Hey! I remember you from a presentation you gave in Bali in 2018...you gave a presentation on making money on RU-vid and it inspired me so much and here I am still doing it, thanks so much!
Thanks a lot, most of the tutorials out there are 20 minutes of slap a color transform node, rec2020 to 709, tone curve, some contrast and thats about it. The skin tones always came out magentish for me and following this they came out like real life Its a bit hard to follow, but a few pauses here and there and its very easy and gives a truly great result. Subbed
Congratulations, I don't speak English but your tutorials are perfectly understood, please what are your settings for HLG3 and SLog2 for Sony a7iii camera. Thanks from Tacna Peru
This looks amazing but I completely lose you at 5:02. The "secret technique" with tone mapping. When I try to do it nothing happens. Did you ever make another video showing this technique in more detail? Thanks in advance for any additional info you can provide.
Amazing video bro, thanks! About setting the camera using the pp10 option, is it enough to change gamma to HLG3? Or are there other parameters that we have to change?
Hey, thats a lot of info, thanks. Learning colorgrading now, and its definitely a challenge to match colors of different cameras. One question though; why use HLG instead of LOG?
Good video friend, a question if I don't have the HLG profile, since I have a sony 6500 8-bit, which profile would be better to color later in Davinci Resolve, Slog 2 or Cine4? Which handles colors better in 8 bits? first of all, Thanks.
Hey Joo, I've got your ACES training and love it! Question: with DaVinci 17.4 Automanagement of Colour Science - do you think you could do an update video to the course? It seems to me that none of the Colour Space transform nodes are required any more. AND! They gave us ACES 1.3! Would love to see a vid from you on this topic, also introducing goodies of ACES 1.3. Cheers!
@@rezaVfx in resolve you can use the "color space transform" effect as well. Use ap1 and acescct as you output. If you want my luts, you can sign into my course. :)
The result you're getting looks fine, but using this technique and selling it on your site as "the same system as Hollywood and Netflix" is disingenuous. Aside from using the color space, this is not at all an ACES workflow.
I understand that you are trying to offend me, but no offence taken. :) I'm interested what would be the point of ACES then? The official aces team told me that if my workflow is not scene linear, then it's not ACES. What do you think? I'm really interested.
@@JooWorks ACES is more than that. What you are doing is simple convert 8bit footage to some "Log" Format... and later tranform it back to Rec.709. Which is fine. But that is NOT the concept of ACES. And to say: This is was Hollywood does, or Netflix.. it sound like your are ADDING something to your footgae while you are in ACES-light. Beginners will think: Oh, ACES is the KEY for a good color grade. But it makes absolutely no sense at all if you are shooting in 8-bit and finish in Rec.709 to switch to ACES oder Aces light, or Log.
@@allenpayne9182 Why does it not make sense to use aces for 8bit footage? What do you see is the main difference with 8bit and 10bit footage? Don't you see value in fixing your wb or exp accuratelly with ACEScct? Or don't you see value on matching your cameras together in with ACES? I'm really interested if you have some insigths to this topic? I get these kind of comments quite often and sometimes the people have deep understanding of the topic, but sometimes not. I bet you do have some deeper understanding behind you comment, please share.
@@JooWorks You should explain WHY it makes sense. Just saying: "Hollywood & Netflix" are using ACES is NOT a good argumend. About 8-bit vs. 10 bit. I don't care. I care about the pixels itself and my delivery settings. If I deliver in rec.709 there is no need to go to ACES. Maybe if you are using a cinema camera. 12 bit and more.. and you deliver in P3, too. But if have a 8bit, 10bit camera and your delivery ouput is rec709 it is not neccesary to switch to "ACES". Again: You should explain the WYH behind it. "Because Hollwyood & Netflix" is not a valid answer. I could also convert any footage in some log format, or Arri Log C, Cineon Film Log, whatever... and back to rec709. And the reason I am converting to Arri is: "Well, the use ARRI in Hollywood" ... Maybe I don´t understand the concept. If you are doing grading use DaVinci Resolve. If you want to argument with Hollywood... Hollywood is using Reoslve, not Premiere. In Resolve you have mathematically correct transform options. CST - Color Space Transform. It is free. It is mathematically correct. No one knows how you created those LUTs. It is a black box for all buyers. It is fine to make videos about color grading 8 bit footage. But this ACES / Hollywood thing your are trying to sell to people is not good teaching.
@@allenpayne9182 Why ACES: you can match cameras together, you can fix wb and exp like raw, you can output to hdr and rec709 as easily, you can composite cgi to your footage easily etc. This all apply even when working with 8bit. Of coure you don't need to do anything of these. You can even skip color management all together and just use contrast and saturation. :) But why not benefit from ACES anyway? It's not difficult. Hollywood uses resolve? I tougth Baseligth? Cts plugin in resolve is great tool I use it a lot. There is nothing magical about it. It's as much of a black box to the user, who doesn't read CTL. And if you think floating point makes any difference... well explain how? I like talking with people who know their stuff, but not so interested in arguing about who is rigth. So I'll try to keep the convo polite. I can already see that you have a good understanding of the topic.
