Quick tip, man. That line moving that you mentioned at 10:03 can be fixed by holding shift when setting a point. They are very sensitive, that's for sure.
I've said it before and I'll say it again: you are the film school most of us can't afford! Love these tutorials and thank you. You are really a great talker and great teacher: barely realized that half an hour had gone by.
Even if one did go to film school. This tutorials is still worth watching. Like Ted said, Gerald you are a great teacher but maybe just a tiny bit fast in your talking.
I went to film school and this is def junior/senior year level stuff. Gerald doesnt mess around! He’s the only film youtuber who doesnt cater to the same round of “content” that all the other ones do. I hope he never does
I got myself a color chart and I've watched a few videos covering that topic. This is the first where I get the feeling that the presenter thoroughly understands what he's talking about and is not simply regurgitating something someone else said. Your video helped me a lot in getting a grip on the whole concept. Thank you!
"Editable Splines" is a nice way to really gradually affect the curve using long handles for more gradual and incremental changes. Available in the curves window 3 button menu. Next Video: "Boom Boom Boom lemme hear you say way-oh, way-oh!!"
Hi, Gerald. In your Table of Contents section add "0:00 - Introduction" or something like this. Not all channels have this feature, but try it. It's a new feature on UA-cam which lets your viewers see chapters in your video.
Great tutorial :D And thanks for the shoutout :) One quick tip with Resolve - if you double click the title of the parameter you want to reset, it will instantly go back to the default number, eg. double clicking on the Temperature text will reset it to 0 immediately. Very handy when you are dealing with the Hue vs Hue stuff where you nudged it off 1 when clicking a point. Cheers!
Very cool - I use Resolve and this is very thorough and easy to follow. Thanks. Have you tried using the built-in Color Match tool, where you can line it up with your color checker? I'd imagine it would (should) get 2 different cameras to the same base-line staring point?
Hi Gerald, great content, thank you. In the Hue VS Hue and other curves, if you hold the shift key when adding points to the line you wont keep bumping it off the zero mark.
If you don't have a chart - you can easily match the luma by putting the two clips side by side and matching the waveform - the waveform will show left and right of the 2 -up.
I found this video to be very frustrating as I have spent good money on online DaVinci training, watched Casey Faris, and countless others and no one has explained anything as clearly and concisely as you have here. My frustration is that there is only one of you and you have gear to review and studios to critique so doing a full time Resolve series is of course not possible. That said if you ever do, I (and many others) would pay whatever the asking price. In the meantime, If you find the time, please do more!
I completely understand the need for people to generate revenue, but slipping these adverts in mid-video is both annoying and disruptive. When trying to digest the information being provided (especially when it's regarding something that one may not already be familiar with) it can totally derail focus when suddenly the subject completely changes to something like an advert. Squarespace, Storyblock, Skillshare... All I've realized from hearing about them in every single video is that I have no desire to use their services simply because of how annoying their promotions are in videos. Maybe it's a necessary evil, but it's also a pointless one since it not only disrupts the content I came to see; it makes me not even want to bother with what the advertisement is supposed to promote, and kind of defeats the purpose if their ad campaigns. If they have to be in the videos then that's fine, but I'd rather they be at the very start or very end, so that one can then focus on the actual content of the video.
Thank you very much this is the best and most comprehensive matching tutorial I have watched and believe me I have watched loads ! Interesting to me that you don’t mention the colour checker comparison feature or the built in shot match option, why is that?
I literally just spent the last few days in quarantine trying to figure out how to do this. Gerald, you are a god amongst men! Seriously, thank you for all that you bring to the creative community, I love how thoroughly you cover topics, and your communication skills are on point. Keep it up my dude, you have a viewer for life.
Exactly what I was thinking about the other day.. Thanks for the great work and afford for those in depth explanations/tutorials.. I love your technical videos so much👍🏼 Looking forward for more of your quality content! Wish you all the best 💪🏼
thanks so much! This tutorial has so much valuable info I'd have never known where to get from! Having said that, my screen can't show much of your Canon and Sony skin tone difference in the clip.... time to upgrade my monitor too hah
As always, this has been great. I work almost exclusively with stills, but watching you run through this stuff with video is both very interesting and helpful for thinking about workflows
A newbie with video editing and especially color for my new Mavic Air 2. I was pretty well lost (still stepping slowly through Blackmagic's excellent and voluminous documentation) until I found this! Now I know why my color mucking didn't do anything, just by watching you work. Now I need to find a DJI-cinelike LUT to start.
Yes, if you could do a similar version of this tutorial using Adobe's Premiere Pro and achieve the same great color grading results, that would be stellar!
