@@ErrickJackson They're very useful and valid tools, but when someone can teach you something powerful/useful/new on the more basic tools that seem so innocent and simple, you know you're getting real information. Good color grading comes from a place of truly understanding what's going on with a digital image, and how to manipulate it from it's very roots to get the desired results. A lot of UA-camrs rely on very... I would almost call them "powerful surface level tools" (like masks and qualifiers) as these "magic bullets" to get certain looks or effects... and that's okay. But higher level professionals might be able to achieve the same effects more "naturally" with the most simple of color grading tools, only relying something like a qualifier if it's ACTUALLY necessary. You definitely want to pay extra close attention when those people have something to share. And as for LUTs, I don't think they're being inherently criticized at all here. I think the shade is being thrown at the people who self promote with things like LUT packs and paid color grading courses. I don't personally see such actions as inherently bad things, but at the same time... at a high level, professionals just make their own LUTs as needed for their own workflow. So if a UA-camr is trying to teach you about color grading at a fundamental and comprehensive level rather than just sell you a Cinematic LUT pack, you could say that demonstrates something rare and appreciable. A real interest in trying to give you the most powerful tools, rather than sell you a box of weak ones. Some color grading courses are probably great but, you gotta hand it to Avery for putting out everything he has so far as free content.
I love high contrasted looks and never understood why I would be loosing so much detail while other films didn't. Just when I when I think I can't be mind blown you prove me wrong again. I literally clapped after I finished this. Be back sooner!
Without batting an eyelash, I would immediately buy your film coloring program if it drops. I learn so much from your videos. You take time to explain functions and terms. Thank you for creating these videos!
I finally learned the difference between linear adjustment and a curve adjustment and why it's important to KNOW the difference. Thanks! Excellent delivery!
damn dude, your videos are a wonderful balance between academic/theory and utility/practice. Every grade is unique, so someone just telling me how (and not WHY) is often not broadly generalizable. The principles behind a particular concept however DO transcend all projects. and you do a wonderful job illustrating AND connecting them to an example. Particularly, the style by which you use simplified image to emphasize geometric impact on the wave form with the behavior on color properties and then tie that into full, complex image wave form is just awesome. much appreciated.
You haven’t put out enough content recently. It’s seriously great! I love to see how others work in Resolve. You’re explaining the core tools and how you use them in chain. That’s valuable. As a professional myself I cringe at most tuts on YT covering DiVinci “Buy my cinematic LUTs!”
Wow. Who knew there was so much to the lowly Contrast control. You've definitely informed me, and made me a better colorist. Thanks! Excellent video all around.
Oh SWEET, I clicked off another video just seeing this thumbnail, I didn't even catch that it was a brand new tutorial from you specifically! I literally just jumped at the chance to know more about those controls, because contrast is EVERYTHING.
Your DR tutorials are the “bomb”!! Very well done and detailed in everyday language. Can you squeeze out a few more? Anything on DR 17 would be awesome!!
Cool. When I worked at different post facilities I noticed that a lot of top colorists work mostly with contrast and offset. Working with great DPs helps though.
Avery.. Missed you man. Please stay more active. I know it might be hard to push as many videos with your busy schedule..but at least..stay connected with us. What's your insta
VERY useful, thank you. I do almost all my contrast in grading with the curves while looking at the waveform and a false color LUT, but I've wanted to understand what these other controls truly do. I almost always draw my own S curves and roll things off to avoid clipping, but it's good to understand more about linear contrast and what advantages/disadvantages I'm looking at through different methods. This was a great breakdown. Out of curiosity, what are your thoughts on how some films grade everything (including shots with genuinely clipped skies or light sources) to have a maximum white point that only hits around 90% on the waveform? I've noticed this gives a sort of dull and papery look to the brightest highlights, as well as leaving more room to tint them a certain color. Is it just done for the look? Also, doesn't this technically reduce the room one has to add contrast, by rolling off highlights even more aggressively? I'm really just wondering if my understanding of what this grading choice does is correct, and what your opinions are on it vs. making use of the true maximum black and white points available to you in Resolve.
