Відео

The main problem here is that UA-cam won't let you use end screens and cards if you use the actual 21:9. And that sucks.

Great Tips

Hi Eric! Thank you so much! Do you plan on making a Lut for Apple to Rec709?

I never knew they taught color grading in Hogwarts. Great video wiz!

08:01 Didn't see that coming.

I disagree that Apple need to engage in corporate secrecy to protect their brand. The level of secrecy this company have historically been known for speaks of self entitlement, not good business sense.

up now, everything i watch from you its great!

This 19 min video gave me twice the knowledge than Waqas Qazi's entire UA-cam catalogue.

Hey there. The halation in the video is way too much. the bloom killed the details which makes the video way too soft, resulting in eye fatigue. You know its too much when the skin starts glowing as if its a light source of some sort. This is made worse by the jittery movements in the hands. It looks like you had the wrong shutter speed setting on your camera. Great info though

Great videio. What mouse do you use if you don't mind me asking? Thanks

I needed this, thanks

Just drop by to say a big thank you. I used your workflow today and for the first time ever, my video looks consistent

Do you have a FCPX export settings tutorial? Trying to get better YT uploads that have less banding and crunchiness haha

Why does everyone who provides information on this subject keep on living in the past with Rec709 SDR?

I really like the way you managed light reflection on your glasses. It's not completely gone, but it's really subtle.

Why didn't you use a CST instead rather than a lut? I'm learning so I just want to understand. Thanks :)

Subscribed for lego editing instructions. It look just like the layers this is genius

Hey! Amazing video, as always. One critical step you take is that you apply the Rec.709 conversion in an adjustment layer and then work on the correction/grading in the original clip that still has the LOG-footage. What is your position on Premiere now offering the auto-detect feature that converts the clip(s) to Rec.709 automatically and subsequently apply the conversion directly onto the clip itself. Consequently, I don't have the ability to layer and, by default, lose the option to adjust the LOG clip(s) before the conversion. Would love your take on this! Many thanks in advance!

You don't know this, but I love you.

Your videos are insane, thanks so much for sharing. Do you have a video of a compelte workflow? From importing clips to exporting final video? I saw in some of your videos the concepts of primary changes, secondary etc so Im really interested in the overall approach. Thanks again!

I thank algorithm for suggesting this valuable channel.

Are you aware your teeth are orange? Do you really believe it should be like that?

Here is an intelligent young colour grader with a sensible and artistically grounded overview of his craft. Thank you Eric, you a welcome presence in a market over crowded with hyperbole.

Dear Eric, I hope this message finds you well. I am writing to express my gratitude for your informative video. As a professional utilizing the Nikon Z8 camera with N-Log, which is based on the Rec. 2020 color space, I have encountered some concerns regarding delivery in Rec. 709 for social media platforms. I would greatly appreciate your guidance on how to set up my equipment and workflow to ensure optimal results. Thank you for your attention to this matter. I eagerly await your response

Ah yes, shot matching. The most important, least fun, and most time consuming part of color grading.

Split toning tutorial please 🤝

I didn’t get the 80% ‘less work’ part?!?!?

This video came out 2 weeks late. I literally spent a full 7 days doing this mistake you mentioned on a 1h30m long video with a thousand cuts. I wanted to cry

This was an incredibly hepful video in terms of understanding how LUTs work and the process for dealing with them. However, two things come to mind that don't quite make sense. First of all, if it's just math, i.e., replace these brightness/color values with these other ones depending on how the camera file was encoded, then shouldn't the LUT be perfect every time and not need any additional "pre-grading" (assuming you are just going for a straight and not creative look)? Additionally, how can Sony's own 709 LUT be "bad" if they are the ones who encode the footage to begin with (and thus must know more accurately than anyone what the mathematical equation is for "transforming" the footage between color spaces)? It seems like there should be a totally non-subjective LUT that exists which transforms a particular flavor of log footage into a neutral 709 output. Secondly, I obviously don't understand everything, but why don't camera manufacturers just build in a LUT that does the process of capturing a wide dynamic range image and then "transform" it in-camera, so you don't have to go through all of these steps in post processing? I know that many cameras do offer some kind of "standard" shooting profile that I assume is doing something like this, but the dynamic range and other image characteristics don't look anything near like what they do after even just a simple log-to-lut conversion in post. This is all very confusing. 😅

why are you not on davinci resolve?

Excellent explanation.Just discovered your channel today, I’ve got a lot of catching up to do!

You sir are awesome!

this!!!! love it, thank you!

This is the video I was waiting for, this explains everything in a good way. I definitely going to change my work flow

As soon as I found the right color management settings, I stopped using any LUTs, plugins, anything. I just focus on editing. All changes applied to the adjusment clip.

This workflow still has problems, like when you mix and match cameras and vfx, your workflow breaks since each camera has different colorspace, if shot on log. This is basically a limitation of fcp as far as i know. Fcp doesn't allow control over working colour space other than display refered colour spaces like rec709 and rec2020 etc. so my recommendation is to colour grade after the lut, since that what is only supported. So you will be limited to the luts quality ultimately. Or switch to a industry standard color grading program, like davinci

I think most videomakers deliver 1-minute products so they can brute force that pretty easily. I have to do the baseline pass everyday for the 20-minute documentaries but it’s more nuanced than this, because clips come in batches from several locations, but excellent overview and techniques!

I SO could have used this information in film school lol. They installed a full grading suite in my third year and our teachers basically taught us the 'invent a new hammer for every nail' method. I've been grading for thirteen years now, and still learned things from this video, excellent work :D