, it auto labels the color space to Rec.2020. That sucks you have to redo stuff… I still have footage I need to go back and redo for a very similar reason, so I feel you.
@@CameraTim A log space shouldn't be rec709 or rec2020 - never heard of what the Fuji guy is saying. Fujifilm log is the gamma and can apply to any color space you want. I would think it would be like s-log3 or v-log etc. if you apply it to rec709 ( which it has been applied to for a couple of decades ) it will display correctly or now that we have rec2020 - it will work in that if you require HDR. HLG might be different because it is supposed to work on either without grading. But I find that it needs some love no matter which you choose.
@@JimRobinson-colors Yeah, I’ve never fully understood why F-log seems to want to be tagged as a Rec.2020 color space, because I can’t think of any other log variant that operates this way. But there’s no other color space that I’ve found that produces better results or that Fujifilm themselves suggests. I’d like to ask you more about that because it feels like there’s something missing.
@@CameraTim I think that the colorspace can be whatever you want. Like I said - I don't know how long FujiFilm has been around but I have used almost every other log out there long before there was a rec2020. Little tip on the Resolve scope - especially the vectorscope - instead of continually opening up the settings to see 2x the trace - I just hover the mouse over it and while holding the option key, I zoom the trace with the middle scroll wheel, it will zoom in as much as you want, then once I see it, I zoom it back to the normal zoom - it stops when it reaches the default. You can do that with any scope
I know Cullen likes the linear Gain for exposure, but for me - the HDR tool is more photometric because when raising the exposure it raises the exposure like it would in a camera where the dark stays dark and adding a stop will not lift the shadow.
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
You did a good job of simplifying the multicam post process.
Thank you! Appreciate it
it did not work for raw files, I think the process may be different.
@@peterschuber1541 It can be. It depends on what flavor of raw you’re using and how you transform it. What footage are you working with and trying to match?
Raw Canon R5c, Red Komodo, Mixpre Using time code Tentacle
I'm going through you videos very good stuff
The rgb mixer rotation trick is neat, and color correcting with parade are easier with vectorscope than using parade.
Thank you
You’re welcome! Glad I could help!
life saving video aha. I was tearing my hair out trying to colour match between a cannon and a fuji (im pretty novice at grading) and this helped me get suuuuper close thank you! The other multicam management tips also helped the workflow a ton. Excellent vid!
Thank you so much! Glad this was helpful! Matching cameras is always a pain because even when you color manage and cameras are all set exactly the same, cameras still have white balance/tint shifts and different lenses have varying color bias and contrast, unless you adapt the same third party brand, especially with vintage glass, but it’s still a pain.
The new ColorSlice tool is also a very good tool to use for this as well, and I definitely prefer it over the color warper. Although I still prefer DCTLs for that purpose, but that’s a whole other topic.
Hi! Total noob here. I've followed your steps, and applied some color corrections. But it's only showing on the second timeline that I created to match. How do I then apply to all clips from the same camera?
Is this using a multicam clip or just using a different timeline?
@@CameraTim I made a multicam clip. A few of my cameras had 15-20 clips each. So I took one of each over to a new, simplified, multicam for color correction. I thought this was following your work flow, but maybe I messed up.
@@deadneck13I wish RUclips allowed screen shots. Haha! So one thing I didn’t talk about in this video that I’ve since made my default workflow is grouping clips. I actually don’t use project level color management in my normal workflow. So the way you could approach this is in your timeline where all of the source clips are, make sure the same camera is in the same layer (just to make the next step much simpler), then disable each track except for one of them. Go into the Color page, highlight all the clips in the Clips panel (assuming they’re the same camera), right-click on any of them, and select Add to New Group. You can name it whatever you want, I usually just use the camera model/name. Once you do that, you’ll notice two more tabs above the node tree, Group Pre-Clip and Group Post-Clip. These will allow you to make adjustments on every clip within that group before and after the Clip nodes. That way you don’t have to use the Apply Grade function to every instance of that camera. Let me know if this step helps.
Tim, still going through the video and it's very good. I have a situation I'm in... I purchased a ton of B-Roll from Storyblocks for a music video that I shot in S-Cinetone which is essentially Rec.709 (Scene). The Storyblocks footage is roughly 12 different cameras (some I need to color grade a bit) and I have no clue what cameras they used? What would you suggest doing? I really appreciate any help you can provide. 🙏
@@OfficeofthePacific So if you don’t know the cameras they used, it’s going to be a little difficult to guess what it is if you’re using a log profile. You can always try and see which ones look the most accurate and get at least somewhat close. If they’re Rec.709 footage though, that’s a lot easier of course.
