10:26 Very specific question but how did you move the screen with your mouse? I can only zoom in on the detail but not be able to move using my cursor ;-; Let me know, Marc 🙏🙏
I have a MX Master 3S mouse that im using, but it works with any mouse. I hold the scroll wheel while dragging! I can’t do it when im just using a trackpad, it requires a mouse
Amazing video! I'm just getting started with properly colorgrading video and color management in DaVinci, so I do have to ask if you have any more resources on the technical side? Like are you using the scopes to make sure the skin is looking good, where your image may be too underexposed for other devices and etc. I come from the Adobe LRC/AE/PS side so mostly for everything I worked on I just judged by eye on my Asus ProArt Display but from what I've seen there's A LOT more to it.
I’m just eyeballing everything right now, working off my MacBook Pro Display which is very color accurate. Maybe not the best technically, but I’ve had no issues with the end results
Congrats from Brazil. Thank you for the amazing content. Can I do the same result with non log footage like 8bits dslr or iPhone 13 footage? I am thinking about something like that but gave not a camera that records a better archive. Any tips?
Thank you for watching! I think it really depends on how far you’re pushing your specific footage, I know the iPhone is capable of shooting 10 bit, and there are third party apps that allow you to shoot LOG. If you’re on an 8 bit dslr I’d try to shoot as flat a picture profile as possible. Experiment, play with it, and see how far you can push it!
@@MarcTaraz thank you for the feedback, good observation, the iPhone 13 has hdr/10bits native, i will test it and compare with the other apps. Do you think the 10bits are most important than be log? A few cameras have log/8bits too.
Do you need the full version to access the proper colour management settings for nodes, because it won't let me access the settings when I click on them as it's darkened.
You’re converting your footage to a defined color space that you want to work in, in this case DaVinci wide gamut, and then converting DaVinci wide gamut into your delivery color space, which in this case is Rec 709 since im just uploading to UA-cam.
Hello brother , had a doubt , I can’t understand that while color space transform , u just could have done input (Sony s.log) and output as rec.709, but u chose to first do the Davinci intermediate then Rec.709 in the second node … what is that this extra node did ? Help me out bruh , cause I’ve been doing direct slog-rec.709, I’m I missing out on something ?
You can convert your raw camera footage immediately to rec709 if you want, but I like converting it davinci wide gamut because you have a much larger color space and dynamic range to work with, and then converting that larger space where you’ve made all your color and exposure changes and compressing it down into rec709. It’s like yea I could pop a pop tart into the toaster and it will be done, or I can make a homemade pop tart from scratch with better ingredients. Both are pop tarts and get the job done, but one is much better if you’re willing to take the time and put in the effort
@@MarcTaraz I understand, its like converting a raw image to jpeg and to the exposure changes etc. to the jpeg file. But then you could do the exposure changes etc. before the color space transform, when all information are still available and then do a single color space transform. Do I miss something?
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Super clever editing 👏 also wild how they did this in House of the Dragon, who knew
Thank you!!! I think it’s such a cool and versatile trick! Hollywood uses it a lot more than you think, but they do it so well no one can tell!
truly amazing tutorial!!!
Exactly what I was looking for to make a cinematic vid of my bike in day and then convert to night time. Thanks a ton !
Thanks for the tutorial Marc! 🙌 glad I stumbled upon your channel! Really beautiful work. 😀
Thank you so much! I’m glad you found this one helpful!
Amazing, thank you!
10:26 Very specific question but how did you move the screen with your mouse? I can only zoom in on the detail but not be able to move using my cursor ;-; Let me know, Marc 🙏🙏
Simply tap the scroll wheel and drug!
I have a MX Master 3S mouse that im using, but it works with any mouse. I hold the scroll wheel while dragging! I can’t do it when im just using a trackpad, it requires a mouse
So i can play God now in editing 🙌 thanks 🙏this is amazing skills 👏
You are looking like patt Cummins australia cricket team captain
😂😂
😂😂 lol
Stunning Work ❤
Thank you!
