Don't be fooled. Colorist Factory is an indian company. Paying voice actor to read a text, and stealing all the techniques, content AND product from Juan Melara. Their FilmForever package is a total rippoff of the Powergrade "Film Unlimited" by Juan Melara.
Don't get me wrong I'm not entirely disagreeing with what you're teaching, but it does seem like you're suggesting that shadows should always be neutral, never tinted in any way. Problem with that is that there are hundreds of blockbuster/award-winning films that DO tone shadows, sometimes toward red, sometimes toward blue. Green and other colors are admittedly not common at all, but I feel that a rule to just ALWAYS make them neutral is odd.
I was going to say the same thing! With a craft as subjective as color grading, things like having neutral shadows are not a necessity for every shot. It took me a while to learn that and have since embraced it.
I agree 100%. You’d be hard-pressed to find any blockbuster films, especially ones that use Kodak prints (which is most of the good ones), that neutralize the shadows. I like the idea of black being black, and I think a nice compromise would be to use method #2 but turn down the shadow value to like .220 or something around there.
It’s been a long journey for me as well to understand that. Most of music clip video have tint in the shadows and it’s a completely creative process! However it’s good to have this craft in your bag and knows if your client ask you for neutral shadow to gave him this option 😊
I agree completely with you. How many films out there look to retain a completely neutral and realistic look? Even a consistent look? The art of the colour grade is more about the means of getting what you desire, rather than thinking there is a certain finite standard to box yourself into. All movies look different.
even if you don't want neutral colors if you dial back a little bit it doesn't look so colored but more natural, you don't need to completely get rid of all the color but you can control the colors of the shadows
I love this video and the explanation dude. This is so helpfull for me. This single tip just easily curmbled hundreds video's aI have seen. Thanks! Gotta get some old finished projects and remake it
Such a great tutorial for neutral shadows! I would love to see a video about how your guy's power curve is used in davinci. I have been looking at your packages. It would probably put me over the edge if you guys would show more of your product on your youtube channel!
@@SethParker They are all from India. Everyhting is fake. 22K views per videos and only 20 comments ? And the voice is just a freelance voice actor who is reading a text. And all the products and content are ripp-off of Juan Malera videos and products... (And maybe this comment will be erased...)
@@SethParkerThe Coloriste Factory FilmForever package is a cheap rippoff of the Powergrade "Film Unlimited" by Juan Melara. They just transform the complexe and precise color part from the Juan Melara's Powergrade into a shitty LUT, and sell it, by promoting it through nice videos like this one.
That's not the vectorscope. At 6:15 it looks unacceptably worse, there's giant blocks of black. You can reset zoom with the Z key. And neutral blacks is a subjective opinion. All style, no substance.
Red perception in the blacks is lower in human vision. So the reds should be slightly more desaturated than greens and blues. Almost imperceptibly, especially when contrasted with mid tones and highlights, but this would be perceived as more natural than simply desaturating the reds. Thus the better solution would be to pull down the greens and reds saturation equally until the greens match the lower blues in the blacks in this example. Assuming what I have been taught about human vision is correct.
It kind of takes away from the overall look though? Like it just looks like a standard Rec709 conversion with contrast added... but it doesnt have a stylish color grade anymore. I dont know maybe its just me lol.
I feel the same way actually. It does look clean, let's not ignore that fact. But the signature look feels erased. I've tried applying this methid to a short project for my girlfriend, but it just looks like, as you said, a standard Rec. 709. I guess you could play with the white balance, hue of colors, highlights or warmth/coldness. I think the mid-tones are your best option - but correct me if I'm wrong! Idk, but I guess this method at least increases our understand of colors in shadows.
@DarkAgent yeah I mean for a commercial or real estate video I get it, you want clean whites and clean blacks. But look at michael bay films. Everything's green and orange in shadows. Christopher Nolan likes his kodak 2383 teel and orange. And they always bleed into the shadows. I think as long as skin tones are good and their natural hair color is good, everything else is just artistic colors, including shadows and highlights. I was watching the outer banks the other day on Netflix and there are scenes where the sky is literally yellow/green when it's during a sunset, which is wildly inaccurate but still looks cool lmao.
Recently Noticed a few channels who are literally copying your video style....really made me mad but keep up with the good work
Don't be fooled. Colorist Factory is an indian company. Paying voice actor to read a text, and stealing all the techniques, content AND product from Juan Melara. Their FilmForever package is a total rippoff of the Powergrade "Film Unlimited" by Juan Melara.
This was one of the biggest rules to learn in my self-study journey. GREAT explanation!
Dont stop these videos. Please, i beg you. Thank you so much.