@@suitablemediallc2918 Having worked in both, my experience is that Premiere's Lumetri grading is not worth the effort, especially when the free version of Resolve exists. Resolve treats the light and color in video in a totally different way than Premiere does, and Resolve offers so many more options and flexibility. Resolve also has what it calls Power Windows, which are essentially masks that you can keyframe to track objects and change values. I've used them to add lights and shadows to make up for lights that I didn't have or weren't able to control. I'd suggest, for expediency, you cut in Premiere (since you know that software better), export your final edit for grading, and export the relevant chart shots for the shots in your edit. Open that in Resolve, get your looks from the chart shots and save them as Stills to apply to the edit shots. Then export that. Someone else may have a better suggestion.
Hey! nice video! Question: Is this the same process you usually do? 1: Exposure 2: White Balance 3: saturation 4: contrast 5: skin tones AND THEN 6: Color grading ?? ****FOR THE SONY A7SIII: When do you apply the color transform effect? THANKS!
There are so many Horrible color videos and this is ACTUALLY helpful, not just in practice but in understanding conceptually. I might just take a nap I'm so happy.
Gerald - firstly - love the technical videos - You are upping everybodies game on the technical end of all this, big time. - But in this one not sure if you are teaching this workflow so people using Premiere can follow along, but in Resolve a lot of what you are doing, is normally done with a reference wipe, or a side by side split screen. The advantage being, that you can place the shots side by side and the waveform shows them side by side - so matching luma values is dead simple. As far as saturation is concerned - if you have the chart in each shot you can actually put one chart over the other and swipe the reference halfway between any part of it - the reference and the input zoom and pan etc. is in the sizing work area. I only point this out because a lot of times - shot matching is matching shots of all kinds - from all kinds of cameras that directors or DPs have a look from lighting etc, where matching them - is hard to find any boxes on the vectorscope, but with a decent display it is easy to see the same swatch on two different grades and match the luma and the saturation quite easily. But if I had to use a software without all the great tools in Resolve - your method would be the way to do it. But in Resolve if doing this - I would grade one hero shot and then shot match to it using the reference wipes first - then side by side selections to tweak. Just another perspective. And another tip - was watching your live thing today - The vectorscope trace - you can zoom in on it, by holding down the alt/option key and using the middle mouse. This works on any of the scopes. It is a lot faster than turning on the 2x zoom. Even on the waveform you can zoom into a certain point and see the trace better. Thanks for your hard work on these videos.
Hey, Jim. Yeah, I only really started doing the split screen thing lately, but I often forget it exists. Question about the alt+zoom thing on the scopes. Is there a quick button to recenter the waveform's position after you move it around? Or do you have to go in and select reset in the panel settings?
@@geraldundone You move around the scopes just the same way you move it on the clip monitor. When you zoom back out it goes back to where you started. Holding down the middle button grabs the scope and drags it around. Way quicker, once you get used to it.
Thank you I really appreciate the video and how you explained what you were doing. I received a large amount of useful information which will benefit me. Thanks again.
Thanks 🙏. That was great! You can set the histogram to Output. That way you can see where the new histogram sits (e.g. when matching purple in the hue). But you probably already knew that 😉 One thing that still confuses the hell out of me is color management in the settings in Resolve. I usually shoot HLG3 so I set input color space to Rec2020 and 2100HLG and output to rec709 and gamma 2.4. However, when I set that output for the timeline settings, weird stuff would happen with render cache. So know I have Timeline Color Space at Rec2020 and Cineon Film Log. Probably completely wrong way to do it but it kinda works. If you could do an explanation of the color management page, I‘ll buy you a case of beer 🍺
Hi Gerald, you should do a video talking about different colors between Chrome-Safari vs Firefox.... have you ever seen your videos on Firefox? waaay more saturated than Safari or Chrome, in fact there is on the internet many forums of videographers talking about how different the colors look from the Timeline of Davinci Resolve or Premiere vs what you see on UA-cam...see, the problem is not UA-cam, the problem are the Browsers.... i would love to hear your approach on this subject....... (Spoiler alert, i managed to have decent color results on the Delivery page of Davinci Resolve moving a few Advanced Settings).
Thank Gerald for such an INFORMATIVE video. One question, please. What's the difference between a Colorchecker passport photo version & a Colorchecker passport video version. I already bought the photo version. If I use it for my video shooting, will I run into any issue? Thanks again.
Learning so Much!!! Especially in Davinci Resolve... Can you do a video on fixing Exporting issues in Davinci… it seem like my exporting either got crush black or the graded color that I see in the editing page exported totally got either saturated, crush the black, or skin tone doesn't match my edit.... Pleaseeeeee!
Hey, nice video. Would recommend taking a look at the sat vs. sat curve. It'll help a lot avoiding oversaturation while still having a nicely saturated image. ;-)
There's no real way to thank you, I believe. What you teached is priceless, and being already subscribed and having hit that like button seems so small. Thanks a lot for your fantastic videos and skills. Greetings from Switzerland
Dude, if you were a mechanic, you'd make cars fly. If you were an engineer, you make them invisible while flying. You go into so much detail, and have such a good eye (Good eye, mate!) that I can't believe they're not saucer-sized. I'm obviously hangin' out in a group above my talents.🤣😎
Thank you for posting.. just getting into Davinci Resolve and BMPCCP4K BRAW and grading in Davinci like it was FCPx... which ends up being OK but subdued... was struggling to find out how to saturate different colors etc...I suppose I should just sit down and watch Blackmagics training videos.
