So basically there’s no easy way out. But at least now I know why my clips didn’t look consistent 🤣. Where would I be without you? I’ll try out this new workflow!! Thanks
When implemented correctly, grading becomes a lot easier. But you also need to be here for the ride because you will still touch every clip. Thats part of the art. :)
it is not a problem by colring 10 clips video but if you have a short wed film about 200-400 clips to color grade you are going to simplify the workflow to achieve the great results every time
Very great workflow, that's the way it should be done! From a 20 years + vfx compositor I will add that one of the first thing to do before color grading is to remove the grain(denoise), your curves color selection will be more accurate and smooth! You put the grain back at the very end, after the vfx and compositing. You can extract the original grain(with the substract method) or add the one you want or a mix!
This makes complete logical sense. I was the exact example you showed at the beginning. Complete color grade/correction on a single clip, then struggle to get the other clips to match... And never getting a great result. Thanks for this "how to". Extremely helpful!
You quoted me basically verbatim: “It can’t be this hard”. This workflow makes so much more sense than the random “anything goes” that I’ve found previously on UA-cam.
Your videos make a lot of sense, even intuitively, when you think about it for a moment, rather than just watching videos that will explain “hOw To GeT cINEmaTIc LoOk”. Keep up the good work. I teach at a University and the way you explain things based on foundations rather than random examples really shows that good UA-cam filmmaking channels aren’t lost.
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
Million times thank you. Due to correcting and ultimately grading is different every time, not one formula provides a consistent result, only basics in understanding to reach the consistency by actually understanding what you're doing with the wheels and curves. And given it is an art in a form, it is also never the same. Only the process (workflow) should be the same. I just went through a sample project that I am working on, and things are much more consistent and easier in terms of having less frustration.
Well done, Eric. I love it how in your videos I always learn such useful concepts I didn't know even existed. BTW I also loved using the f word to drive the key message home.
Great video and the issue you presented is also what I struggled with in general editing. When I tried to edit a video from start to finish, I tried to do everything on a clip-to-clip basis, so that means: selecting the clip I want, immediately adding some sort of video effect to it (zoom or similar), then adding subtitles/text, then adding some sound effects and continue on like this for each clip for the entire edit. It immediately puts a lot of work on your plate. My editing started to speed up drastically and showed more general consistency once I started doing it in multiple paces. First starting with cutting the A-roll footage into the story that I want. Then on my second pass I add the B-roll footage. Then on the third pass I start with the effects.... and so it goes on. Keeps the mind less cluttered and allows you to focus porperly at 1 thing at at ime. I didn't apply this to colour grading, and it started to cause some sort of cluttered and imbalanced feeling yet again. This video is another good reminder to not put too much on your plate, and to do everything 1 step at a time.
Thank you. I am not a Videographer but a Photographer. I think this workflow could help me if I photographing a series. I am also bothered on this scenario by the Copy and paste problem.
Great explanation on efficiency. So many UA-cam color grading tutorials focus on the individual clip and not group consistency. This also leads one to wish FCP had some grouping function. The problem with adjustment layers is that sometimes the clips in a group are not contiguous. Sometimes I wonder if one can use noncontiguous clips as a compound clip, but that can visually get you into a messy timeline. Or perhaps FCP developed a way to do with Roles since they can be non-contiguous. Otherwise, you end up needing Color Finale or going to Resolve.
Roles would be a fantastic base line for this. Just like a roles based audio mixer. If you want to use groups, you can do it with color finale. It has a robust group function. :)
Herr Lenz, you are a masterful instructor. I don’t know how you manage to convey theory, practical advice, and fundamental techniques in such an approachable and friendly manner, but you do it- and you do it well! Your videos are a gift. Thanks for everything you do! \
I remember Cullen Kelly using these steps in a video. I watched it, but didn't understand it until I watched this video. Very, very helpful. Thank you for creating this video.
