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Insider Knowledge - A better way to grade Ursa Mini CinemaDNGs
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- Опубліковано 19 лис 2017
- In this Insider Knowledge I show you how to bypass the standard Resolve CinemaDNG start point. Giving you access to the full dynamic range, richer colours throughout the full range and all in and easier to grade package.
CaptainHook from Blackmagic Design has been in touch with a few corrections, read them on the corresponding blog post here: juanmelara.com.au/blog/a-bette...
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An actual colorist on youtube at last. Thank you, sir.
David Blagojević I was going to put out a video on these as Onemanandpro , I hope you took into it soon
Would love to see an update to this series on BRaw from the UMP (and now BMPCC4K)
Hear hear!
Totally agree
go to his website and see what this man did with the p4k
Loving this stuff. Would love to see some coverage from you on Blackmagic RAW!
I just applied the same sitting on Braw file shot on BMPCC 4K the resalt was so good
Whats funny is I don't remember how I found this video the first time,but i remember it was within the week that you posted and I believe it was posted on a photo/video blog, but i had no idea what any of this meant but I knew it was the right way. Years later I've picked up a camera with log footage and watch your tutorials and come full circle to this video. Thank You, Juan Melara.
Dude! I’m so happy you’re back. Your thoughts and techniques are invaluable. I really like hearing what you have to say and watching you work above everyone on UA-cam that presents themselves as a colorist. You’re legit man.
Thx for keeping old BMCC alive ❤️🤘
DAng man you are the real deal. Heck... I dont even know where else to go to acquire this kind of knowledge. Even after spending hundreds on courses that dont even come close to the depth, scope, and completeness you covered here. I mean they didnt even cover these topics about color spaces and why and when to use them.
I tried this technique with BMPCC 4K and the results are amazing!! Thank you Juan Melara👏🏾👏🏾👏🏾👏🏾👏🏾
I keep coming back to your tutorials and I’ve purchased all your power grades. Thank you for your hard work and wisdom.
I would really like to know if you’re doing anything differently now considering the addition of DaVinci Wide Gamut, Gen 5 color science, BRAW settings enhancements and even more controls in the CST.
Resolve color gets more powerful by the day, but knowing how to best manage that power can get really daunting.
Most of the tuts on UA-cam now seem to be defaulting to a down and dirty “turn on Color Managed and let Resolve handle it”, but I’d be really grateful to hear whether you’ve adapted the techniques as shown in this video for the new array of tools?
In particular, what color space do you have your project timeline? Even in the above lessons you don’t really mention that.
Any chance of a new tutorial incorporating resolve 18? I’m sure a lot of people would be grateful. I have an entire feature to do, shot on ARRI with vintage glass, and another shot on BMPCC 6k Pro in BRAW.
Fingers crossed that you can throw an update together.
Thanks again.
Wonderful info, love the clarity and nuance for your videos. Getting into LogC and then from LogC -> Rec709 looks pretty good already by comparison!
Wow just when I thought I had a good grasp on color knowledge, you humbled me. Thanks for sharing
Thanks for posting the corrections Juan. Always been a fan of your work and tutorials, keep it up. :)
Make more videos please! We need more color grade run throughs like this.
Can't thank you enough. Awesome videos. What can I say, as others pointed out, it's so good to get tips from people who actually know what they're talking about.
very good method, it does recover a lot of highlights, but also introduces more noise in the shadow.
We want more!! keep going!
Hey Juan, I'm glad I found your channel. This kind of subject isn't discussed a lot and you did a great job explaining it. I'm really looking forward to your next video man!
This has to be some kind of blackmagic ...
oh boy, we got a joker here
I see what you did there.
Very useful ! Works on the new Pocket 4K :)
These tutorials are awesome man!! Thanks! Can you do a video with the new Blackmagic RAW sample footage?
Ok! I don't have pc, I don't own and blackmagic camera and jet I watched this video.
Thats shows how amazing and entertaining this video is :)
I almost cry :)
This just blew my mind...
You are impressive man! Im rather new to grading but got a lot thrown at me and i have a hard time learning (to do it right). Most confusing for me is the set up, configs, and correct workflows for different types of footage (logs, raws, compressed). Could you do a tutorial on starting the project, doing the right configurations and workflows before the grading? That would be so amazing!
Outstanding Juan. Very generous to share. Will be buying your Powergrades from your website.
thanks alot for this tutorial...I wish I found it earlier 👍
Usted es demasiado bueno. Muchas gracias por compartir estos conocimientos. Bendiciones.
hey great work, went over my head somewhere a minute in, a latin name with an aussie or kiwi accent,
Perfect! Worked very well!! Thanks
Great technique. Thanks for sharing, Juan!
This is brilliant! Sir I would like to see Canon Clog in action if that is possible
Thank you for sharing good knowing
This video is explained so well. You got yourself a subscriber!