Glad this was so useful for you! To answer your question, yes, often the choice to leave clipped highlights lower is a creative/visual one. You're also correct in that technically this leaves some unused "headroom" in the highlights, which cuts down on the total contrast in the image. Creative choices always supersede technical ones though, so grading for a flatter look isn't any better or worse than making full use of your display range; it's just a matter of preference. Hope that helps!
@@averypeck Alright cool, that does help. These days I utilize the maximum available headroom for clipped highlights on my more commercial grades for client projects, but I feel pressured to bring that practice into my creative/stylistic grades for personal projects, since it makes the most of a screen's dynamic range. I'm trying to convince myself that I can instead get away with a less "technically practical" approach if I enjoy the look.
Good one Avery, Everything one would want to know about contrast. I do think that when showing the contrast matching that the still over the greyscale down the side would make it more obvious to people that may have not followed you matching the skin tone. The other part that may have been brought into this discussion is how contrast affects the saturation when it is color video. But great point in respecting the photography and lighting. I usually balance with printer lights with that in mind. Saw your update for a new video and thought it was the LUT science that we discussed the other day. I found this one to be really accurate information and really interesting seeing it done with all the alternatives and scopes and greyscales. Really good - keep them coming.
Thanks Jim! Good points about matching exposure and the effects on saturation. It's always a bit of a hard call on what to include and what to leave out for clarity's sake. I'm a big fan of printer lights as well, though I often reach for the offset wheel directly. I think the LUT video will be next :) I'm excited to tackle that one!
We need more videos from you man, your tutorials are so straightforward and informative that I’m actually learning so many things from one video of yours compared to the 100+ videos I’ve watch on other channels combined. You’re doing great my man 👍🏽
Yup.It' s actually the key information everyone needs to understand, People that don't understand these basic principles are all over UA-cam, and its kind of tiresome
Welcome back bro. Do not be pressure with the people who wants more content from you. Things that are great needs more time to think so I completely understand that you post videos not every week or not every month. Take your time. You always make us proud. ps. This is my first time to be cheesy with a youtuber.
I really appreciate it! You're right that these videos take time, but I've made it a hard goal to produce more this year. I'd love to make this a more regular thing.
Avery just "wax on, wax off"d us when we got to the Gain and Offset portion. Like all the stuff ahead of that point I found myself saying, yeah, but why? Then we get to Gain and Offset and I was like....AHHHHH. So helpful in understanding the nuances of contrast! Another great video. Wish you were making more!
Great job and very insightful. So I attempted to play with Linear contrast in Davinci YRGB Color Managed project and Davinci wide gammut preset and it's no different at all only S-Curve. In SDR Rec709 seems to add a rolloff curve to the shadows with S-curve less but still a little. Wonder if you've played with these to see if linear is possible.
Great to have you back on UA-cam! I am using various Fuji F-Log to Rec.709 LUTs as the last node. After watching your video I added contrast before the LUT with linear contrast adjustment and it does look better and gives better control. Am I doing it right?
very informative, thank you so much! All about where you set your pivot. Im not sure if After Effects has it, although I know AE isn't that awesome for grading, more like motion graphics, but until I start using DaVinci
Love your videos, man.. They're sooo easy to understand.. Please do more videos.. Especially on shots matching.. I wanna know how you do it.. Thanks in advance..
Brilliant stuff man..Can you please do a video on film emalution and achieving that 'film look' in Vinci Resolve. I'd love know your take on this. Thank you.
Thanks for the help, I really appreciate the tutorial. I just have one question, how undestructive is the workflow with adding more nodes? By undestructive I mean it preserves dynamic range and info without adding noise between nodes, because, for example, the last part where you add a new node to add roll-off after adding linear contrast, doesn't that bring more noise into the image or less quality shadows and highlights, like with banding and that?