Hi, new subscriber! Why do you start by adding an adjustment layer with the camera LUT? I usually just go into extended settings and add the right log conversion / camera LUT for all the clips in one go at the base layer so to speak. Adding a camera LUT in the extended settings really shouldn't be destructive at all. This goes against what I've learned so far by others: that camera LUTs are 100% non-destructive.
I have learnt so many concepts from you which never been aware of. I have already updated my base template with the approaches that you suggested. This is super useful as usual. Looking forward for next video on Look development. You are awesome.
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!
A good example of knowing what to do, while not having the discipline for it ;) Sometimes in the heat of things, I feel it'll be faster to copy-paste and tweak. But the way you showed feels much more satisfying! Concerning the FCP workflow : I feel it would be hard to make my CST with an adjustment layer with a lot of b-roll and cuts (mainly with a fast delivery and using look + CST luts). And so, when I want to do look development, I do have to copy paste on each clip to take advantage of order of operation...or live with the look happening after the CST (like film grain). I'm not working on projects with a heavy look, but would it be that bad if I adjusted the look with an adjustment layer (or on a compound clip), while the CST is on individual clips?
If I understand you correctly, you just open yourself up for so many errors. If you establish a good foundation, you can do the look once and it will work regardless whats underneath it. Also, I don't understand why the adjustment layer wouldn't work. Or is your B-Roll from different cameras? Then yes, this approach doesn't work. However, you can save a default signal chain as an effects preset (with the corresponding CST LUT) and do your look in Rec709 (after the LUT). This comes with restrictions, but might be a great middle ground.
Thank you, I really love the detail in your tutorials and am slowly working through your back catalogue. Would be really helpful to know which one talks you through the set up for side by side checking if possible. Also, have you done anything on matching different shots from different cameras? Thank you again.
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.
i imagine that if you’re working on a large project with dozens of shots (say, a music video with 4-5 performance shots but boatloads of b-roll) you’d run this process for the performance shots first and then slightly tweak all the smaller shots as needed later or perhaps if you’re working with footage in three different settings (indoors, afternoon sun and blue hour) you’d run this process on heroes from those three first, and then tweak the rest later maybe stating the obvious but curious if i’m overlooking anything. excellent content as always, you must know this stands apart in the tutorial landscape
You're absolutely right. Plugins like Colour Finale or Software like Resolve allows for efficient group-grading. If you have a short film with, say 400 clips in your timeline, you want to be very considerate. Picking a hero for each scene is a great start but these workflows are as individual as the projects. :) This can get complex very fast, though, and I just wanted to share the basics. More on that soon! :)
Incredible tutorial, as always. It’s well explained, demonstrated and proofed. Some day, I will be good with color grading on my YT channel, and for sure, you will be one of the biggest mentor. Keep up the good work !! 🙏👍
You got a point in this video. However as a colorist I often create look first (which is applied to every clip at once, and can be adjusted for all of them at onece), and then i start to balance clips. Why? So I can copare the final result while balancing. Love the b&w trick though :)
This is mightyyyy helpful. Thanks a ton. I am restarting my grading after this. I have been experiencing all the problems you described in the initial half. Please get the look video out fast….. Also, I had a doubt… All the clips you had were shot in the same location, so when I am grading footage from multiple locations shot in different time of day, should I grade location wise or go for balancing out all the day time outdoor shots together (regardless of location) and night time outdoor together and indoor daytime as one and indoor nighttime as one…?
This is up to you but with my suggested workflow, you'd adjust one thing at a time, regardless of the location. But for a more efficient workflow you can group the shots. However, this becomes pretty complex pretty fast.
Thank you! It's the LG Ultrafine 5k but I do not recommend this monitor. It has fantastic specs and is very colour accurate, but the burn-in issue is real.
Thanks Eric ! So useful. I like the BW check layer idea. Only done 1 grade so far, it was in DaVinci. But I like the workflow you have here so I might try Final Cut on my next one.
@@iamericlenz Thank you! I'll keep learning from you, but since I'm not too agile yet, it's great to find a direct reference on Davinci. You're a cool guy!
