We do apologise for the 2 Goodbyes we gave and the Monotone voice towards the end haha. We thought it would be a good idea to start recording at 4am...Enjoy the Tutorial!
I searched so long for a tutorial like this. You explained everything really beginner friendly, I think everyone could understand and also move along. What I also really like, is that you show all the shortcuts 👌🙌
I never really understood why colourists prefer Resolve over Premiere Pro, but now I do. Holy crap... The fact you guys are giving this information away for free is so mind boggling. I cannot thank you enough for sharing your knowledge!
Your tutorials are simply incredible very high class and its a joy to listen and watch with the piano playing in the background. Never thought a tutorial could be this relaxing and easy to follow along!!
Wow this and the cineprint 16 tutorial have been that extra boost especially on an a6400 I’ve owned for 2 years just when I thought I had got everything from Sony 8bit lol I can’t wait see you guys on a blackmagic or a Sony fx series camera if that’s the route you go
We’re super stoked that you found it helpful! We hope you push the a6400 to its limits, it’s a good machine. And hopefully possibly we’ll be adding a blackmagic to our arsenal sometime in the new year
Pivot changes the middle grey ( and the exposure ) slog-2 - the reason you liked when you lowered the pivot is that slog-2 middle grey is 32 % IRE. Also raising the RGB red green and blue channels is identical to just using the saturation wheel from 50 to 100, unless you want to add or subtract RG or B with the sliders, it's a lot easier to do with the sat knob.
Mind blowing of your knowledge and experience. I know I’m new to color grading but I enjoy learning your observation and creativity through Da Vinci resolve . Keep it up, your awesome and should feel proud in what you can do and how you can teach others.
Nice tutorial, loved it. Perhaps you could have control the light from the windows and play with the shadows a bit more from the first clip, for a more cinematic look.
very good video! I would like to know when I should use slog 2 and when not. I would also love a video about tips to expose in slog, apart from the two steps, thanks in advance, greetings from Peru.
Thanks! And do you mean colour grading multiple clips of the same scene in one timeline and how to essentially copy and paste a grade from one clip to another so they all have a similar look?
Thanks a lot! We didn’t take any courses to learn how to colour grade, but just learnt from watching RU-vid videos. Mostly from “Qazi” channel. If you type him into RU-vid he’ll come up straight away
I love your work so much!! Your workflow makes a lot of sense to someone like me who is still trying to figure theirs out. Quick question though, is there any reason you don't use Davincis color transform to get the log footage to Rec. 709?
Thanks Alejandro! The reason we don’t use CST with Slog2 or Really any 8 bit footage is CST breaks the image up quite a lot and often the image is not balanced as well as we’d hope for colour separation that comes after. This way, we’re able to adjust the colours without the footage breaking up as much 🙏🏽
@@meliorstudios Ahh that makes so much sense. Thank you for the speedy reply!! I hope to continue to see the amazing work that comes from this channel!
This is the best DaVinci Colour Grade tutorial EVER - thanks so much for sharing! I shoot with Fuji X-T4 in F-log, when I grade in DaVinci the first thing I was taught to do was to add colour back in via Luts and add the X-T4 LUT before I then continue grading... With this tutorial you haven't done this? Just wondering whether this method is an alternative to adding the LUT or whether I can use this node tree method while also using the F-log LUT? Thank you :)
Hey Antonia, apologies for the slow reply. There are many different methods to achieve the same look. You can use LuTs as a base to get a starting look and work form there. Alternative you can use a similar node tree structure to what we showed here. Though there me be a bigger difference in the colours and contrast of the F-log compared to S-log. Never hurts to give a go just as practice and if it works, it works, and if not, it’s best to try and find a method that you’re able to use to get the desired look
Thx for this video guys. In the project color managements, do you have Davinci YRGB Color Managed and wide gamut or just Davinci YRGB with rec 709 2.4?
Hey guys, thank you so much for this video it gave me confidence about my a7iii just wondering what’s your input/output setting sequence on Davinci? Thank you.
@@meliorstudios Buuut, i have a question haha: Why don't you change the project's color space from slog to rec.709? Maybe you think that is better use this method, i want to know that :o
@@danielnorambuenafuentes5807 the reason for this is that S-log2 has a lot more dynamic range then standard Rec.709 which as well as giving you the ability to push colours around much more in post with the image falling apart. Rec.709 is much more of a baked in look that’s hard to change in post
Hey dude, fantastic video. Overall amazing channel and as an A7iii user still in 2022 honestly didnt think this camera still had this much capability in it. Thank you. Got to ask, was shooting a client job that was very much low light, recently and while I was at 1.7 to 2.0 stops over the whole time on slog 2 and holding as close to min iso 800 as possible, we still got very noisy footage out of it. How do you know when to jump to HLG3. I guess my question is how do you know (based on what the camera is telling you) that you should be shooting a specific scene in HLG3 vs SLOG2? Thanks again dude
Hey Colin! Firstly thank you 🙏🏽 we’ve found even if you’re able to expose by +2.0 stops for S-log2 you will still get very noisy images as S-log2 really doesn’t do well with a lot of shadowy areas. Hence why even if we can expose for Slog2 in low light we still choose to use HLG3. Usually anything that’s darker than like sunset times or if a room is quite dark or has a lot of dark colours we’ll go for HLG3 otherwise for anything that’s clearly daylight we use Slog2. We hope that’s somewhat help. But for us we usually just go by eye and I guess with more practice in different lighting situations you’ll learn which profile will work best for what
THX God to found you. very helpful tutorial. thank you i learned alot. God bless you. (one question: i saw some people use color space transform effetc for log2 for exp. that change colors nice, what is your idea about? is that a good way?)