Absolutely love your content! What's your advice on creating a lut for shooting (A7III) SLOG2 w ITU709 color space for use with a ninja v? Or would you just recommend using the standard s gamut?
Great tutorial! I managed to do a mighty fine outcome with it. One question though. When using Datacolor Spydercheckr24 or similar calibration card, would you suggest doing the calibration on the first node, or set white balance for the first, then calibration card, and then do custom tweaking after it? Thanks for great content :)
Hello, Gerlad, I'm thrilled with your tutorials. And I'm thrilled that you're using Sony HLG. I have a question about that. How do you do your color correction in Davinci Resolve with HLG footage? Thanks for your answer and best regards. Roberto
Bro! I have been looking for a solid, fail-safe way to color match my Sony A7III and Pocket 4K. Most people are just going by eye. I don't really see the "by eye" method as sustainable. Your HSL method is spot on. I downloaded Leeming Lut on your recommendation from another video. The Leeming Luts plus this HSL method works with amazing results. Just wanted to say thanks!
Very enjoyable video, especially at 100%. :) Gave it a like + subscribe. Using an in-scene color checker does really help with color grading. I film, though, in concert halls where I can't use a color checker--for a number of reasons but particularly because the hall lighting changes at the start of the concert. Plus, in some halls the lights are not consistent--besides being directly above the performers (casting odd shadows). And I struggle getting a good balance, especially between two different cameras. I film in RAW and I'm going to try your "color grading without LUT" workflow. I just need to find some good neutral dark and light areas. As for color grading I'd give myself a C, maybe B-. :) But I'm hoping your video will help me do little steps, in sequence. I sometimes find myself chasing my tail with lots of little tweaks. Generally better to just start over. I also tend to try to fix everything on the Primaries tab. You reminded me to also use the Hue v Sat and other tabs. Thanks!
I'm hoping you'll see this, Gerald. I'm not on IG or Twitter, so I can only ask you here. Just curious if you've used the Resolve plug-in app, Cinematch. I was watching Phillip Bloom's 2020 "Best of" awards video, and he included that as one of his fave's. I had a look at it, and I then recalled this video of yours. I hope you have a Happy New Year. :-)
Amazing content, thanks. I've got two questions I would like to ask: 1. What colorchecker is good to use when filming on holiday? Color Checker video passport? 2. I've got the leeming lut. Do I even need a color checker or just a white balance card? Regards
Hey Gerald, Great info as always! One question: I shoot with Panasonic, Canon, GoPro (ProTune, not really log) and DJI (without log). I am thinking of shooting same day/light/subject test footage and matching them within Resolve. - Is there any way I can then take these graded "recipes" and saving it to use as a baseline in another project? Would it be as separate luts, or how would that work and how would I re-apply in the next project? Thanks for taking the time.
Ugh I'm having a hard time matching a Panasonic G85 with an X-T3 even with the Leeming Luts. I need more practice and maybe I should get the color checker. Anyone got any tips for me? I'm using Resolve as well.
@Gerald it's ok how you correct the colors but was much easy if you make a power window on Color checker on those 6 colors and then you correct them using Vectorscope :)
Gerald over here making me feel color blind. Me looking at the first comparison, “that looks the same”... Gerald, “oh yeah the magenta and green are throwing this off”🤯
Inside Photoshop there is a button your press called "Color Match " , i dont do video , but video is just fast changing pictures , so if your software is any good , it must have Color Match button somewhere in there , this thing you guys are doing is very Geeky but im sure utter waste of time . Im talking colors not white balance , that needs to be checked . On a side note ,who is checking the color checker , ive used in photography a few of them , all different and not by a little , because you have 3 parameters there , Saturation , luminescence and color or Hue . So its hard to nail down , hence all are different . You paid for your camera 2000+$ , it should be able to measure and tell you those colors , people buy Black Magic cameras , and then they play with the colors based of some stupid 100$ chart , Jesus Christ , it makes no sense Plus in videography no one is using Natural or Accurate look , everyone is doing FX , so WTF , and on top of that , i use 2000$ calibrated monitor , but im the only one in the town doing that . These kids on their phones , who knows what Colors they use , and what their screens display . It just a waste of time ...
Loved this and was looking forward to shooting that chart with my S1H to understand how it hands Vlog and that fantastic explanation of the X pattern. So I when to B&H to buy a Camalign chart. Holy Christ on a Bike! $900! What is it made of? Does it come with a hummer? Damn. Plastic card or new lens? Hmmm. Anyway thanks again for the great video and a great idea for a new business. 5 cents worth of paper, 10 cents worth of ink. Laminate it and viola! Instant mortgage payment ;). Kiding aside, are you aware of a lest expensive chart solution?
