Thank you Joo. Im your follower and "student" from your courses. Been learing more practical things with you than in filming school. Thank you, thank you, thousands thank you´s!!!
Did you try it by actually testing if the footage ends up getting banding and makrobloking? It's really odd, but prores still ends up 8bit on my computer. Cineform as well. It migth have someting to do with the fact that many effects like "warp stabilizer" makes your footage 8bit as well.
@@JooWorks I have helped many customers in Australia with the 10 bit issue. The sequence also needs the max depth ticked. I have spoken to engineering about it. The ProRes 10-bit experience is necessary to smooth. It's on the radar.
Best channel for expanding our color grading universe, for any technical goal 🙏. This type of channels are best kept in quality content more than quantity content. Once you have 5 million subscribers, things get a bit wilder. So if you want to make less videos, you have my humble support. Thanks 💪
I understand almost nothing what you're explaining about color grading haha but still subbed to you because your content is awesome and I hope to understand color grading one day!
I don't think I'd have the same latitude in regards to highlight recovery inside PP like I can inside Resolve, especially with Black Magic Raw using the Davincci Wide Gamut color space. It's just given me so much flexibility. In PP, I don't think it's using the latitude you have available from the raw material. When I adjust highlight slider in PP, it's not actually bringing them down, it's like it's baked in at that point.
I would find this interesting as a newbie/intermediate user but personally I think it was too fast and too few things explained like I don't know how to toggle split view of the hero shot to the clip you're matching it to and I didn't get it from this vid. Also the background music is super stressful, everyone use music in their talking head tutorials, it's insane. anyways. good job but maybe think about who your target audience is..is it newbies like me then it's too complicated and fast. if it's for more advanced users then I think much was redundant.
Interesting, but all the colorist that I know are not equal in Resolve and Premiere and obviously a good colorist could make things work in either. But a lot of your workflow in Resolve is not conventional, so comparing and timing is only a comparison as to which is faster for you. There are tons of things that are a couple of clicks to do in Resolve that Premiere would take a lot longer. So that would again be dependant on your experience in each software. Using your LUTs in Resolve is also limiting while in ACES - ACES in resolve comes with it's own IDT and ODT, so that alone would cut your time and efficiency down. Don't know why anyone would reduce the input gain on a white balance LUT - especially before white balancing in Resolve. I do appreciate that you have always been thinking outside of the box. But there are many things in Resolve that can cut down time and I imagine that there are in Premiere as well. Saving a powergrade and having a fixed node tree is an example of one.
I think the biggest difference is that this was the second time I did this ad. And this time I didn't do the exp & wb as separate passes. Saving time there as well. AND I transcoded the video for premiere. That saved a lot of time. It was really slow in resolve. :D So this by no means an apples to apples comparison. I did explain these observation in my script, but cut it off in the video. How would you go about gradsing in resolve?
My 8 bit conclusion is based to the banding and macroblocking the prores render has compared to the original or the dnxhr codec. Would you like to test if you see banding in sky for example when you render intermediate prores? And are you on mac?
Whenever I try to do this workflow with ACES my playback of the footage is super laggy. I've tried doing the export to DNxHR as well as trying it with proxys. Any ideas? I'm on a laptop with 32gb or ram, gtx 1070 and editing from a usbc hard drive. Its 4k60 GH5 footage.
My question is, you are changing this in your export settings then color grading and then going back to export? how does this reserve these settings when you close the export window to go back into editing? also do you use those settings to render your finished project to reserve the 10bit? I am a bit confuse on the code you choose...
First I just transcode the footage to a better intermediate file. If your footage is not slow as mine, this is not important. The end render is plain 8bit, because it's not meant to be graded anymore.
@@JooWorks Thank you for the quick reply, I have the same camera and the same file type that's why I asked. I also edit in proxy. Is the proxy workflow recommended or is this workflow better in terms of color grading.
@@JooWorks But modern displays, like viewing youtube on OLED TVs, can definitely display 10-bit (and HDR), so you should probably preserve 10-bit throughout the workflow. I can definitely see banding viewing 8-bit footage on my 10-bit display...
@@JimLeonard I would use 10bit for HDR like hlg or PQ exports, but for SDR... I saw that only small fragtion of professionals can spot difference between 8bit and 10bit graded footage when the source footage Is high bit depth. But interesting if you can spot difference between 10bit and 8bit. In the source footage the difference is massive, but for example if you open a raw photo in photoshop in 16bit and then change the image to 8bit in the settings and nothing else... do you see a difference?
@@JooWorks Definitely, if there are any flat areas. When you export to 8-bit, any dithering or other conversion is baked into the final result. But if you export 10 bit, better displays and decoders can show the material better. Pretty much all devices made after 2018 are 10-bit, so there's really no reason to deliver 8-bit, unless you want banding baked into your deliverable.
