Hi Eric - Can you tell me where I look in FCPX to find out if a clip was shot in Log, Natural, CineD, etc? I have looked everywhere and searched everywhere. Thank you for any help you can provide! Jim
This video just opened my eyes. Thank you Eric! We're struggling with mixing cameras for our productions (Canon and Sony) - we need the Canon due to the zoom rocker (Golf Videos) and we work in the Sony ecosystem with all our other productions for clients. Is there any issue mixing different color science approaches between manufacturers? As far as I understand this with exposure and go into color, if we do a proper CST from C-LOG to Rec.709 and the same with S-LOG - they should look very close on display - right?
There will still be inconsistencies because both camera manufacturers have different colour science. To overcome this, you can look into working with ACES or you research the Leeming LUTs. Paul Leeming’s goal was to achieve a universal Rec.709 for mixing and matching different cameras.
@@iamericlenz Amazing! Thank you for the fast reply - I'll be look into Leeming LUTs as well. Hope this helps some folks out there mixing camera manufacturers,too. Grüße aus München
Hey Eric, I found your channel today and I want to say, that I am already a huge fan of your content. I have already downloaded your free pdf-file from your website and I've read it through. I have no idea of what I am doing in color grading and I am thankful, that I found you. I like to encourage you to stay focused and do your thing. Because like a German Sprichwort says: " Qualität setzt sich am Ende immer durch." And you have so much of quality, as a RU-vidr and I think also as a person. Good luck. See you soon! Grüße nach Leipzig!
You are so wonderful for creating this! Inspired me to make a whole video about it. Thank you, thank you! Wonderful channel too. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9Gelzj1VNfw.html
This is the very best explanation of the concept I have come to. Thank you!
4 дня назад
Gamma is not brightness. Gain is brightness. Gamma is the operation that handles mid point. Black and white points remain the same during gamma operations. That being said I see people calling these operations by wrong name ALL the time. You startup any game in the last 5 years and you will be given the “brightness” slider which is actually just gamma slider. So you are not alone in making this mistake. :)
Great video, LUTs are handy, especially if you're not trying to do a cinema ready grade for a feature or just need a quick grade for a client. This is super helpful for FCP grading. I think the reason people say to not use LUT's is because in Resolve we use Colour Managed workflows (as you mentioned at the start). Whether or not the method is actually the same under the hood, we have the confidence of knowing we are grading in a wide colour space and gamma such as ACES or DWG/I instead of grading the Cameras Log/Raw or worse in rec709. Some people might question whether theres any point in doing CAMERA LOG ---> COLOUR MANAGED(ACES) ---> OUTPUT (rec.709) but it also means that our grades should transfer to any camera, and will usually 'feel' the same when grading. What I don't like is CAMERA LOG ---> OUTPUT (rec.709) like FCP and PP do. I wish FCP and Premiere just had proper settings for colour management to give confidence in scene referred grading.
Hi Eric, Great video about a complicated subject but you make sense of it. However, what happened to the Raw information? Raw is in the title but you don't refer to the workflow at all. It would be very useful if you could present the workflow in the way you do with Log and HLG. Would be a great asset for us ProResRaw shooters. Thanks.
I had no idea people did manual colour space transformations before watching this video but it's nice knowing exactly why I've been doing things right all along.
You’re such a great teacher. I was able to understand all the information you delivered to your viewers. As a colorist myself, I really needed this, and it helped me gain a better understanding. Thank you!
Hi Eric, i am an fpv drone pilot using gopro 11 (flat) and 12 (log) for now. Which rec 709 conversion should i use from your Cam2Rec? Thanks a lot for your videos!
That 'Mistake 2' part was eye opening and exactly what I was struggeling with in Premiere Pro. I would select all clips in my footage bin and change the "override media color space" for S-Gamut3.Cine and I'd often feel like I'd lose half my dynamic range or get colors that look 'odd' to say the least. It got the the point where I currently fully ditched s-log because every other Sony PP would give me a lot more pleasant results. I scrolled down to see if there is a fix for PP and you suggested making an adjustment layer and doing the conversion there, which makes sense. But that would also mean that if I'd like to do some more adjustments on the color AFTER converting, i'd need to make another adjustment layer on top of that and change colors there right? If yes, my god that's such a hassle to just do some basic converting/grading... Why are you like this PP... Anyway, you earned yourself a new subscriber! :)
Wow, instant sub. I saw a video the other day and it looked like a nightmare to “grade” log2 footage. Where as I just told Premier use this LUT lol. But the explanation behind it that you provided is awesome! Now I’m off to pick back up Spanish
I am not in this industry nor is it a hobby of mine. I am a math teacher by trade, but somehow I watched this whole video, and it made me want to dabble in color grading for fun. Thank you.
I totally get your point, but I don’t see the appeal of HDR just yet. You need to be able to monitor HDR properly in order to grade it and this is where the first problems arise. Yes, all newer MacBooks can monitor HDR but the majority of external monitors aren’t there. So, don’t get me wrong, I understand why you’re asking that and it’s a legitimate question but I don’t think HDR is a thing to worry about for the vast majority of people just yet. That being said, I’m open to change my mind. And if I can afford a ProDisplay XDR someday, I will dive into HDR. But now, I can’t even monitor it properly, other than on my MacBook and that’s not a good solution. 🙈
@@iamericlenzHi Erich, Thanks for your response - I totally get where you’re coming from, and you’re absolutely right: without the proper monitors, HDR in a professional setting is incredibly difficult to manage. Most of us don’t have access to those expensive displays, which makes proper grading quite a challenge. I, for example, don’t have one of these monitors either, and for certain aspects of color, I have to rely on color charts and only really see the final result visually at the end. It’s a bit of guesswork at times, but surprisingly, it works out quite well in practice-though, as you said, it’s only really suitable for personal projects. In my case, I’m making ambitious videos for family and friends, and I love delivering in Dolby Vision because of the incredible color depth and contrast it offers. Even with basic color grading, the results are noticeably better compared to not grading at all. I mostly shoot in Apple Log for that added flexibility. That said, I’m starting to understand more and more why there are so few HDR delivery workflows on RU-vid that fully explain the process. It sometimes feels like we’re still in the Wild West, and I find myself a bit alone in that journey. But I really appreciate your work and the great content you’re putting out-it’s been a huge help! Best regards from Switzerland, Patrick
@@patrickkurmann Thank you! You are absolutely right. If I made a tutorial on that, it needs to be air-tight. So I appreciate that you understand my hesitation. I also see why HDR is fascinating, but I'd still ague the true art lies in an intentional and well-made colour grade. HDR allows for more saturated colours and brighter ones. But in the art of colour grading, what you don't see is as important as what you see. Again, I see why HDR will be the next big shift as a baseline standard but having more information on screen isn't always desirable. So at the end of the day, I'll always argue for learning colour grading. :)
Wow! Thanks so much for providing an objective approach and explaining inner workings of FCP in such a clear way. This is exactly the type of information I needed.