Thanks for the turotial, just one question : how did you manage to have such a wide curve panel in the color gradin page ? I can't get rid of the sizing/3D/info panel, workspace/active panel options are dimmed. I'm on dual display layout.
This is fantastic content - thank you. I've just bought a Blackmagic Studio cam and am trying to create a LUT to match to my GH5 for livestreaming via Atem, This fills in a lot of the blanks for me. Thanks again.
Hi Gerald. This properly a silly question. There is x-rite i1 colorchecker photo kit and x-rite i1 colorchecker video kit. I'm a photographer who is going into video. Would you recommend buying one or the other or both? Great videos!!
I have this problem between the GH5 and the BMPCC 6K. The BM just looks better out of the camera to me while the GH5 colors are different, the sharpened digital look is less appealing.
that right click and "Show picker RGB value" totally helped a ton when i'm trying to white balance. really thank you for that, and literally thank you for all the other info. this is probably one of the more accurate video on color correcting if not the most accurate. btw, i think you're supposed to add another contrast node after HSL if u're using it to give it the "graded" look just for aesthetic workflow purposes, but it's not important nor needed, but could be handy :) and weren't you supposed to turn off the "Grade" node before you do all your correction nodes? unless you did a power window to isolate the background or something? i dunno, since u did mention it was specifically for the purple in the back ;)
Hi Gerald, any idea how/if this approach might work/differ with different camera angles capturing the subject in a different lighting situation? (e.g. subject is key side lit, so Cam A sees the subject side lit and Cam B positioned off to the side sees the subject somewhat backlit?) I'm wondering if the lighting, and possible different in exposure settings creates two images that don't "overlap" (vs here where we have two near identical shots) and make it hard to ascertain if they do match. Thanks for the useful video! Appreciate the work!
I wonder if I cancel Storyblocks and then just go ahead and resub again if that work? Mmm, anyway cheers for this. It's my weakness doing this, usually try and "match" it with scopes and its a nightmare.
I am following these instructions, but i still cannot match Prolost footage on my 5d mk3 to C-Log on my 5d mk4. The white balance looks the same, but the colors are still not matching up perfectly.
![[UA] NAVI проти G2 Esports | Blast Premier Fall Final](http://i.ytimg.com/vi/QWlIm4FGESQ/mqdefault.jpg)
Quick tip, man. That line moving that you mentioned at 10:03 can be fixed by holding shift when setting a point. They are very sensitive, that's for sure.
Haha. I tried ALT then CTRL and then gave up. Bah! Thanks. That's a great tip. Cheers!
@@geraldundone haha any time!
Came to say this : )
@@PostColorGear I was just about to type that in when I saw this.
@@JimRobinson-colors hey Jim, how are ya? Beat ya to the punch haha
I've said it before and I'll say it again: you are the film school most of us can't afford! Love these tutorials and thank you. You are really a great talker and great teacher: barely realized that half an hour had gone by.
Ted MV Holy Shizzle! I had to look at the length of the video when you said that, that’s crazy!!!
Even if one did go to film school. This tutorials is still worth watching. Like Ted said, Gerald you are a great teacher but maybe just a tiny bit fast in your talking.
He knows how to simplify complicated things, and get to the point
I went to film school and this is def junior/senior year level stuff. Gerald doesnt mess around! He’s the only film youtuber who doesnt cater to the same round of “content” that all the other ones do. I hope he never does
I swear, when I become a millionaire, I will personally find you and give you a bag of money and a big hug. You are the very BEST, I don't care!!!
Well, you can start by giving him $5/month ... LOL
Alex Lesko 😂
a bag of ARRI Alexas, and lenses
This is the "Epos stop asking me for help pls" video
You can search the whole internet but you won‘t find so much information about color matching in 27mins 😄
I got myself a color chart and I've watched a few videos covering that topic. This is the first where I get the feeling that the presenter thoroughly understands what he's talking about and is not simply regurgitating something someone else said. Your video helped me a lot in getting a grip on the whole concept. Thank you!
This is what I love about Gerald, he really knows his shit and is maybe the smartest UA-camr I've watched.
I gained so much knowledge after 26 mins. Thanks!
I'm Gerald Undone and I see the world at F1.4.
Florian Barras Me Too! Well, When I misplace my glasses I do anyway. 😁
"Editable Splines" is a nice way to really gradually affect the curve using long handles for more gradual and incremental changes. Available in the curves window 3 button menu.
Next Video: "Boom Boom Boom lemme hear you say way-oh, way-oh!!"
Yes! Great tip. Much smoother result. Cheers!
I don't know if someone already told you, but on any curve, if you shift-click you'll create a point without changing its value, I hope this helps!
THIS IS THE VIDEO I"VE BEEN WAITING FOR!!!! Thanks soooo much for making this one - I've been looking for for months and nobody has done this (well).