Hey Eric, I stumbled upon your channel few days ago and am thoroughly in pressed with your knowledge and content, thank you for sharing your wisdom. I do have one question for you, what would be the equivalent to the 'Global adjustment' in premiere?
@ thanks for comment. I get that part, it’s just that in Final Cut there’s a slider labeled ‘global’ along with the usual suspects (mids, shadows, highlights). It seems this global slider adjust all 3 of those almost like the way you would open up or stop down on a lens. Premiere however doesn’t have this global adjuster, that I’m aware of.
AHA! So doing the lut conversion above the timeline in the adjustment layer means that all your colour wheels, curves etc will come BEFORE the LUT rec709 transformation?! (And then you don't have to drag all your adjustments above the lut in the original footage?) Genius!!
Amazing advice from you ! I’m a Davinci Resolve user and I’m going to apply this method to my next colorgrading project. I’m looking forward for your next tutorial about look development and please do not swear in your tutorials , swearing doesn’t suits you 😊
@ I’ve discovered your channel few days ago and learned lots of things from your videos. Specially I like your approach with exposure/contrast in black and white mode. I’ve tried this method and it works so well for me 👍😊
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
So basically there’s no easy way out. But at least now I know why my clips didn’t look consistent 🤣. Where would I be without you? I’ll try out this new workflow!! Thanks
When implemented correctly, grading becomes a lot easier. But you also need to be here for the ride because you will still touch every clip. Thats part of the art. :)
it is not a problem by colring 10 clips video but if you have a short wed film about 200-400 clips to color grade you are going to simplify the workflow to achieve the great results every time
Very great workflow, that's the way it should be done! From a 20 years + vfx compositor I will add that one of the first thing to do before color grading is to remove the grain(denoise), your curves color selection will be more accurate and smooth! You put the grain back at the very end, after the vfx and compositing. You can extract the original grain(with the substract method) or add the one you want or a mix!
This makes complete logical sense. I was the exact example you showed at the beginning. Complete color grade/correction on a single clip, then struggle to get the other clips to match... And never getting a great result. Thanks for this "how to". Extremely helpful!
You quoted me basically verbatim: “It can’t be this hard”. This workflow makes so much more sense than the random “anything goes” that I’ve found previously on UA-cam.
Great to hear! Thank you!
Your videos make a lot of sense, even intuitively, when you think about it for a moment, rather than just watching videos that will explain “hOw To GeT cINEmaTIc LoOk”. Keep up the good work. I teach at a University and the way you explain things based on foundations rather than random examples really shows that good UA-cam filmmaking channels aren’t lost.
Thank you very much! This is valuable feedback!
why are you not on davinci resolve?
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
Million times thank you.
Due to correcting and ultimately grading is different every time, not one formula provides a consistent result, only basics in understanding to reach the consistency by actually understanding what you're doing with the wheels and curves. And given it is an art in a form, it is also never the same. Only the process (workflow) should be the same.
I just went through a sample project that I am working on, and things are much more consistent and easier in terms of having less frustration.
Well done, Eric. I love it how in your videos I always learn such useful concepts I didn't know even existed. BTW I also loved using the f word to drive the key message home.
How have I never thought to use black and white for exposure and contrast adjustment 🤯
saw the technique about 3 time from different creators. never used it. until I got too frustrated
Great video and the issue you presented is also what I struggled with in general editing. When I tried to edit a video from start to finish, I tried to do everything on a clip-to-clip basis, so that means: selecting the clip I want, immediately adding some sort of video effect to it (zoom or similar), then adding subtitles/text, then adding some sound effects and continue on like this for each clip for the entire edit. It immediately puts a lot of work on your plate. My editing started to speed up drastically and showed more general consistency once I started doing it in multiple paces. First starting with cutting the A-roll footage into the story that I want. Then on my second pass I add the B-roll footage. Then on the third pass I start with the effects.... and so it goes on. Keeps the mind less cluttered and allows you to focus porperly at 1 thing at at ime.
