Hi Cullen, I just wanted to take a moment to let you know that I have learned more about grading in the last week while binging all of your content, than I have in the last two years. Yours is THE BEST grading channel that I have come across and I am super appreciative of all of your hard work! Thank you for everything!
Awesome information. What a fabulous guest. Jill Bogdanowicz is so knowledgeable about her area of expertise. Now the challenge is to absorb and put to practice what we learned. Thanks for having her on your channel.
Great guest! Jill is an amazing artist. And you Cullen always providing knowledge and great insights to our community. Thank you again to you and Rafa!
@@CullenKelly yup and you too Cullen. Even though i practiced colour only as my hobby and interest, you guys are the heroes and legends I looked up in the colourist world. Kudos and mad respect for sharing. 💯💯
Hello Cullen and thank you so much for sharing. I just recently discovered your channel and I have been watching quite a few of your videos 🙂 I am not a colorist myself but a stills photographer/visual artist trying to learn something more about the wonderful world of filmmaking and of course color management 😊 I have learned so much from you. Than you so Much!!
That was just excellent Cullen. Only found your channel a few weeks ago from a Reddit referral. Such eloquence in UA-cam is hard to find. Jill was an excellent guest as well. Hoping to see more like these in the future!
Hey Cullen. I appreciate your outlook and approach to the work. It's great to have a place to receive some real in-depth and actionable information. I have a question. I find myself working with a lot of Phantom High Speed media. When brought into resolve we are given 3 spaces to operate in within the RAW decode options (Rec709, Log 1 and Log 2). I have done some research but have not found a way to truly address this media in a proper pipeline (Color managed or ACES). No IDT to be found. Do you have some advice? Or any tools you can recommend? This camera along with the cinema bots are becoming very prevalent but I have been on many projects where additional elements were shot on RED or Arri and I really dislike approaching these media sets separately.
Big thank you for your contect Cullen! As someone looking to learn from all the material you have put out, is there a specific order in which I should go through your videos?
Hi Cullen, thanks for all your time and effort with your videos. In hindsight, I have a question that I missed asking live, but perhaps for your next heavy weight. And that’s, is the LUT made / completed on one hero shot, like an evenly exposed interior day shot? Or made using a combination of day/night int. and ext. Thanks again!
Hi Cullen, I am rewatching this for the 4th time and finally thought I would ask you about something Jill said. 'Creating strong contrast in the mids' . How would you best approach this? s-curve? MD detail? Texture pop (ofx) . I have been trying this with the s-curve technique however I am hesitant to disturb mid grey. Is this something you could elaborate on? Thank you once again for providing such an awesome, informative video. Jill s a beast!!! Cheers, Nathan
@@CullenKelly thanks mate! I will try this tomorrow. I actually have the “use s-curve for contrast” turned off all the time now. I did this after watching one of your tutorials. Would you do the contrast pivot in your standard ratio node? (The set up you use in your Davinci wide gamma tutorials) and would you add the roll/compression in the toe and shoulder on you curves? Or would you be using high range low range? (I am just trying to visualize this) 😁 Thanks for taking the time once again mate
I would love if you could make a tutorial showing the best way/workflow for Sony A7SIII users that want to shoot Prores Raw but want to edit using DR17. What should we do? I was thinking in converting Prores raw into prores 444 to retain the 12 bits and edit/grade in DR17. If that should be what we do, how much tweak should we do to the Prores raw before converting it to Prores 444? I truly appreciate any help on this as I haven’t found any guidance for this. Thanks.
Thanks for sharing all the insights. This was very enlightened, thanks for having Jill over at Grade School. You mentioned multiple times the term K1S1-LUT. What does this actually mean? Sorry for the Rookie question.
Hi man, Rafa here. K1S1 is the name of the old Arri Log C to 709, basically you can understand it as the technical transform LUT without the creative adjustment.
More and more, I'm noticing that people are obsessed with LUTs. And I hate it more and more. Am I weird? Because I don't use LUTs. I take care of each scene individually, and at the same time I think the look evolves throughout the movie and depending on mood. Yet I know Jill's Joker and Budapest Hotel are gorgeous, I feel the contradiction.
@@CullenKelly Yes, it helped. My problem is that I've always looked at it as the icing on the cake - the last step. As you say I should have looked at it as a better starting point:) Thanks. By the way, you always have an apt analogy:) I look at creative LUTs as an equalizer in music, it can help the whole music, but it can harm some instruments. I also like the analogy:)
@@mrshaheedmalik Yes, it's like using EQ on a song, but on a song I haven't heard yet. And most people advise to use the LUT just before, it's very similar.