"I'm Gerald Undone, and I'm a little teapot short and stout"
Hi, Gerald. In your Table of Contents section add "0:00 - Introduction" or something like this. Not all channels have this feature, but try it. It's a new feature on UA-cam which lets your viewers see chapters in your video.
"I'm Gerald Undone, and Daddy's gotta go to work."
Great tutorial :D And thanks for the shoutout :) One quick tip with Resolve - if you double click the title of the parameter you want to reset, it will instantly go back to the default number, eg. double clicking on the Temperature text will reset it to 0 immediately. Very handy when you are dealing with the Hue vs Hue stuff where you nudged it off 1 when clicking a point. Cheers!
Thanks, Paul! Cheers!
"I'm Gerald Undone, and I want you all to stay Broadcast Safe!"
Hi Gerald, Thank you for the tutorial. I am wondering why you don't you the auto color correction function in resolve?
I've never found it to produce results I'm happy with. Cheers!
Very cool - I use Resolve and this is very thorough and easy to follow. Thanks.
Have you tried using the built-in Color Match tool, where you can line it up with your color checker? I'd imagine it would (should) get 2 different cameras to the same base-line staring point?
Hi Gerald, great content, thank you. In the Hue VS Hue and other curves, if you hold the shift key when adding points to the line you wont keep bumping it off the zero mark.
Bruh! This was the most helpful grading video I’ve ever seen! Thank you so much for sharing all of this voodoo-science knowledge 😍🤤🙌🏻🙌🏻🙌🏻
Such a great video. Always helpful! 😉😉
If you don't have a chart - you can easily match the luma by putting the two clips side by side and matching the waveform - the waveform will show left and right of the 2 -up.
Good tip!
Love it everytime he says “Let’s get undone” 👍😊
Omg!
Isn't it a camera+lens+iso combination you need to even out? We Photogs calibrate Cam+lens+iso.
I found this video to be very frustrating as I have spent good money on online DaVinci training, watched Casey Faris, and countless others and no one has explained anything as clearly and concisely as you have here. My frustration is that there is only one of you and you have gear to review and studios to critique so doing a full time Resolve series is of course not possible. That said if you ever do, I (and many others) would pay whatever the asking price.
In the meantime, If you find the time, please do more!
I completely understand the need for people to generate revenue, but slipping these adverts in mid-video is both annoying and disruptive. When trying to digest the information being provided (especially when it's regarding something that one may not already be familiar with) it can totally derail focus when suddenly the subject completely changes to something like an advert. Squarespace, Storyblock, Skillshare... All I've realized from hearing about them in every single video is that I have no desire to use their services simply because of how annoying their promotions are in videos.
Maybe it's a necessary evil, but it's also a pointless one since it not only disrupts the content I came to see; it makes me not even want to bother with what the advertisement is supposed to promote, and kind of defeats the purpose if their ad campaigns.
If they have to be in the videos then that's fine, but I'd rather they be at the very start or very end, so that one can then focus on the actual content of the video.
Gerald is so pro that at 7:50 he did it speedy in real time.
Thank you very much this is the best and most comprehensive matching tutorial I have watched and believe me I have watched loads !
Interesting to me that you don’t mention the colour checker comparison feature or the built in shot match option, why is that?
Love that you teach and use Resolve. Just makes me want to see more and more videos from you like this. We really appreciate the hard work.
"The temperature, the more higher you go with it, the more warmer it gets" Gerald Undone.
I literally just spent the last few days in quarantine trying to figure out how to do this. Gerald, you are a god amongst men! Seriously, thank you for all that you bring to the creative community, I love how thoroughly you cover topics, and your communication skills are on point. Keep it up my dude, you have a viewer for life.
🤓🙏💜
Exactly what I was thinking about the other day.. Thanks for the great work and afford for those in depth explanations/tutorials.. I love your technical videos so much👍🏼
Looking forward for more of your quality content!
Wish you all the best 💪🏼
Extremely helpful. Subscribed instantly.
Thank you so much I learned a lot. Keep Creating your changing the world,
very useful. Especially being slightly colourblind
Hi, nice to meet you
I'm doing this while communicating frequently. I enjoyed the video.
I want to be a good friend~^^
2,337 like~🤴🤴👨🎨
Scenario: If I were stranded on a deserted UA-cam island, and could only watch one channel, I'd get Undone. That's crazy.
You're simply the best.
thanks so much! This tutorial has so much valuable info I'd have never known where to get from! Having said that, my screen can't show much of your Canon and Sony skin tone difference in the clip.... time to upgrade my monitor too hah
ouch, that was hard burn at 26:16 there....