This looks great! Will use this technique in my next projects. Thank you so much, sir! Greetings from Spain
My gosh, i accidentally stomped into your channel, and this is some voodoo magic you done here! lol
Thanks for the tutorial, definitely gonna this in my next vid!
Hi Juan, very helpful video. Why grade in between the 2 color space transforms? Aren't you grading Log-C footage from the first CST node if you're doing that? Because you said the color wheels aren't designed to grade LOG footage in your previous videos, so I'm confused. Can you or someone in the comments please explain more? Thanks!!
Was there ever an answer to this?
woah. youre the man. one the finest around... sharing the best of techniques
This is simply genius! Thank you so much for sharing your knowledge. Would there be a benefit of doing this to RED raw footage as well?
NO. Even this method is wrong.
Why is this wrong?
A few reasons: The color space transform is only correct for 6000K footage. When using it on other color temperatures, it gives you incorrect results. So converting to Arri Log C doesn't work correctly for the indoor scene that he uses from the old BMCC. He may like the skintones it produces, but it's technically very wrong to do this.
The colors are going to be wrong and his method is bad. On top of that, he actually does it "wrong" because he converts to linear and then converts to arri Log C. It gives you incorrect colors doing it this way on top of the 6000K issue. You can convert directly from bmdfilm to arrilogc, get better, more accurate colors, and not worry about the extra step which messes things up. The linearization that happens in the raw tab is incorrect because it doesn't produce the correct colors it should.
Great tutorial. Clearly illustrates what Michael Cioni meant when he said that grading after a LUT is like using crumpled paper for writing, and it's better to use a linear gamma. He actually color graded The Girl With The Dragon Tattoo in linear.
Amazing Tutos Juan! Thanks very much for sharing your knowledge. Take care. Milo
I have ursa 4.6k. This is amazing, thanks you!!!
Fantastic tutorial. Thank you!
Oh it looks simply then I did before. Bor my BM4K i shot color calibration table and have created bm delog curve manually. It works fine but not very accurate. Thank you!
Very nice dude, use the same or so technique with my BMPCC
I didn't look too far down in the comments, but does this type of flow work with .R3D files? Thanks for such knowledgable content.
This guy is the Andrew Kramer (Video CoPilot) of Color Grading!! #guru
thank you very much for sharing you knowledge
It's just awesome nonetheless, is there any methods to transform s-log2/s-log3 footage to be able colorgrade it's easily? Can you give an advice, cause I'm pretty sure you the one person on UA-cam who really knows what to do with color
Does this apply also to the bmpcc4k? On a quick try i haven't noticed any advantages over direct grading. thx
Much better colors science, actually you can get arri colors with this.
Great >> Can this be applied to the Original BMCC Camera (RAW DNG)
this is gold! Keep up the great Insiders! please ;)
Greate，thank you very much.
Hi Juan,
I do hope you have time to reply, as this is something I am interested in hearing your opinion on.
There is a BMCUser thread relating to this video, and in it, CaptainHook from Blackmagic reached out and mentioned that the plugin assumes a white point of 6000k. Any footage the transformation is being applied to that is not 6000k will not be as accurate. My question is: If you transform footage that is *not* 6000k, are the results still usable? Is there a color shift that is noticeable enough to negate using this method? I have found that on images at 3200, there is a magenta cast in the shadows. I have attempted to balance this with LGG wheels, Log wheels, and camera raw controls, to no avail. There is still a noticeable cast. There is not a problem with the underlying image, as I have applied the LogC to Rec709 LUT from Arri's website, with no color shift. What is your opinion?
Perhaps this question would have been better suited to another format other than a youtube comment...
Here is a link to the thread, though I'm sure you would be able to locate it otherwise. (bmcuser.com/showthread.php?21213-A-better-way-to-grade-Ursa-Mini-CinemaDNGs)
Thanks, Juan! You are doing wonders to the online colorist community!
Hey Juan, I may not be understanding correctly. Why wouldn't you just convert the footage in Camera RAW to the Rec.709 Gamma without the nodes, and then bring the highlights down with the grade?
Hi Juan, your method is really cool... but I was wondering if there's some way like this when grading in ACES
I mean: using linear transform and ARRI Log C to get full DR in an ACES workflow...
Simply brilliant ...!!!!
Hi Juan, thank you very much for this video! Helped a lot!! One question: what settings do you choose in the project settings -> camera raw ? Regarding "RAW Profile", "Decode Quality" and "Decode Using" ? I use the first Ursa 4.6k...could you let me know?
Best
This is excellent, but I'm wondering if there is a way to automate this, rather than having to repeat these steps for each and every clip?
Juan, these are great tutorials. Should I proceed in the same way with Canon's MagicLantern Raw or with regular H.264 Cinestyle log profile?
UP for cannons magicLattern raw
Sorry for replying instead of Juan haha, but it's the same technique, except those 2 profiles are 8-bit and will look very ugly with this technique.
Hi Danny, Magic lantern Raw is 14 bit and looks very nice. I think you can get in the same ballpark using this technique. Just try it out!