I didn't apply this to colour grading, and it started to cause some sort of cluttered and imbalanced feeling yet again. This video is another good reminder to not put too much on your plate, and to do everything 1 step at a time.
Thank you. I am not a Videographer but a Photographer. I think this workflow could help me if I photographing a series. I am also bothered on this scenario by the Copy and paste problem.
Great explanation on efficiency. So many UA-cam color grading tutorials focus on the individual clip and not group consistency.
This also leads one to wish FCP had some grouping function. The problem with adjustment layers is that sometimes the clips in a group are not contiguous. Sometimes I wonder if one can use noncontiguous clips as a compound clip, but that can visually get you into a messy timeline. Or perhaps FCP developed a way to do with Roles since they can be non-contiguous. Otherwise, you end up needing Color Finale or going to Resolve.
Roles would be a fantastic base line for this. Just like a roles based audio mixer. If you want to use groups, you can do it with color finale. It has a robust group function. :)
Herr Lenz, you are a masterful instructor. I don’t know how you manage to convey theory, practical advice, and fundamental techniques in such an approachable and friendly manner, but you do it- and you do it well! Your videos are a gift. Thanks for everything you do!
\
Could you make similar instructions for premiere pro please?
I remember Cullen Kelly using these steps in a video. I watched it, but didn't understand it until I watched this video. Very, very helpful. Thank you for creating this video.
Thank you great video!!! What is that mouse you use? I'm looking for something great for FCP editing
In this video of you speaking to the camera, do you have a filter on the lens or did you add that post?
This is the video I was waiting for, this explains everything in a good way. I definitely going to change my work flow
Once again...brilliant tutorial. I've seen too many to count, but yours are superior. Also, your Nikon RAW LUT is phenomenal. Nothing has come close.
Do you know where to find the Nikon Raw Lut?
Hi, new subscriber! Why do you start by adding an adjustment layer with the camera LUT? I usually just go into extended settings and add the right log conversion / camera LUT for all the clips in one go at the base layer so to speak. Adding a camera LUT in the extended settings really shouldn't be destructive at all. This goes against what I've learned so far by others: that camera LUTs are 100% non-destructive.
I have learnt so many concepts from you which never been aware of. I have already updated my base template with the approaches that you suggested. This is super useful as usual. Looking forward for next video on Look development. You are awesome.
Thank you! I appreciate to hear that!
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!
Awesome! I just done this to some edits for stills too and got me through quicker. I’m a noob in Premier so let’s see how it goes. Great explanation!
Thank you! Hope everything was a lot more efficient now!
Wow. What a nice and insightful lesson on color-grading. I'm going to be editing my next film completely different now. Youre awesome!
Awesome, thank you!
A good example of knowing what to do, while not having the discipline for it ;) Sometimes in the heat of things, I feel it'll be faster to copy-paste and tweak. But the way you showed feels much more satisfying! Concerning the FCP workflow : I feel it would be hard to make my CST with an adjustment layer with a lot of b-roll and cuts (mainly with a fast delivery and using look + CST luts). And so, when I want to do look development, I do have to copy paste on each clip to take advantage of order of operation...or live with the look happening after the CST (like film grain).
I'm not working on projects with a heavy look, but would it be that bad if I adjusted the look with an adjustment layer (or on a compound clip), while the CST is on individual clips?
If I understand you correctly, you just open yourself up for so many errors. If you establish a good foundation, you can do the look once and it will work regardless whats underneath it.
Also, I don't understand why the adjustment layer wouldn't work. Or is your B-Roll from different cameras? Then yes, this approach doesn't work.
However, you can save a default signal chain as an effects preset (with the corresponding CST LUT) and do your look in Rec709 (after the LUT). This comes with restrictions, but might be a great middle ground.
what mouse do you use?
You sir are awesome!
