Excellent explanation! It sounds like it's about time to switch to Linear. I've been using the HDR Temp & Tint but I have noticed it creates hue shifts when pushed too far. So I'll definitely implement Linear going forward. Thank you, Sven!
Thank you Marieta! I didn't try the HDR Temp and Tint as much as the Global Wheel, but in some tests I found they behave (roughly) the same way. Working linear is an amazing concept that opened a lot of new possibilities for me when I started using it. It does take some time to get used to it and also you might need to adjust the sensitivity of your panel, but it surely helps white balancing and adjusting exposure.
Great video, thank you. I’ve been working with linear gain for some time now and really like it. You said that you are also using linear for power windows? Are you using it the same way? Setting node gamma to linear and having the pw on that very same node, adjusting with gain?
Thanks! You got that one right. Power windows with linear node gamma. But sometimes if that's too complicated it's also ok to just use the Offset instead. My latest video goes explains in detail why.
Considering the hue shift issue, would you say it's best to work with setting gamma to linear if we are trying to do white balance and use HDR Global for more quick adjustments like vignetting or simple exposure adjustments? Thank you.
Hi thanks for your comment. That's definitely a good workflow if you don't mind switching between primaries and hdr palette all the time. I mostly use Offset for such things, because I can stay on the same page and it gives an almost perfect exposure adjustment anyway.
thank you so much, I love this explanation! Can you please explain why in linear gamma values can far exceed the range between 0 and 1? I don't get it, thank you!
Hi thanks for your comment. As you can see around ~1:20 the value of the lamp reads around 20, while the shadow reads something like 0.05. Those numbers reflect what a light meter on set would measure as well (not the exact numbers, but the ratio between the two). To be able to work with those light intensities cameras convert the linear light to a logarithmic state. When you temporarely convert to linear during the grading process you recreate those original values (20 and 0.05 in this example). This is what I meant with "values can far exceed the 0-1 range". Does that make sense? Let me know if you have further questions :)
Thank you so much for your explanation! Why is that the lum mix meant to work in that small range tho? Is it meant to work with logaritmic input states? I don’t know if I’m making sense but I’m trying to fully understand!
@NOIRGRADE right on! After posting that, I watched every video. These might be the most concise but informative videos I've watched on their respective topic. Thank you and keep em coming!
Hey Sven, great video. I wanted to ask, what if you set the gamma and color space within the HDR tab. That way the HDR tab will be color space aware. Moreover, increasing the roll off of each zone to 0.6 or 1.0 for even more control. I feel like a lot of people forget to set the color space and gamma within the HDR tab. Or does it not make a difference since by default, the HDR color space and gamma is set to "use timeline"?
Thanks! The HDR palette is always color space aware. Yes, by default is says "use timeline", so if you set up the correct tag in the project settings it reads this one and will work correctly. But you can overide it in this dropdown in case you did something special. It's the same thing for all the color space aware grading tools, such as Color Warper, Color Stabilizer, Chromatic Adaptation, Film Look Creator and many more. For more info, check out my video about color space aware grading tools.
Thanks for the great video. I have been working with linear gain for balancing my shots for some time now but just recently switched to a ACEScct workflow and i somehow had the feeling that the linear gain behaves different from when working inside the DWG color space. Do i need to set the color space of the node to ACEScct as well in order to get the same result? Thanks a lot!
if you only change the node gamma (in this case cct to linear - in the other case davinci intermediate to linear) you end up with different results since the gamuts are still different (ap1 in the first case - dwg in the second case). So in theory you would need to change the gamut as well. Would I recommend that? It depends. It does make a small difference and you could try it out, but changing gamuts can come with some problems that I talk about in my video on Our Of Gamut Colors. So while you technically can, try it with caution. Great question btw. Thanks
@ thanks very much for the quick and thorough answer! can you recommend any other method in regard of balancing a shot within an ACEScct workflow? Was just getting comfortable with balancing with linear gain and am wondering if there's an alternative that would get me similar results. Anyways, i'll check out your other videos - kinda seem to address my questions perfectly! Thanks for your work🫶
@@tanKvis balancing in ACEScct for example with Offset is perfectly fine imo. I have an in depth video about white balancing techniques on my channel if you want to check this one out.
the HDR wheels are mainly made for log footage with higher bit depths. for display ready 8bit footage it's better to use more gentle tools like lift, gamma, gain or maybe the log wheels
Excellent explanation! It sounds like it's about time to switch to Linear. I've been using the HDR Temp & Tint but I have noticed it creates hue shifts when pushed too far. So I'll definitely implement Linear going forward. Thank you, Sven!