I like it. Very creative!
thank you so much I HAVE BEEN STRUGGLING WITH MY BMPPCC 4K, IS THIS HOW COMPANY 3 COLOUR GRADES ?
What about ACES, would that had yield the same results, without having to convert the color profiles back and forth?
YOU are the man - thank you!
Juan, how would you apply this technique with the new .BRAW from blackmagic? Thanks again for all your videos, big fan.
All Balance and grading between the 2 nodes? And applying a creative lut for rec 709 after the second transform?right?
should you color correct the image before applying what you did? Or after the color space transform.
Loved it, thanks!
Just thank you!
Why you stopped making tutorials
Brilliant! Thank YOu!
Awesome tutorial! But the color saturation seems look too high because of the rec709 output. What's the best way to tone it down? Lower color boost?
if sat seems too high, just lower sat. Don't make it more complicated than it is :)
thanks for the help, how i use this on a red camera project
WOW
Hello! Thanks for all your fantastic videos; I've been working through them today. Can I ask - usually to transform color spaces like this, I change my Resolve project into Davinci YRGB Color Managed, which lets me set a working space as well as an output space. Is there an advantage to doing it your way, using Colorspace Transform FXs on nodes?
The main advantage is that all the colour transforms are contained within the node graph. So it's easy to move looks between projects and between cameras without having to change settings in a menu just to test out a look.
Does this technique work with the pocket 4k? I'm not sure because it uses dual ISO.
Mind blowing
Will this technique work equally well with BRAW from Pocket 4k/6k?
Could you make this a lut and then bake it into your footage on camera?
How it work with new DR 15? (not beta) I found new tab "Color Science" in Camera RAW. If i applied still with your settings made in previous version DR this make colors terrible
what about a start proccess for bmd log for the ursa 4.6k?
Do you have samples of the black magic pocket 4k you can work your magic on?
Can't find Arri LogC in Davinci 18. I find ArriLogC3 and LogC4 only. And the result is unusable. Where I can find the original ArriLogC?
Yeah it's ARRI LogC3. Make sure Apply Forward/Inverse OOTF isn't auto selecting. But with the introduction of Gen4/5 colour science, it's not really necessary to use this technique anymore.
@@JuanMelara82 Thanks for reply!
What a music in video?
this doesnt work in resolve 15 anymore :(. arri log c clips the highlights it hurts
Why doesn't it work anymore? Because it's too good it kills off other licensings or??
Lol. It still works. After the conversion simply put the Gamut Mapping to NONE
Hi Juan Im really new for color and resolve. wonder if u have an online course? I'd b happy to learn and pay. as long as it doesnt break my pocket . cheers
hi! could you share a single DNG file so we can experiment on our own (we who are not as fortunate to own such a wonderful camera). Even if it is the "worst" frame of the batch, for experimenting on that would do. cheers!
Scroll down until you see the 6 links. They are huge raw files.
translate.google.com/translate?sl=de&tl=en&js=n&prev=_t&hl=de&ie=UTF-8&u=http%3A%2F%2Flaufbildkommission.wordpress.com%2F
Also does prores benefit from this method? Or only raw?
Man you are great 👍
interesting.
Can use this technique with GH5 footage in Vlog?
Awesome! Is there a way, to automize this, So I can open a project, load all footage and just drag and drop this onto all footage?
Yes. You can create a powergrade. However there's clear problems with what he's doing here that he won't admit he's "wrong" about. Don't actually go about using this method as there are notable issues.
What are these issues you speak of? I haven't found any issues yet.
It is very interesting for me. Is it possible to get such script or LUT for such actions? In photoshop you can create a script for all actions.. How about davinci resolve? It will be cool to aply such actions to new videos...
You could bake it out as a LUT, but it kind of defeats the purpose... A better way would be to save a powergrade of the setup, It's then super easy to apply to new clips.
Thank you.
Is this technique also useful when grading with LUTs? A LUT would for example be the second node.
Yep, should work fine with LUTs.
@@JuanMelara82 Should I apply the LUT after the last node (color space transform)? Thank you for sharing your knowledge.
Bloody Legend !
So I tried this and it made the footage I filmed look like shit. When I set raw colorspace to Blackmagic film, gamma to BM 4.6K Film and then in the node set the 3D lut to BM 4.6k Film to video v3 it looks 1000% better...
does this work with Ursa Mini 4k as well? does shooting in prores HQ compress the dynamic range that is natively in the sensor?
It'll work with any camera that shoots CinemaDNGs. Prores HQ shouldn't lose you any dynamic range over shooting raw.
okay cool thanks. so you don't have to do this if you shoot prores HQ?
is this still a persistant problem?
Working as master
this the cheat code.
will this method also work for canon c200 and blackmagic pocket camera?
It will only work for cameras that shoot CinemaDNGs.
Bmpcc does
So why does blackmagic use a color space that doesn't support the range of its its own cameras?
You could ask a lot of questions why BM does what they do.
@@BenHelweg JAJAJAJA