Thank you, I really love the detail in your tutorials and am slowly working through your back catalogue. Would be really helpful to know which one talks you through the set up for side by side checking if possible. Also, have you done anything on matching different shots from different cameras? Thank you again.
I don’t have one up for that. You can select “Horizontal Layout” from the dropdown at the top right corner of the scopes. :)
you have the nicest looking color grade i've seen on yt. Thanks for sharing you knowledge!
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.
Man, you are awesome! Thank You a lot! Now I think: the colour grading is a state of mind!
i imagine that if you’re working on a large project with dozens of shots (say, a music video with 4-5 performance shots but boatloads of b-roll) you’d run this process for the performance shots first and then slightly tweak all the smaller shots as needed later
or perhaps if you’re working with footage in three different settings (indoors, afternoon sun and blue hour) you’d run this process on heroes from those three first, and then tweak the rest later
maybe stating the obvious but curious if i’m overlooking anything. excellent content as always, you must know this stands apart in the tutorial landscape
You're absolutely right. Plugins like Colour Finale or Software like Resolve allows for efficient group-grading. If you have a short film with, say 400 clips in your timeline, you want to be very considerate. Picking a hero for each scene is a great start but these workflows are as individual as the projects. :)
This can get complex very fast, though, and I just wanted to share the basics. More on that soon! :)
You will want to work in ACES color management workflow, especially if you have 3-4 differentes camera.
this!!!! love it, thank you!
Can you please make a video on how to adjust HSL OR HSV. Just diving a little deeper into look development 🙏
I’m kinda glad I learned to colour grade back when things were all analogue… makes you think about the process very differently
Agreed. More possibilities always means more ways to get it wrong.
Great tutorial. Thank you.
Incredible tutorial, as always.
It’s well explained, demonstrated and proofed.
Some day, I will be good with color grading on my YT channel, and for sure, you will be one of the biggest mentor. Keep up the good work !! 🙏👍
You got a point in this video. However as a colorist I often create look first (which is applied to every clip at once, and can be adjusted for all of them at onece), and then i start to balance clips.
Why? So I can copare the final result while balancing. Love the b&w trick though :)
Agreed! If I have a look like a film emulation, I use that first, too.
This is mightyyyy helpful. Thanks a ton. I am restarting my grading after this. I have been experiencing all the problems you described in the initial half. Please get the look video out fast….. Also, I had a doubt… All the clips you had were shot in the same location, so when I am grading footage from multiple locations shot in different time of day, should I grade location wise or go for balancing out all the day time outdoor shots together (regardless of location) and night time outdoor together and indoor daytime as one and indoor nighttime as one…?
This is up to you but with my suggested workflow, you'd adjust one thing at a time, regardless of the location. But for a more efficient workflow you can group the shots. However, this becomes pretty complex pretty fast.
dude! you're killing it with these. SUBBED
Thank you very much!
You are underrated!
Getting there! :D
Hey Eric. Appreciate the wisdom you share with us. please keep it up. MAy I know what monitor you use?
Thank you! It's the LG Ultrafine 5k but I do not recommend this monitor. It has fantastic specs and is very colour accurate, but the burn-in issue is real.
Sorry, what is the correct order of operations? Can I Have the link of the video please?
This video doesn’t exist yet. If you’re subscribed, you’ll catch it :)
Thanks Eric ! So useful. I like the BW check layer idea. Only done 1 grade so far, it was in DaVinci. But I like the workflow you have here so I might try Final Cut on my next one.
Thank you! If you don’t have very specific requirements, the tool almost doesn’t matter. Choose what works best! :)
Awesome content! Thanks. 🙏
Thank you!
Thx so much for sharing your knowledge 🙏
I don’t have an adjustment layer available. Where does the adjustment layer come from?
I have a free one on my website ericlenz.photography :)
Bro is killing it with knowledge🔥🔥🔥 He just needs to switch to Davinci Resolve now 😉
He left davinci resolve
@@montehalthon7831left? crazy
Hello Eric, I'd love to study with you but I use Davinci. Is there someone you can reccomend I can learn from that uses Resolve?