My personal way is to use the Luma curves and turn on editable splines. Just drag the low and high point with the hands. No additional points on the curves. Using soft high and low soft if needed to avoid clipping. You can set the waveform scope to decimal or % as well to get a direct relationship. Furthermore use the colour picker in 10bit to get actual values. But you don't get luma mix(in Fusion you do). Also a thought: the shadows and highlights controls work differently then lift and gain. But they work even a little more different in the raw tab. Contrast in the raw tab is always linear aswell - so you can use linear and s curve at once...
Very informative indeed! And not only for resolve but for digital coloring in general. I think this info might even help me with my photography editing in Photoshop. Kudos to you!
Do you offer classes or do you have a full Davinci Resolve tutorial? I would love to learn Davinci but from the ground up and I've never seen anyone teach with this amount of detail.
Great explanation. I also often notice that people start grading raw footage without setting their whites and blacks properly before adding contrast. But great video on how to manage contrast.
I had a search and rescue team out for you, man. Please take your shoes off and stay a little longer this time.
Where is he now bro?
No masks and qualifyers, no selling luts and courses. Real colorist speaking here
Хах) Настоящие колористы работают, а не пилят ютуб уроки.
Whats wrong with masks and qualifiers? :(
Wait, what's wrong with masks, qualifiers, or luts?
@@ErrickJackson they are way overused by a lot of youtubers
@@ErrickJackson They're very useful and valid tools, but when someone can teach you something powerful/useful/new on the more basic tools that seem so innocent and simple, you know you're getting real information. Good color grading comes from a place of truly understanding what's going on with a digital image, and how to manipulate it from it's very roots to get the desired results. A lot of UA-camrs rely on very... I would almost call them "powerful surface level tools" (like masks and qualifiers) as these "magic bullets" to get certain looks or effects... and that's okay. But higher level professionals might be able to achieve the same effects more "naturally" with the most simple of color grading tools, only relying something like a qualifier if it's ACTUALLY necessary. You definitely want to pay extra close attention when those people have something to share.
And as for LUTs, I don't think they're being inherently criticized at all here. I think the shade is being thrown at the people who self promote with things like LUT packs and paid color grading courses. I don't personally see such actions as inherently bad things, but at the same time... at a high level, professionals just make their own LUTs as needed for their own workflow. So if a UA-camr is trying to teach you about color grading at a fundamental and comprehensive level rather than just sell you a Cinematic LUT pack, you could say that demonstrates something rare and appreciable. A real interest in trying to give you the most powerful tools, rather than sell you a box of weak ones. Some color grading courses are probably great but, you gotta hand it to Avery for putting out everything he has so far as free content.
I love high contrasted looks and never understood why I would be loosing so much detail while other films didn't. Just when I when I think I can't be mind blown you prove me wrong again. I literally clapped after I finished this. Be back sooner!
Also make sure your black and white points are properly set as a starting point when grading raw footage. People often forget that.
DUDEE this was so detailed. I finally understand curves! this is masterclass level. thanks pal
One of the best video on youtube for sure!. Hope you will get well soon. Take your time to rest and recover!
Thank you! I'm feeling much better and hope to have a new video out soon :)
Without batting an eyelash, I would immediately buy your film coloring program if it drops. I learn so much from your videos. You take time to explain functions and terms. Thank you for creating these videos!
I finally learned the difference between linear adjustment and a curve adjustment and why it's important to KNOW the difference. Thanks! Excellent delivery!
Welcome back! Excellent tutorial video as always, thanks.
damn dude, your videos are a wonderful balance between academic/theory and utility/practice. Every grade is unique, so someone just telling me how (and not WHY) is often not broadly generalizable. The principles behind a particular concept however DO transcend all projects. and you do a wonderful job illustrating AND connecting them to an example. Particularly, the style by which you use simplified image to emphasize geometric impact on the wave form with the behavior on color properties and then tie that into full, complex image wave form is just awesome. much appreciated.