Amazing video! I'm just getting started with properly colorgrading video and color management in DaVinci, so I do have to ask if you have any more resources on the technical side? Like are you using the scopes to make sure the skin is looking good, where your image may be too underexposed for other devices and etc. I come from the Adobe LRC/AE/PS side so mostly for everything I worked on I just judged by eye on my Asus ProArt Display but from what I've seen there's A LOT more to it.
I’m just eyeballing everything right now, working off my MacBook Pro Display which is very color accurate. Maybe not the best technically, but I’ve had no issues with the end results
Genius
Thank you! I hope you enjoyed!
Congrats from Brazil. Thank you for the amazing content. Can I do the same result with non log footage like 8bits dslr or iPhone 13 footage? I am thinking about something like that but gave not a camera that records a better archive. Any tips?
Thank you for watching! I think it really depends on how far you’re pushing your specific footage, I know the iPhone is capable of shooting 10 bit, and there are third party apps that allow you to shoot LOG. If you’re on an 8 bit dslr I’d try to shoot as flat a picture profile as possible. Experiment, play with it, and see how far you can push it!
@@MarcTaraz thank you for the feedback, good observation, the iPhone 13 has hdr/10bits native, i will test it and compare with the other apps. Do you think the 10bits are most important than be log? A few cameras have log/8bits too.
What about if you had a car driving an s bend towards camera could you do a moving mask within the day/night? Do you have any follow making tutorials
Great video!
well this is a quite helpful tutorial. thank you very much. :)
good stuff mario
Thx
damnnnnnnn.... nice work bro!
Thank you so much!
Wow. Just. Wow
Do you need the full version to access the proper colour management settings for nodes, because it won't let me access the settings when I click on them as it's darkened.
Amazing.
Nice teaching friends.. thanks
Thank You!
You are most welcome!
nice footage sir
Thank you!
Pat cummins is multi talented....he has youtube channel too....
Thank you❤
Legend
Thank you!
A question! What is the difference between applying color space correction to two nodes or one?
You’re converting your footage to a defined color space that you want to work in, in this case DaVinci wide gamut, and then converting DaVinci wide gamut into your delivery color space, which in this case is Rec 709 since im just uploading to UA-cam.
Hello brother , had a doubt , I can’t understand that while color space transform , u just could have done input (Sony s.log) and output as rec.709, but u chose to first do the Davinci intermediate then Rec.709 in the second node … what is that this extra node did ?
Help me out bruh , cause I’ve been doing direct slog-rec.709, I’m I missing out on something ?
So you have the biggest color space to work in while editing and color grading before then outputting to a delivery color space, rec709.
patt cummins?
it is also possible to grading the sky?
Do you have a download of this grade ?
I do! You can buy it in my shop! Link is in the description
Why is it necessary to do two color space transforms? Isn't it possible to do it in one step?
You can convert your raw camera footage immediately to rec709 if you want, but I like converting it davinci wide gamut because you have a much larger color space and dynamic range to work with, and then converting that larger space where you’ve made all your color and exposure changes and compressing it down into rec709. It’s like yea I could pop a pop tart into the toaster and it will be done, or I can make a homemade pop tart from scratch with better ingredients. Both are pop tarts and get the job done, but one is much better if you’re willing to take the time and put in the effort
@@MarcTaraz I understand, its like converting a raw image to jpeg and to the exposure changes etc. to the jpeg file.
But then you could do the exposure changes etc. before the color space transform, when all information are still available and then do a single color space transform. Do I miss something?
it is also color grading the sky?
Thank you
please upload final video
You can watch the full short film on my channel!
I have never ever quite succeed doing day to night effect with After effects.
I think the biggest film has to be cast away with tom hanks, that was all day time filming so there was no grain
nice
Thanks!
nood tree par video bnaa ek full
😍😍
🤯🤯🤯
Thank you!
insane
All the night time GoT and walking dead scenes look like shit. Yours looks legit amazing
Thank you so much!!! It means a lot to me!
спасибо!
This has always been possible.......
U r looking like Pat Cummins 😅
Nice tutorial but honestly this still is not convincing, no night scene that shoot in day in movies is this bright
thank you!