As always, this has been great. I work almost exclusively with stills, but watching you run through this stuff with video is both very interesting and helpful for thinking about workflows
I just figure if I absorb 1% of what you are doing in each video at some point I will know 100% more than what I did before. :)
A newbie with video editing and especially color for my new Mavic Air 2. I was pretty well lost (still stepping slowly through Blackmagic's excellent and voluminous documentation) until I found this! Now I know why my color mucking didn't do anything, just by watching you work. Now I need to find a DJI-cinelike LUT to start.
Would love to see a premier pro version of this! At least your work flow in premier pro.
Yes, if you could do a similar version of this tutorial using Adobe's Premiere Pro and achieve the same great color grading results, that would be stellar!
@@suitablemediallc2918 Having worked in both, my experience is that Premiere's Lumetri grading is not worth the effort, especially when the free version of Resolve exists. Resolve treats the light and color in video in a totally different way than Premiere does, and Resolve offers so many more options and flexibility. Resolve also has what it calls Power Windows, which are essentially masks that you can keyframe to track objects and change values. I've used them to add lights and shadows to make up for lights that I didn't have or weren't able to control.
I'd suggest, for expediency, you cut in Premiere (since you know that software better), export your final edit for grading, and export the relevant chart shots for the shots in your edit. Open that in Resolve, get your looks from the chart shots and save them as Stills to apply to the edit shots. Then export that. Someone else may have a better suggestion.
8:35 I don't notice a difference?
"I´m Gerald Undone, and i drink your Milkshake"
YES!! Little filmmaker Ronald is in a Gerald Undone Video! Thank you for choosing my comment for the intro!
How do you not have a million subscribers yet
Oh, it's a science that's difficult to learn. I will simply avoid hiring two different cameras.
Hey! nice video!
Question: Is this the same process you usually do?
1: Exposure
2: White Balance
3: saturation
4: contrast
5: skin tones
AND THEN
6: Color grading
??
****FOR THE SONY A7SIII: When do you apply the color transform effect?
THANKS!
There are so many Horrible color videos and this is ACTUALLY helpful, not just in practice but in understanding conceptually. I might just take a nap I'm so happy.
Such a good video. I learnt so much from you bro.
Gerald - firstly - love the technical videos - You are upping everybodies game on the technical end of all this, big time. - But in this one not sure if you are teaching this workflow so people using Premiere can follow along, but in Resolve a lot of what you are doing, is normally done with a reference wipe, or a side by side split screen. The advantage being, that you can place the shots side by side and the waveform shows them side by side - so matching luma values is dead simple. As far as saturation is concerned - if you have the chart in each shot you can actually put one chart over the other and swipe the reference halfway between any part of it - the reference and the input zoom and pan etc. is in the sizing work area. I only point this out because a lot of times - shot matching is matching shots of all kinds - from all kinds of cameras that directors or DPs have a look from lighting etc, where matching them - is hard to find any boxes on the vectorscope, but with a decent display it is easy to see the same swatch on two different grades and match the luma and the saturation quite easily.
But if I had to use a software without all the great tools in Resolve - your method would be the way to do it. But in Resolve if doing this - I would grade one hero shot and then shot match to it using the reference wipes first - then side by side selections to tweak. Just another perspective.
And another tip - was watching your live thing today - The vectorscope trace - you can zoom in on it, by holding down the alt/option key and using the middle mouse. This works on any of the scopes. It is a lot faster than turning on the 2x zoom. Even on the waveform you can zoom into a certain point and see the trace better. Thanks for your hard work on these videos.
Hey, Jim. Yeah, I only really started doing the split screen thing lately, but I often forget it exists.
Question about the alt+zoom thing on the scopes. Is there a quick button to recenter the waveform's position after you move it around? Or do you have to go in and select reset in the panel settings?
@@geraldundone You move around the scopes just the same way you move it on the clip monitor. When you zoom back out it goes back to where you started. Holding down the middle button grabs the scope and drags it around. Way quicker, once you get used to it.
Thank you I really appreciate the video and how you explained what you were doing. I received a large amount of useful information which will benefit me. Thanks again.
Thanks 🙏. That was great!
You can set the histogram to Output. That way you can see where the new histogram sits (e.g. when matching purple in the hue). But you probably already knew that 😉
One thing that still confuses the hell out of me is color management in the settings in Resolve. I usually shoot HLG3 so I set input color space to Rec2020 and 2100HLG and output to rec709 and gamma 2.4. However, when I set that output for the timeline settings, weird stuff would happen with render cache. So know I have Timeline Color Space at Rec2020 and Cineon Film Log. Probably completely wrong way to do it but it kinda works. If you could do an explanation of the color management page, I‘ll buy you a case of beer 🍺
Hi Gerald, you should do a video talking about different colors between Chrome-Safari vs Firefox.... have you ever seen your videos on Firefox? waaay more saturated than Safari or Chrome, in fact there is on the internet many forums of videographers talking about how different the colors look from the Timeline of Davinci Resolve or Premiere vs what you see on UA-cam...see, the problem is not UA-cam, the problem are the Browsers.... i would love to hear your approach on this subject....... (Spoiler alert, i managed to have decent color results on the Delivery page of Davinci Resolve moving a few Advanced Settings).
