Hi Jon, I'm pretty comfortable with the curves/levels/hue-sat etc for adjusting sequences in AE. I was wondering if you have experience with lumetri colour seeing as this workflow pushes us towards going with 16 bit exr. From what I've heard lumetri is very powerful albeit more complex but I'm curious if you've got experience with any drawbacks over the classic adobe adjustments? Btw, I couldn't believe my eyes when the 5.4 features video released showing off the motion graphics editor. Dream come true, very lucky to already have experience in AE, UE, and C4D and I'm keen to see how far as a non-programmer I can push UE5 to hopefully rely more on such an awesome tool. Haha, only just realized reading the comments this video wasn't posted on your channel, great collab
@@Dan_Tasty Hey man! Great Question! So I think that really depends on the workflow you / your client / your project may need. I take an approach similar to Robert Rodriguez (read Rebel Without A Crew) where I care most about the final look now adays. If my client and/or friends won't really care about a 2% color difference, does it really matter in the context of the entire video. I have found that 90% of the time, a bigger issue with Unreal renders is that the overall visual storytelling and design of your scene will be lacking compared to a specific color. As such, if I have any branded content inside a render from Unreal, I try and do 99.999% of the work in camera and not even bother touching color grading after the fact because I know any post effects will affect the color that my client will be particular about. I have a relevant example with a client where I did a Marvel Board game project and Marvel came back saying the red was off in my Unreal render. After stripping out some post effects I was doing with curves and HSL, the shot was approved. Back to your point on Lumetri vs. standard curves/HSL. Tbh, you can pick one or the other and I have not really found a huge difference. I'll confess that I am not particular fond of the color space conversion tools in AE and if I have a particular color in my render that needs to be a very specific shade, I will actually bring my render into Da Vinci and do my color grade and final retouches there and then export a ProRes from Da Vinci in rec709 and bring that into AE. Now I know that may not be the answer you were looking for...as in "just dive into Da vinci," lol so here's what I suggest! Pick a standard for your final color effets in Unreal and send style frames to your client before final render. If they don't say anything....just let it go. If it's a personal project you're working on, run it by a friend or a partner and don't tell them to look at the color, just ask if anything looks off putting. If you get a green light, you're too close to the project but if you get a nay response, then feel free to hmu and I'm happy to volunteer some time to help you find a solution. Also, I'm colorblind so I have my girl friend always be my second pair of eyes just to make sure my color is on point :)
So densely packed with all of the relevant info, while being perfectly paced and with an easy to follow delivery. Thank you for such a great presentation of valuable info!
With 24 fps you get motion blur that looks like you see in movies. Hence “cinematic”. With a higher frame rate, the result would look more like game recording.
@JonJagsNee Love your UE videos mate, keep up the good work! Has anyone out there managed to get this workflow to work on mac? I tried to learn UE5.3 about 6months ago but for the life of me couldn't get the crypto mattes workflow to work, other Mac users were having the same issue. Before I dive back into UE I'm wondering if anyone knows if this has been fixed in UE5,.4?
QuicklQuestion: when I enter MDM, the upper bar doesn’t pop up (which should say „operator stack, remote control, material designer etc..) Anyone had the same problem? Or even better, a solution? Currently in 5.4.4, but upwards compatibility shouldn’t be I problem I think… Greetz and thanks for the video!!