Thank you so much!
You haven’t put out enough content recently. It’s seriously great! I love to see how others work in Resolve. You’re explaining the core tools and how you use them in chain. That’s valuable. As a professional myself I cringe at most tuts on YT covering DiVinci “Buy my cinematic LUTs!”
Kudos! Outstanding work. Checks all boxes on how to make a good educational video!
Wow. Who knew there was so much to the lowly Contrast control. You've definitely informed me, and made me a better colorist. Thanks! Excellent video all around.
Oh SWEET, I clicked off another video just seeing this thumbnail, I didn't even catch that it was a brand new tutorial from you specifically! I literally just jumped at the chance to know more about those controls, because contrast is EVERYTHING.
Your DR tutorials are the “bomb”!! Very well done and detailed in everyday language. Can you squeeze out a few more? Anything on DR 17 would be awesome!!
Informative, concise, and practical. Thank you, Avery. I have subscribed.
I got so excited when I saw the notification that you posted a new video. Please keep them coming!
Incredibly helpful. Thank you.
Now I'm getting that Steve yedlin vibe from your video now.
Lol, I'm creating a big film emulation series as well, so be prepared :)
Yep Man happy to see you back. Great info as always
Could you make an in-depth video on different types of nodes? Would be great
Amazing video man! Plz keep them coming!
I see a contrast in my skills, between before watching this video and after.
Welcome nice to see you again
Great please keep the videos coming...
Quality content as usual!
welcome back!!
Awesome video. You are very talented and a great teacher. Cant wait to see what you have for us next!
Thank you!
Cool. When I worked at different post facilities I noticed that a lot of top colorists work mostly with contrast and offset. Working with great DPs helps though.
i understand now ..thanks bro... ,
Great detailed tutorial as always! Thank you!
If you did a complete course I would buy it
Love you man ❤ you are a Gem ❤️
Thank you King, such a bump
Yes please!
Soft Clip! I would love to learn more about this
Love you animations :)
Did you make them in Fusion?
Avery.. Missed you man. Please stay more active. I know it might be hard to push as many videos with your busy schedule..but at least..stay connected with us. What's your insta
VERY useful, thank you. I do almost all my contrast in grading with the curves while looking at the waveform and a false color LUT, but I've wanted to understand what these other controls truly do. I almost always draw my own S curves and roll things off to avoid clipping, but it's good to understand more about linear contrast and what advantages/disadvantages I'm looking at through different methods. This was a great breakdown.
Out of curiosity, what are your thoughts on how some films grade everything (including shots with genuinely clipped skies or light sources) to have a maximum white point that only hits around 90% on the waveform? I've noticed this gives a sort of dull and papery look to the brightest highlights, as well as leaving more room to tint them a certain color. Is it just done for the look? Also, doesn't this technically reduce the room one has to add contrast, by rolling off highlights even more aggressively? I'm really just wondering if my understanding of what this grading choice does is correct, and what your opinions are on it vs. making use of the true maximum black and white points available to you in Resolve.
Glad this was so useful for you! To answer your question, yes, often the choice to leave clipped highlights lower is a creative/visual one. You're also correct in that technically this leaves some unused "headroom" in the highlights, which cuts down on the total contrast in the image. Creative choices always supersede technical ones though, so grading for a flatter look isn't any better or worse than making full use of your display range; it's just a matter of preference. Hope that helps!
@@averypeck Alright cool, that does help. These days I utilize the maximum available headroom for clipped highlights on my more commercial grades for client projects, but I feel pressured to bring that practice into my creative/stylistic grades for personal projects, since it makes the most of a screen's dynamic range. I'm trying to convince myself that I can instead get away with a less "technically practical" approach if I enjoy the look.