Thank you Marieta! I didn't try the HDR Temp and Tint as much as the Global Wheel, but in some tests I found they behave (roughly) the same way. Working linear is an amazing concept that opened a lot of new possibilities for me when I started using it. It does take some time to get used to it and also you might need to adjust the sensitivity of your panel, but it surely helps white balancing and adjusting exposure.
Just discovered your channel - great work and really interesting concepts - Thank you for making good content for colorists - really appreciate that.
Thanks Jim. Nice to see you here.
Excellent! Loving the content so far, looking forward to what’s to come!
@@UpSco8 Thank you. Appreciate it!
Wow thanks bro so insighting
thanks man! appreaciate it
Great video, thank you. I’ve been working with linear gain for some time now and really like it. You said that you are also using linear for power windows? Are you using it the same way? Setting node gamma to linear and having the pw on that very same node, adjusting with gain?
Thanks! You got that one right. Power windows with linear node gamma. But sometimes if that's too complicated it's also ok to just use the Offset instead. My latest video goes explains in detail why.
Considering the hue shift issue, would you say it's best to work with setting gamma to linear if we are trying to do white balance and use HDR Global for more quick adjustments like vignetting or simple exposure adjustments? Thank you.
Hi thanks for your comment. That's definitely a good workflow if you don't mind switching between primaries and hdr palette all the time. I mostly use Offset for such things, because I can stay on the same page and it gives an almost perfect exposure adjustment anyway.
thank you so much, I love this explanation! Can you please explain why in linear gamma values can far exceed the range between 0 and 1? I don't get it, thank you!
Hi thanks for your comment. As you can see around ~1:20 the value of the lamp reads around 20, while the shadow reads something like 0.05. Those numbers reflect what a light meter on set would measure as well (not the exact numbers, but the ratio between the two). To be able to work with those light intensities cameras convert the linear light to a logarithmic state. When you temporarely convert to linear during the grading process you recreate those original values (20 and 0.05 in this example). This is what I meant with "values can far exceed the 0-1 range".
Does that make sense? Let me know if you have further questions :)
Thank you so much for your explanation! Why is that the lum mix meant to work in that small range tho? Is it meant to work with logaritmic input states? I don’t know if I’m making sense but I’m trying to fully understand!
@@matteosalvatori4908 you got that one totally correct. It is designed to work with log or display ready images, so just in the range from 0-1.
@@NOIRGRADE Thank you so much!
Great video! Can i ask, where did the dusty grain come from? Was that a scan or sourced from somewhere?
Thanks. The grain is a scan
@NOIRGRADE right on! After posting that, I watched every video. These might be the most concise but informative videos I've watched on their respective topic. Thank you and keep em coming!
@@danflorez THanks! Means a lot. I will try to get back after the holidays!
Hey Sven, great video. I wanted to ask, what if you set the gamma and color space within the HDR tab. That way the HDR tab will be color space aware. Moreover, increasing the roll off of each zone to 0.6 or 1.0 for even more control. I feel like a lot of people forget to set the color space and gamma within the HDR tab. Or does it not make a difference since by default, the HDR color space and gamma is set to "use timeline"?
Thanks! The HDR palette is always color space aware. Yes, by default is says "use timeline", so if you set up the correct tag in the project settings it reads this one and will work correctly. But you can overide it in this dropdown in case you did something special. It's the same thing for all the color space aware grading tools, such as Color Warper, Color Stabilizer, Chromatic Adaptation, Film Look Creator and many more. For more info, check out my video about color space aware grading tools.
Thanks for the great video. I have been working with linear gain for balancing my shots for some time now but just recently switched to a ACEScct workflow and i somehow had the feeling that the linear gain behaves different from when working inside the DWG color space. Do i need to set the color space of the node to ACEScct as well in order to get the same result? Thanks a lot!
if you only change the node gamma (in this case cct to linear - in the other case davinci intermediate to linear) you end up with different results since the gamuts are still different (ap1 in the first case - dwg in the second case). So in theory you would need to change the gamut as well. Would I recommend that? It depends. It does make a small difference and you could try it out, but changing gamuts can come with some problems that I talk about in my video on Our Of Gamut Colors. So while you technically can, try it with caution.
Great question btw. Thanks
@ thanks very much for the quick and thorough answer! can you recommend any other method in regard of balancing a shot within an ACEScct workflow? Was just getting comfortable with balancing with linear gain and am wondering if there's an alternative that would get me similar results. Anyways, i'll check out your other videos - kinda seem to address my questions perfectly! Thanks for your work🫶
@@tanKvis balancing in ACEScct for example with Offset is perfectly fine imo. I have an in depth video about white balancing techniques on my channel if you want to check this one out.
Why do HDR wheels doesnt work well on 8bit footage it give annoying artfect on it
the HDR wheels are mainly made for log footage with higher bit depths. for display ready 8bit footage it's better to use more gentle tools like lift, gamma, gain or maybe the log wheels