Very informative video & very much obliged! Need an advice here, as I am shooting in Slog 2 PP ever since I have come across your beautiful videos. You have mentioned here that Slog 2 footages need to be exposed +2 stops, how do I get that? Let say, if I am shooting out in sun moving my camera into different direction, would you recommend me to put ISO in auto mode? And if I don't then it becomes very dark at certain direction and vice versa.
Thanks for watching! I always recommend keeping Iso at 800 and have a desired apeture you'd like to use, then adjust the brightness with a variable nd you can screw onto the lens. Then use the levels and exposure number at the bottom of your screen and make ensure you adjust the exposure enough to get the number to appear as +2.0. if it flashes your over exposed and if it's less than +2.0 you're under exposed. Hope that makes sense. I wouldn't set Iso in auto mode but turn the variable ND to expose properly with your finger while shooting. In very dark situations we recommend using HLG3
@@meliorstudios thanks a lot for the reply. What if I am panning my camera in different direction? The exposure changes along with the movement of the camera. So how do I get that +2 exposure perfectly while moving it? Or should you recommend me to put aperture in auto mode to have a steady exposure throughout?
Good tutorial :) Though I don't understand why it's called "Digital Look" when all along the tutorial you tend to create a filmic look, while often mentioning "Filmy"...
Thanks Charles! And we tried our best to create what we believe is a common digital look, with the strong blacks and clean frames, for example the orange and teal look. When we referred to filmy one this videos we were actually referring to movie films and not something like 35mm film. Though we should’ve explained that better for sure! We appreciate the feedback:)
Thank you so much for this! Have been so frustrated with color grading lately that I was tempted to upgrade to an a7siii. But I guess great colours i still possible with 8-bit sony! Just one question though, would it be easier if I use the CST tool and work from there? Or would it be steering away from the look that you are trying to achieve?
Hey man, we’re stoked to hear that! And 8-bit is definitely usually still but it may take longer to get a desired imaged compared to something like the A7siii 10 bit footage. And yes you could definitely use CST to get a starting base. However we’ve found with CST the magenta shift is too great with a lot of S-log2 footage, but that could be due to our settings. If this isn’t the case for you you could definitely start with CST and then start your look adjustment on the next few nodes. We hope that makes sense! Have a great day:)
If we have a lot of clips from the same scene we’ll grade one clip and then copy and paste that grade (the node tree) onto the other clips of the scene, then make any tweeks if needed. Thanks man!
This can be done instead of doing the balancing at the beginning yes! But we've found if you're working with 8 bit footage, CST can make the image break up a little. But with 10bit footage or higher, it's completely fine
Hey just curious, why do you use the "Color Wheels" to adjust the footage instead of "Log Wheels"? When I opened color tab for my slog2 footage in Davinci, it seems to have defaulted to the "Log Wheels" option. Edit: oops, looks like it doesn't make any difference which one is selected as long as you're not adjusting any of the main wheels.
I’ve gotten so frustrated trying to shoot and grade S-log on my A7III. When you say expose +2 stops, is that the entire image? What metering mode do you typically use? For example, meter for shadows and expose those +2?
Hey Logan! We’re actually currently working on a video to debunk exactly how we go about exposing for Slog2. Hopefully it’ll be out sometime next week 🙏🏽
@@shadowcultur in most cases, if we have the ability to control our light. Not really but in a lot of outdoor cases, we find Slog2 actually does a better job at retaining highlights than with HLG3 due to its greater dynamic range. If you don’t want the highlights to be clipped in certain areas, it may be best to expose for those areas
Heyy, I have a question, Have you transformed s.log into rec.709 before hand or did you just edit all this in s.log2?? Because I didnt see any color space transform nodes
Thanks for taking the time to watch! We've made a video about our Custom S-log2 picture profile here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5n1rm_46fkg.html
why u dont use a Colour space transorm first? wouldnt it be better to transform your imgage into davinci intermediate and then after edit back CST to Rec709? i see evryone using CST first before they grade in Davinci - so why dont u?
If you look on the bottom left of each of the beginning few clips you’ll be able to see the setting we use. Though we’ll be making a more extensive Sony A7iii profile settings tutorial in the futur
We forgot take that part out. Initially we thought we’d finished recording then realised we forgot to talk about HLG3. And then when editing for some reason we forgot to take that part out 😅
in this video what we mean by a digital look is more so the modern look we see using Digital cameras that we see often used on Netflix and modern movies. Apocalypse Now is a stunning film and was shot on a 16mm and 35mm film on the older Arriflex cameras
Where is CST? Are you working in a managed color workflow or Davinci YRGB? If not CST then how will it get a perfect REC 709 (Assuming that you're aiming for that). If you're not using CST then you can't shot match. Can't trust the eyes brother.
CST isn’t always necessary, it’s not necessary to get a perfect rec.709 look if you’re trying to create a stylistic look. A Rec.709 look is more so important for broadcast media, not cinema. And having a good colour corrected monitor helps
@@meliorstudios So this image is for cinema then? And if relying on a monitor, scopes, and your eyes. Then brother you can't shot match. There is a reason for CST. And if this is for cinema then the output will be DCI-P3 (XYZ) I think so.