This was (or is) a fantastic color grading tutorial. You gave me a better understanding of the vectorscopes than I've had before. Thanks a million.
Thank Gerald for such an INFORMATIVE video. One question, please. What's the difference between a Colorchecker passport photo version & a Colorchecker passport video version. I already bought the photo version. If I use it for my video shooting, will I run into any issue? Thanks again.
Man! I sure do appreciate your videos!
Learning so Much!!! Especially in Davinci Resolve... Can you do a video on fixing Exporting issues in Davinci… it seem like my exporting either got crush black or the graded color that I see in the editing page exported totally got either saturated, crush the black, or skin tone doesn't match my edit.... Pleaseeeeee!
Hey, nice video.
Would recommend taking a look at the sat vs. sat curve. It'll help a lot avoiding oversaturation while still having a nicely saturated image. ;-)
Awesome video!
Suddenly in the middle of your video, "Don't Stop Now" by Dua Lipa started playing from the Echo in my office. Couldn't figure out why. See 4:15
There's no real way to thank you, I believe. What you teached is priceless, and being already subscribed and having hit that like button seems so small. Thanks a lot for your fantastic videos and skills. Greetings from Switzerland
This is EXACTLY what I've been looking for. You're a life saver Gerald. Thank you
Dude, if you were a mechanic, you'd make cars fly. If you were an engineer, you make them invisible while flying. You go into so much detail, and have such a good eye (Good eye, mate!) that I can't believe they're not saucer-sized. I'm obviously hangin' out in a group above my talents.🤣😎
Thank you for posting.. just getting into Davinci Resolve and BMPCCP4K BRAW and grading in Davinci like it was FCPx... which ends up being OK but subdued... was struggling to find out how to saturate different colors etc...I suppose I should just sit down and watch Blackmagics training videos.
10 minutes in I changed the title of the video in my head to “How to Grade Yourself to the Hulk” :D
Absolutely love your content! What's your advice on creating a lut for shooting (A7III) SLOG2 w ITU709 color space for use with a ninja v? Or would you just recommend using the standard s gamut?
Great tutorial! I managed to do a mighty fine outcome with it. One question though. When using Datacolor Spydercheckr24 or similar calibration card, would you suggest doing the calibration on the first node, or set white balance for the first, then calibration card, and then do custom tweaking after it? Thanks for great content :)
Hello, Gerlad,
I'm thrilled with your tutorials.
And I'm thrilled that you're using Sony HLG. I have a question about that. How do you do your color correction in Davinci Resolve with HLG footage? Thanks for your answer and best regards. Roberto
Bro! I have been looking for a solid, fail-safe way to color match my Sony A7III and Pocket 4K. Most people are just going by eye. I don't really see the "by eye" method as sustainable. Your HSL method is spot on. I downloaded Leeming Lut on your recommendation from another video. The Leeming Luts plus this HSL method works with amazing results. Just wanted to say thanks!
Very enjoyable video, especially at 100%. :) Gave it a like + subscribe. Using an in-scene color checker does really help with color grading. I film, though, in concert halls where I can't use a color checker--for a number of reasons but particularly because the hall lighting changes at the start of the concert. Plus, in some halls the lights are not consistent--besides being directly above the performers (casting odd shadows). And I struggle getting a good balance, especially between two different cameras. I film in RAW and I'm going to try your "color grading without LUT" workflow. I just need to find some good neutral dark and light areas.
As for color grading I'd give myself a C, maybe B-. :) But I'm hoping your video will help me do little steps, in sequence. I sometimes find myself chasing my tail with lots of little tweaks. Generally better to just start over. I also tend to try to fix everything on the Primaries tab. You reminded me to also use the Hue v Sat and other tabs. Thanks!
I'm hoping you'll see this, Gerald. I'm not on IG or Twitter, so I can only ask you here. Just curious if you've used the Resolve plug-in app, Cinematch. I was watching Phillip Bloom's 2020 "Best of" awards video, and he included that as one of his fave's. I had a look at it, and I then recalled this video of yours. I hope you have a Happy New Year. :-)
Adjusting the playback speed to 75% helps!
LOL.
Well done.
Amazing content, thanks. I've got two questions I would like to ask: 1. What colorchecker is good to use when filming on holiday? Color Checker video passport? 2. I've got the leeming lut. Do I even need a color checker or just a white balance card? Regards
Hey Gerald, Great info as always! One question: I shoot with Panasonic, Canon, GoPro (ProTune, not really log) and DJI (without log). I am thinking of shooting same day/light/subject test footage and matching them within Resolve. - Is there any way I can then take these graded "recipes" and saving it to use as a baseline in another project? Would it be as separate luts, or how would that work and how would I re-apply in the next project?
Thanks for taking the time.
Phenomenal amount of usable info here. Thank you!!!!!