Empty content = try to compensate with technicality : « I see a lot of films that are certainly good films from a technical standpoint… but I don’t see a lot of images that take me by surprise. I’ve got the feeling that the great majority of filmmakers is complacently satisfied with a uniform style that consists of putting green in the shadows, and which, in my opinion, restricts one to the technical side of things. Not even to mention the fashion of constantly shooting at maximum aperture, with the depth of field of a pinhead, which creates a sort of pre-digested image for the viewer. With that aesthetic, the viewer is being led down a predetermined path, a bit as though he were being spoon-fed from little jars of baby food. What I like is leaving the initiative to the viewers. Shooting at 8 or 11 aperture and providing material to the eye in depth and to the brain so that it can wander about inside of the image. I believe the craze for a shallow depth of field is a product of advertising and the invasion of little screens on which people are becoming accustomed to seeing images. In such cases, the consumer’s eye has to be directed to a specific place, and nowhere else. It’s totally hogwash if you want to make real cinema on the big screen. I think you’ve got to let viewers choose what they want to see. Allow them to have a point of view different from the one the image obliges them to have. You’ve got to have them participate in the very heart of the story and let them become part of it as though they were another character. So to speak, we’ve got to give them back the freedom they used to have years ago » José Luis Alcaine
![Write Your Life And Become A Better Storyteller - Mark W Travis [FULL INTERVIEW]](http://i.ytimg.com/vi/xFK5Ih3CPFc/mqdefault.jpg)
Hi Cullen, I just wanted to take a moment to let you know that I have learned more about grading in the last week while binging all of your content, than I have in the last two years. Yours is THE BEST grading channel that I have come across and I am super appreciative of all of your hard work! Thank you for everything!
Awesome information. What a fabulous guest. Jill Bogdanowicz is so knowledgeable about her area of expertise. Now the challenge is to absorb and put to practice what we learned. Thanks for having her on your channel.
What a great discussion. Jill really has a vivid way of describing her approach to constructing a grade that I found really helpful.
Thank you Cullen & Jill for sharing this knowledge
Wow!!! Very impressive insights on Joker and Spiderman color grading! Special Thanks to Jill!
Watching the Godfather in sports mode 😂😂😂
That had me laughing.
Thanks so much for this, Cullen. Very insightful. Love your channel so much.
Learned so much from this conversation, thanks for the high-value content!
Great guest! Jill is an amazing artist. And you Cullen always providing knowledge and great insights to our community. Thank you again to you and Rafa!
Hi Cullen, Many thanks for your effort in help us to be better colorist, a wonderful interview, Jill is amazing, excellent piece of advice !!!
Thank you Jill for your time and for sharing so much great information!
Love this chat. Thank you Jill and Cullen and Rafa.
This was so interesting and informative, can't thank you enough
Thank you Cullen and Jill for sharing great insights, especially on grain/texture!
Absolutely brilliant Cullen !
Awesome interview with a treasure of helpful information! Thank you.
love that sorcerer poster on the background !
Legendary!!!.....thank you both for such insights
@@CullenKelly yup and you too Cullen. Even though i practiced colour only as my hobby and interest, you guys are the heroes and legends I looked up in the colourist world. Kudos and mad respect for sharing. 💯💯
Congrats on hitting 10k Cullen
Hello Cullen and thank you so much for sharing. I just recently discovered your channel and I have been watching quite a few of your videos 🙂 I am not a colorist myself but a stills photographer/visual artist trying to learn something more about the wonderful world of filmmaking and of course color management 😊 I have learned so much from you. Than you so Much!!
Jill Bogdanowicz
That was just excellent Cullen. Only found your channel a few weeks ago from a Reddit referral. Such eloquence in UA-cam is hard to find. Jill was an excellent guest as well. Hoping to see more like these in the future!
This was incredible. Just learned about your channel Cullen. Subscribed and watching!
Such an informative conversation!
Amazing!!! Thank you!!!
Awesome video, thank you so much :)
@@CullenKelly Thank you! absolutely! :)
I gained a lot, but one thing that hit me is *COLORGRADING IS NOT A ONE DAY KNOW IT ALL* thanks Cullen 🙏
Can I use these kits in baselight?
Hey Cullen. I appreciate your outlook and approach to the work. It's great to have a place to receive some real in-depth and actionable information. I have a question. I find myself working with a lot of Phantom High Speed media. When brought into resolve we are given 3 spaces to operate in within the RAW decode options (Rec709, Log 1 and Log 2). I have done some research but have not found a way to truly address this media in a proper pipeline (Color managed or ACES). No IDT to be found. Do you have some advice? Or any tools you can recommend? This camera along with the cinema bots are becoming very prevalent but I have been on many projects where additional elements were shot on RED or Arri and I really dislike approaching these media sets separately.
only problem with this is... it’s two hours too short! thank you both
Big thank you for your contect Cullen!