You're damn good Come back tho
Dude’s like Elon Musk for real!
Loooolll
This is the best on contrast there is. Pity you do not continue
So the wheels are automatically linear?
Lift and gain are, but gamma is not!
@@averypeck Thanks, I will keep that in mind.
the person who gave this a thumbs down still does their color grading in Adobe Premiere. ;)
Or using a lut and call it a day perhaps.
@@that24fpsguy72 oooof.
@@that24fpsguy72 Sadly, it was me 2 months back. Doing grading in premiere and using luts.
The return of the king
The king is DEFINITELY back! 🙌🏾🌟🙌🏾
возвращение КОЛОРЯ )
El regreso del Rey!!
No bragging, no yelling, no posturing, no selling - just quality content delivered in a professional way. Thank you!
The amount of knowledge in this one video is just unbelievable. Thank you!
Yesssss Avery Peck... the best Davinci Resolve tutorial on UA-cam is back..So happy to see you again man. 😀
He's dropping value bombs that are changing our lives and blowing us away with the secret sauce.
Thanks man! Feels good to be back :)
@@joenicklo lol. I see what you did there
@@musicelect ;)
@@joenicklo I smashed the like button
We need more videos from you ! You re Better thann Qazi ;)
Liked, very detailed video, specifically with pivot explanation
Youre back!
Damn dude you're voice is changing haha! So much deeper. Great vid, thanks!
As a noobie video editor, I have no hesitation in saying this is the best explanation of this topic I've ever seen. THANKS
Good one Avery, Everything one would want to know about contrast. I do think that when showing the contrast matching that the still over the greyscale down the side would make it more obvious to people that may have not followed you matching the skin tone. The other part that may have been brought into this discussion is how contrast affects the saturation when it is color video. But great point in respecting the photography and lighting. I usually balance with printer lights with that in mind. Saw your update for a new video and thought it was the LUT science that we discussed the other day. I found this one to be really accurate information and really interesting seeing it done with all the alternatives and scopes and greyscales. Really good - keep them coming.
Thanks Jim! Good points about matching exposure and the effects on saturation. It's always a bit of a hard call on what to include and what to leave out for clarity's sake. I'm a big fan of printer lights as well, though I often reach for the offset wheel directly. I think the LUT video will be next :) I'm excited to tackle that one!
bro, i love you
you motivate me so much and i appreciate your efforts
We need more videos from you man, your tutorials are so straightforward and informative that I’m actually learning so many things from one video of yours compared to the 100+ videos I’ve watch on other channels combined. You’re doing great my man 👍🏽
Masterclass! Thanks Avery
Sir, this is one of the best tutorials I've seen in over 15 years working with photo retouching. Congratulations.
Thank you!
Yup.It' s actually the key information everyone needs to understand, People that don't understand these basic principles are all over UA-cam, and its kind of tiresome
Love your videos as always.
Thank you!
I need the Avery Peck color grading course! Your videos are amazing, bro! Cheers from Brazil!
Finally! Welcome back! :) Hope to see more from you! :) Great stuff!
Welcome back bro. Do not be pressure with the people who wants more content from you. Things that are great needs more time to think so I completely understand that you post videos not every week or not every month. Take your time. You always make us proud.
ps. This is my first time to be cheesy with a youtuber.
I really appreciate it! You're right that these videos take time, but I've made it a hard goal to produce more this year. I'd love to make this a more regular thing.
brilliant explanation. Anyone else think Avery sounds like Neo from The Matrix?
Great video. Thank you 🎉
Now I know what that pivot point does! Great tutorial man. I really appreciate the knowledge share.
My Goodness 😳. Are you a resolve Developer or something to know all these ? Anyways super good tut
Avery just "wax on, wax off"d us when we got to the Gain and Offset portion. Like all the stuff ahead of that point I found myself saying, yeah, but why? Then we get to Gain and Offset and I was like....AHHHHH. So helpful in understanding the nuances of contrast! Another great video. Wish you were making more!