Ugh I'm having a hard time matching a Panasonic G85 with an X-T3 even with the Leeming Luts. I need more practice and maybe I should get the color checker. Anyone got any tips for me? I'm using Resolve as well.
Unreal From Undone! Thank you too much for all this valuable information, you are an incredible teacher!
@Gerald it's ok how you correct the colors but was much easy if you make a power window on Color checker on those 6 colors and then you correct them using Vectorscope :)
Gerald over here making me feel color blind. Me looking at the first comparison, “that looks the same”... Gerald, “oh yeah the magenta and green are throwing this off”🤯
This just helped me out so much. My footage looks SO much better than before. Thanks Gerald! :)
Extraordinary! Best explanation on YT, thank you Gerald!
Inside Photoshop there is a button your press called "Color Match " , i dont do video , but video is just fast changing pictures , so if your software is any good , it must have Color Match button somewhere in there , this thing you guys are doing is very Geeky but im sure utter waste of time . Im talking colors not white balance , that needs to be checked .
On a side note ,who is checking the color checker , ive used in photography a few of them , all different and not by a little , because you have 3 parameters there , Saturation , luminescence and color or Hue . So its hard to nail down , hence all are different .
You paid for your camera 2000+$ , it should be able to measure and tell you those colors , people buy Black Magic cameras , and then they play with the colors based of some stupid 100$ chart , Jesus Christ , it makes no sense
Plus in videography no one is using Natural or Accurate look , everyone is doing FX , so WTF ,
and on top of that , i use 2000$ calibrated monitor , but im the only one in the town doing that .
These kids on their phones , who knows what Colors they use , and what their screens display .
It just a waste of time ...
Loved this and was looking forward to shooting that chart with my S1H to understand how it hands Vlog and that fantastic explanation of the X pattern. So I when to B&H to buy a Camalign chart. Holy Christ on a Bike! $900! What is it made of? Does it come with a hummer? Damn. Plastic card or new lens? Hmmm. Anyway thanks again for the great video and a great idea for a new business. 5 cents worth of paper, 10 cents worth of ink. Laminate it and viola! Instant mortgage payment ;). Kiding aside, are you aware of a lest expensive chart solution?
Love your videos. I've learned so much from them. Just signed up with Storyblocks under your account to show my support!
Thanks for the turotial, just one question : how did you manage to have such a wide curve panel in the color gradin page ? I can't get rid of the sizing/3D/info panel, workspace/active panel options are dimmed. I'm on dual display layout.
WHERE can you find that "CamAlign" color chart??
This is fantastic content - thank you. I've just bought a Blackmagic Studio cam and am trying to create a LUT to match to my GH5 for livestreaming via Atem, This fills in a lot of the blanks for me. Thanks again.
Hi Gerald. This properly a silly question. There is x-rite i1 colorchecker photo kit and x-rite i1 colorchecker video kit. I'm a photographer who is going into video. Would you recommend buying one or the other or both? Great videos!!
I have this problem between the GH5 and the BMPCC 6K. The BM just looks better out of the camera to me while the GH5 colors are different, the sharpened digital look is less appealing.
Thanks to STORYBLOCKS that we do not have to pay for this awesomeness :)
What lcd screen model do we see in the video? This tutorial is really great. Thank you for sharing your knkw-how!!
He covered his editing setup in a previous video: ua-cam.com/video/dmxlFBWWH94/v-deo.html
that right click and "Show picker RGB value" totally helped a ton when i'm trying to white balance. really thank you for that, and literally thank you for all the other info. this is probably one of the more accurate video on color correcting if not the most accurate. btw, i think you're supposed to add another contrast node after HSL if u're using it to give it the "graded" look just for aesthetic workflow purposes, but it's not important nor needed, but could be handy :) and weren't you supposed to turn off the "Grade" node before you do all your correction nodes? unless you did a power window to isolate the background or something? i dunno, since u did mention it was specifically for the purple in the back ;)
Hi Gerald, any idea how/if this approach might work/differ with different camera angles capturing the subject in a different lighting situation? (e.g. subject is key side lit, so Cam A sees the subject side lit and Cam B positioned off to the side sees the subject somewhat backlit?) I'm wondering if the lighting, and possible different in exposure settings creates two images that don't "overlap" (vs here where we have two near identical shots) and make it hard to ascertain if they do match.
Thanks for the useful video! Appreciate the work!
OMG I learned so much...I hope I can engrain this in my mind because it will save countless hours.
Thanks Gerald
I wonder if I cancel Storyblocks and then just go ahead and resub again if that work? Mmm, anyway cheers for this. It's my weakness doing this, usually try and "match" it with scopes and its a nightmare.
I am following these instructions, but i still cannot match Prolost footage on my 5d mk3 to C-Log on my 5d mk4.
The white balance looks the same, but the colors are still not matching up perfectly.
Amazing video! You take a complex concept and make it simple to understand and execute!