Hey! The tools are the same so you can apply the concepts. Good channels I can think of are Cullen Kelly and Darren Mostyn. :)
@@iamericlenz Thank you! I'll keep learning from you, but since I'm not too agile yet, it's great to find a direct reference on Davinci. You're a cool guy!
Awesome stuff! Subscribed!
Welcome aboard! :)
Hey Eric,
I stumbled upon your channel few days ago and am thoroughly in pressed with your knowledge and content, thank you for sharing your wisdom.
I do have one question for you, what would be the equivalent to the 'Global adjustment' in premiere?
Same, put a lumetri effect on a adjustement layer above all your clips.
@ thanks for comment. I get that part, it’s just that in Final Cut there’s a slider labeled ‘global’ along with the usual suspects (mids, shadows, highlights). It seems this global slider adjust all 3 of those almost like the way you would open up or stop down on a lens. Premiere however doesn’t have this global adjuster, that I’m aware of.
@@derstaubsauger6894 Oh! I see now, maybe add a curve and/or exposure effect!? But yeah, there's no equivalent right in Lumetri!
This made me happy
Hey, Bro
We want to add such an auto pod on the Final Cut or Auto Cut Who can achieve this dream?
Great stuff!
Do the plugins work with FCP 11?
Some yes, some not yet but I'll have an update out by the beginning of next week. :)
very helpful! 👌
I just realized that I had never heard Eric curse lmao, this is a great explanation! Love your ways of teaching
Will be the last time for now :D
Keep the uncensored content 😂💀🔥🫡
Thx! 🙏🏽
F Bomb caught me off guard 😂 thank you for these videos , they are amazingly helpful and you are a very good teacher
Haha :D Thank you!
Software?
Final Cut Pro
@@hughchalThank you🤍
7:56 bro is tired of having to repeat himself LMAOO 😭
😂
I just REALLY wanted to drive that point home tho 😅
@@iamericlenz and i aprreciate you for that, it was a great video!
It got me off guard, felt like that one friend getting comfortable after a while 😆
Always good!
Split toning tutorial please 🤝
Damn, you’re too good
AHA! So doing the lut conversion above the timeline in the adjustment layer means that all your colour wheels, curves etc will come BEFORE the LUT rec709 transformation?! (And then you don't have to drag all your adjustments above the lut in the original footage?) Genius!!
Yes, this is called scene-referred grading. I did a video on that a while ago if you're interested: ua-cam.com/video/yrdMW9jJ4xg/v-deo.html
I didn’t get the 80% ‘less work’ part?!?!?
The new Cullen Kelly :)
How much bloom does this video have?
It's over nine thousand!!!
We have been told this many times on UA-cam.
Now you are telling me I don’t know about that son?
I forgot to download your check layers, brb
I'm weird but I like the first one better.
graet content
Thank you!
Subtitles in all lenguajes, please ¡¡¡
I was going to #$&! on you lego analogy but that was pretty good.
Thank you very much!
Ah yes, shot matching. The most important, least fun, and most time consuming part of color grading.
80% of the social content is pointless, so what's up?
You increased the percentage of pointless comments, so what’s up?
@@iamericlenz You know, it is acknowledging you look up to someone if you mirror the words or part of them for commenting, don't you? You should not.
Hogwarts taught you well ... Bravo =)
Amazing advice from you ! I’m a Davinci Resolve user and I’m going to apply this method to my next colorgrading project. I’m looking forward for your next tutorial about look development and please do not swear in your tutorials , swearing doesn’t suits you 😊
Noted. I just REALLY wanted to drive that point home. :D
@ I’ve discovered your channel few days ago and learned lots of things from your videos. Specially I like your approach with exposure/contrast in black and white mode. I’ve tried this method and it works so well for me 👍😊
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
Yet the people watching won’t give a shit, armies stuff is rooted in OCD