As someone looking to learn from all the material you have put out, is there a specific order in which I should go through your videos?
Hi Cullen, thanks for all your time and effort with your videos. In hindsight, I have a question that I missed asking live, but perhaps for your next heavy weight. And that’s, is the LUT made / completed on one hero shot, like an evenly exposed interior day shot? Or made using a combination of day/night int. and ext.
Thanks again!
Hi Cullen, I am rewatching this for the 4th time and finally thought I would ask you about something Jill said. 'Creating strong contrast in the mids' . How would you best approach this? s-curve? MD detail? Texture pop (ofx) . I have been trying this with the s-curve technique however I am hesitant to disturb mid grey. Is this something you could elaborate on?
Thank you once again for providing such an awesome, informative video. Jill s a beast!!!
Cheers,
Nathan
@@CullenKelly thanks mate! I will try this tomorrow. I actually have the “use s-curve for contrast” turned off all the time now. I did this after watching one of your tutorials. Would you do the contrast pivot in your standard ratio node? (The set up you use in your Davinci wide gamma tutorials) and would you add the roll/compression in the toe and shoulder on you curves? Or would you be using high range low range? (I am just trying to visualize this) 😁
Thanks for taking the time once again mate
@@CullenKelly thanks so much Cullen. Learning so much! Looking forward to to tomorrow!
Is there a link for us to download joker LUT?
I would love if you could make a tutorial showing the best way/workflow for Sony A7SIII users that want to shoot Prores Raw but want to edit using DR17. What should we do?
I was thinking in converting Prores raw into prores 444 to retain the 12 bits and edit/grade in DR17. If that should be what we do, how much tweak should we do to the Prores raw before converting it to Prores 444?
I truly appreciate any help on this as I haven’t found any guidance for this. Thanks.
What software was used for grading The Joker?
What's a K1s Lut?
Thanks for sharing all the insights. This was very enlightened, thanks for having Jill over at Grade School.
You mentioned multiple times the term K1S1-LUT. What does this actually mean?
Sorry for the Rookie question.
Hi man, Rafa here.
K1S1 is the name of the old Arri Log C to 709, basically you can understand it as the technical transform LUT without the creative adjustment.
@@rafabernabeu4611 thanks man. 🤘🏼
@@franzmathauser thanks for asking the question, was wondering the same.
super illuminating
Great video.. I wish if you can bring the topic about frequency separation, It’s not talked about a lot.
@@CullenKelly thanks Cullen, that would be amazing :)
Wow amazing
My Wish joinng your show lut design coursae but i don't have money. can you show lut design on youtube
How do I triple thumbs up this?
More and more, I'm noticing that people are obsessed with LUTs. And I hate it more and more. Am I weird? Because I don't use LUTs. I take care of each scene individually, and at the same time I think the look evolves throughout the movie and depending on mood. Yet I know Jill's Joker and Budapest Hotel are gorgeous, I feel the contradiction.
@@CullenKelly Yes, it helped. My problem is that I've always looked at it as the icing on the cake - the last step. As you say I should have looked at it as a better starting point:) Thanks. By the way, you always have an apt analogy:) I look at creative LUTs as an equalizer in music, it can help the whole music, but it can harm some instruments. I also like the analogy:)
@@tomaskonvicka4135 the LUT is the mastering of the song.
@@mrshaheedmalik Yes, it's like using EQ on a song, but on a song I haven't heard yet. And most people advise to use the LUT just before, it's very similar.
Great Talk . The irony is so funny that you are on a zoom that looks like mud..
Empty content = try to compensate with technicality :
« I see a lot of films that are certainly good films from a technical standpoint… but I don’t see a lot of images that take me by surprise. I’ve got the feeling that the great majority of filmmakers is complacently satisfied with a uniform style that consists of putting green in the shadows, and which, in my opinion, restricts one to the technical side of things. Not even to mention the fashion of constantly shooting at maximum aperture, with the depth of field of a pinhead, which creates a sort of pre-digested image for the viewer. With that aesthetic, the viewer is being led down a predetermined path, a bit as though he were being spoon-fed from little jars of baby food. What I like is leaving the initiative to the viewers.
Shooting at 8 or 11 aperture and providing material to the eye in depth and to the brain so that it can wander about inside of the image. I believe the craze for a shallow depth of field is a product of advertising and the invasion of little screens on which people are becoming accustomed to seeing images. In such cases, the consumer’s eye has to be directed to a specific place, and nowhere else. It’s totally hogwash if you want to make real cinema on the big screen. I think you’ve got to let viewers choose what they want to see. Allow them to have a point of view different from the one the image obliges them to have. You’ve got to have them participate in the very heart of the story and let them become part of it as though they were another character. So to speak, we’ve got to give them back the freedom they used to have years ago »
José Luis Alcaine