-Dude, honestly, that was one of the best all-time balancing tutorials I have ever seen..Would it be possible to link 3 .TIFFs so we could follow along?
You can put all graphics in a separate group with a CST in the post clip that flips them into your working space. Then the final CST flips them back to 709/2.4. It seems like extra work, but the benefit is you can easily switch your entire project to a different output space if you need to export an HDR version for example. I will show this in lesson 8 where I walk through the entire workflow.
@@MattMcCool0I think the bigger issue is putting a look at the timeline level - typically you wouldn't want the look to affect your titles. I wish Resolve would allow for shared compound nodes - I can imagine using a shared compound look node that would be applied at the post group level - could be used for all your footage groups and left out for your graphics groups. In this case you wouldn't use the timeline node unless it was for a global vignette, I suppose. Great tutorial, btw.
I think you may be using color match wrong. If you try to match two uncorrected log files won’t work. You need to have a basic grade done first before using color match.
Do the Datamosh Matching 🧞♂️ Liked the tutorial itself, interesting flow and showcase, have no clue about colorgrading, jet absorbing what you have to say here ❤
Best balancing tutorial have seen so far... and I've been doing this since 2014... thank you.
You are very welcome! Thanks for watching, and stay tuned for more!
Amazing tutorial!!!
Glad you like it!
Thanks 👌👌👌👌 Nice and clear
Welcome! 😊
-Dude, honestly, that was one of the best all-time balancing tutorials I have ever seen..Would it be possible to link 3 .TIFFs so we could follow along?
There you go 👉🏻 mvfx.co/DVR_GradingAcademy_06_Stills
@@motionvfx 🤘you rock, thank you!
Can I move set of node from "clip" to "timeline" level? That so weird that they not make it just "copy - paste"...🤦
When you tried Shot Match, what was your timeline colour space set to? It's not likely to work at all if that doesn't match how your CSTs were set
The problem with using the timeline node make color adjustments is when titles are added to the film. Havent found a way do bypass that.
You can put all graphics in a separate group with a CST in the post clip that flips them into your working space. Then the final CST flips them back to 709/2.4. It seems like extra work, but the benefit is you can easily switch your entire project to a different output space if you need to export an HDR version for example.
I will show this in lesson 8 where I walk through the entire workflow.
@@MattMcCool0I think the bigger issue is putting a look at the timeline level - typically you wouldn't want the look to affect your titles. I wish Resolve would allow for shared compound nodes - I can imagine using a shared compound look node that would be applied at the post group level - could be used for all your footage groups and left out for your graphics groups. In this case you wouldn't use the timeline node unless it was for a global vignette, I suppose. Great tutorial, btw.
I think you may be using color match wrong. If you try to match two uncorrected log files won’t work. You need to have a basic grade done first before using color match.
Yeah, probably. I never use that feature. I tried it years ago with standard 709 shots...didn't look great, so I never touched it again😅
he did a the by using the CST in the example
In FCPX 10.7 the app Mlut dont open.
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Do the Datamosh Matching 🧞♂️
Liked the tutorial itself, interesting flow and showcase, have no clue about colorgrading, jet absorbing what you have to say here ❤