In terms of matching, one thing I didn’t mention in this video because DCTLs are a Studio-only feature, but Tetra DCTLs are amazing because they provide clean red, yellow, green, cyan, blue, and magenta adjustments for each color channel. So utilizing a Vectorscope to see what colors need to go which direction when comparing the footage is the most ideal. The key thing is you want to make sure you’re putting all the footage in the same color space (most likely DaVinci Wide Gamut unless you have a separate preferred working space), that way the tool performs uniformly across all the footage, regardless of log or 709 profile. That would be at least a solid start.
Im at 9 min into the video can you make a chapter list like other CC's so I can skip all this and get to the color part of the video like you listed in the title?
This whole time I forgot to add that. I’ll definitely add those when I can.
I fixed it!
Great tutorial - you managed to capture a number of complex concepts and present them clearly in the context of Multicam editing in a way that I've not seen before. I've been following Cullen Kelly for quite some time so I picked up on concepts that he has been advocating. One thing that Cullen advocates (that you did not) is to always grade under your look. So you could have done everything you showed us with the timeline look already applied (imagine if you had a Kodak or Fuji Film LUT on your timeline node). Have you run into a downside grading under your look? Thx.
Thank you so much! I love Cullen’s approach to color grading and color science. I definitely binge a lot of his content.
There are a couple reasons I didn’t mention grading under looks. The main ones would be trying to explain timeline level and group level grades would just add more complexity on a video that was already longer than I wanted it to be. And the second was that even if you did grade under a look, the core principle of matching cameras would still apply the same. So you could still incorporate look dev while matching cameras, like if you wanted to use the 2383, 3510, or whatever look you’re going for, and then just make sure you’re doing the look on your main camera, then match the others to it and ensure they’re all using the same look if you’re doing it on a Group level.
So yeah, that’s probably why I didn’t mention it. Haha!
@@CameraTimthanks and cheers!
@@TheRealBarkinMadd Absolutely! Glad to help! Cheers!
I would like to know if all the people to work in Davinci Resolve with a Rec709 color space has a Monitor or TV across Decklink mini monitor calibrated with Display Cal or similar. If not, how do they know the final signal is it finer not?
I’ve calibrated my monitor to Rec.709/Gamma 2.4, so I have a reasonable view on my monitor, but I also ensure that my waveform and vectorscope are hitting proper values (and I have some additional tools that allow for better monitoring as well), which help in determining if the image is going to look correct on most viewing displays.
Chickeeeeen
It’s never a bad time.
Found you! I called Fujifilm and they sent me an email response that F-Log was more Rec 2020 than Rec 709. Of course I've been working Rec 709. So with the CKC LUTs and also the Monitor Calibration node at the end - I'm going to have to redo footage.
You did! And yeah, it took me a little while to figure out that the color space of F-log was Rec.2020. It’s interesting though that if you go into the project level Color Management settings, if you change your space to F-log without checking the use separate color space and gamma, it auto labels the color space to Rec.2020.
That sucks you have to redo stuff… I still have footage I need to go back and redo for a very similar reason, so I feel you.
@@CameraTim A log space shouldn't be rec709 or rec2020 - never heard of what the Fuji guy is saying. Fujifilm log is the gamma and can apply to any color space you want. I would think it would be like s-log3 or v-log etc. if you apply it to rec709 ( which it has been applied to for a couple of decades ) it will display correctly or now that we have rec2020 - it will work in that if you require HDR.
HLG might be different because it is supposed to work on either without grading. But I find that it needs some love no matter which you choose.
@@JimRobinson-colors Yeah, I’ve never fully understood why F-log seems to want to be tagged as a Rec.2020 color space, because I can’t think of any other log variant that operates this way. But there’s no other color space that I’ve found that produces better results or that Fujifilm themselves suggests. I’d like to ask you more about that because it feels like there’s something missing.
@@CameraTim I think that the colorspace can be whatever you want. Like I said - I don't know how long FujiFilm has been around but I have used almost every other log out there long before there was a rec2020.
Little tip on the Resolve scope - especially the vectorscope - instead of continually opening up the settings to see 2x the trace - I just hover the mouse over it and while holding the option key, I zoom the trace with the middle scroll wheel, it will zoom in as much as you want, then once I see it, I zoom it back to the normal zoom - it stops when it reaches the default.
You can do that with any scope
I know Cullen likes the linear Gain for exposure, but for me - the HDR tool is more photometric because when raising the exposure it raises the exposure like it would in a camera where the dark stays dark and adding a stop will not lift the shadow.
Subscribed!
Thank you!
Now I'm terrified
That’s my secret, I’m always terrifying