The first channel in my life I subscribed instantly after the first video cause it was more usefull than 100 from others
Great job and very insightful. So I attempted to play with Linear contrast in Davinci YRGB Color Managed project and Davinci wide gammut preset and it's no different at all only S-Curve. In SDR Rec709 seems to add a rolloff curve to the shadows with S-curve less but still a little. Wonder if you've played with these to see if linear is possible.
Great to have you back on UA-cam!
I am using various Fuji F-Log to Rec.709 LUTs as the last node. After watching your video I added contrast before the LUT with linear contrast adjustment and it does look better and gives better control. Am I doing it right?
very informative, thank you so much!
All about where you set your pivot. Im not sure if After Effects has it, although I know AE isn't that awesome for grading, more like motion graphics, but until I start using DaVinci
Thank you Avery, fantastic stuff. Refreshing presentation as well. Looking forward to more content.
Love your videos, man.. They're sooo easy to understand.. Please do more videos.. Especially on shots matching.. I wanna know how you do it.. Thanks in advance..
Brilliant stuff man..Can you please do a video on film emalution and achieving that 'film look' in Vinci Resolve. I'd love know your take on this. Thank you.
Thanks for the help, I really appreciate the tutorial. I just have one question, how undestructive is the workflow with adding more nodes? By undestructive I mean it preserves dynamic range and info without adding noise between nodes, because, for example, the last part where you add a new node to add roll-off after adding linear contrast, doesn't that bring more noise into the image or less quality shadows and highlights, like with banding and that?
My personal way is to use the Luma curves and turn on editable splines. Just drag the low and high point with the hands. No additional points on the curves. Using soft high and low soft if needed to avoid clipping.
You can set the waveform scope to decimal or % as well to get a direct relationship. Furthermore use the colour picker in 10bit to get actual values. But you don't get luma mix(in Fusion you do).
Also a thought: the shadows and highlights controls work differently then lift and gain. But they work even a little more different in the raw tab. Contrast in the raw tab is always linear aswell - so you can use linear and s curve at once...
This is the best and easy explanation of Contrast and Pivot in the world :))))
Finally I can understand them, Thank you daddy
the level of pedagogy of this channel is incredible. Congrats sir and thank you
This channel deserve more subs.. Your tutorial is on point.. Im midget on color grading now because of this
Very good insight Avery. Love the beginners, intermediate and Advanced approach on one theme. All the best, Darren.
Thanks Darren!
Great video. I love videos that match the functions to the theory or physics...Amazing presentation of the topic....
Every video on this channel should be commented on, both to encourage more uploads and for YT to show it more on searches.
Very informative indeed! And not only for resolve but for digital coloring in general. I think this info might even help me with my photography editing in Photoshop. Kudos to you!
This was very useful! I am finetuning my colorgrading.
Do you offer classes or do you have a full Davinci Resolve tutorial? I would love to learn Davinci but from the ground up and I've never seen anyone teach with this amount of detail.
Great explanation. I also often notice that people start grading raw footage without setting their whites and blacks properly before adding contrast. But great video on how to manage contrast.
You clickbaited us with COLOR! It‘s a shame...
Yayyyy!!
Cool! Thanks for sharing the info, very nicely presented as well! :)
This well presented, thank you for sharing.
Absolutely brilliant as always Avery !!
Simply amazed, thank you very much for this
man amazing last bit opened my mind with why operation on exposure are so crucial to do them linear before s curve
Every time you upload my images get better, thanks dude!
you are perfect man, The best UA-cam video I've seen in the last five years.
Thank you very much for this super high quality content!
Thank you for this tutorial! Well explained and super useful.
How do you move your scopes up to the top right like that? Such a better layout!
Fantastic explanations and great info - thanks so much!
how you activated grey scale strip in by side of window?
Its funny how if youve faced this problems before its easier to understsnd .