Don't get me wrong I'm not entirely disagreeing with what you're teaching, but it does seem like you're suggesting that shadows should always be neutral, never tinted in any way. Problem with that is that there are hundreds of blockbuster/award-winning films that DO tone shadows, sometimes toward red, sometimes toward blue. Green and other colors are admittedly not common at all, but I feel that a rule to just ALWAYS make them neutral is odd.
I was going to say the same thing! With a craft as subjective as color grading, things like having neutral shadows are not a necessity for every shot. It took me a while to learn that and have since embraced it.
I agree 100%. You’d be hard-pressed to find any blockbuster films, especially ones that use Kodak prints (which is most of the good ones), that neutralize the shadows. I like the idea of black being black, and I think a nice compromise would be to use method #2 but turn down the shadow value to like .220 or something around there.
It’s been a long journey for me as well to understand that. Most of music clip video have tint in the shadows and it’s a completely creative process!
However it’s good to have this craft in your bag and knows if your client ask you for neutral shadow to gave him this option 😊
I agree completely with you. How many films out there look to retain a completely neutral and realistic look? Even a consistent look? The art of the colour grade is more about the means of getting what you desire, rather than thinking there is a certain finite standard to box yourself into. All movies look different.
even if you don't want neutral colors if you dial back a little bit it doesn't look so colored but more natural, you don't need to completely get rid of all the color but you can control the colors of the shadows
I love this video and the explanation dude. This is so helpfull for me. This single tip just easily curmbled hundreds video's aI have seen.
Thanks! Gotta get some old finished projects and remake it
Thanks for sharing, I took a screen shot of both and the first one looks a lot better, on the luma vs sat, you can see more details on the black.
Great deep shadows tips 👈👍👏
As a side note. The colorist that graded Drive was Tom Poole and not Walter Volpatto.
Excellent tutorial! Thank you!!
Great tips on this one, thanks!
Thanks for this video I can definitely apply this to my next short film!
Such a great tutorial for neutral shadows! I would love to see a video about how your guy's power curve is used in davinci. I have been looking at your packages. It would probably put me over the edge if you guys would show more of your product on your youtube channel!
Also, the accent sounds almost Estonian. Am i close?
@@SethParker They are all from India. Everyhting is fake. 22K views per videos and only 20 comments ? And the voice is just a freelance voice actor who is reading a text. And all the products and content are ripp-off of Juan Malera videos and products... (And maybe this comment will be erased...)
@@SethParkerThe Coloriste Factory FilmForever package is a cheap rippoff of the Powergrade "Film Unlimited" by Juan Melara. They just transform the complexe and precise color part from the Juan Melara's Powergrade into a shitty LUT, and sell it, by promoting it through nice videos like this one.
Amazing like always , everything we learn from you is incredible, there should be a sub academy from you
Great presentation of this video. May i suggest to taper the treble of the audio since the dialogue sounds a bit sharp.
Oh, amazing. Thank you.
I'm pretty sure that the colorist of "Drive" is Tom Poole.
That's not the vectorscope. At 6:15 it looks unacceptably worse, there's giant blocks of black. You can reset zoom with the Z key. And neutral blacks is a subjective opinion. All style, no substance.
Oh hi Karen!
Wow That was informative...
Red perception in the blacks is lower in human vision. So the reds should be slightly more desaturated than greens and blues. Almost imperceptibly, especially when contrasted with mid tones and highlights, but this would be perceived as more natural than simply desaturating the reds. Thus the better solution would be to pull down the greens and reds saturation equally until the greens match the lower blues in the blacks in this example.
Assuming what I have been taught about human vision is correct.
What's the name of the song at the beginning? 🤩
Tiko Tiko Crystal Clear
@@TomyDupont Thank you so much! Have a nice day! 🙂
It kind of takes away from the overall look though? Like it just looks like a standard Rec709 conversion with contrast added... but it doesnt have a stylish color grade anymore. I dont know maybe its just me lol.
I feel the same way actually. It does look clean, let's not ignore that fact. But the signature look feels erased.
I've tried applying this methid to a short project for my girlfriend, but it just looks like, as you said, a standard Rec. 709. I guess you could play with the white balance, hue of colors, highlights or warmth/coldness. I think the mid-tones are your best option - but correct me if I'm wrong!
Idk, but I guess this method at least increases our understand of colors in shadows.
@DarkAgent yeah I mean for a commercial or real estate video I get it, you want clean whites and clean blacks. But look at michael bay films. Everything's green and orange in shadows. Christopher Nolan likes his kodak 2383 teel and orange. And they always bleed into the shadows. I think as long as skin tones are good and their natural hair color is good, everything else is just artistic colors, including shadows and highlights. I was watching the outer banks the other day on Netflix and there are scenes where the sky is literally yellow/green when it's during a sunset, which is wildly inaccurate but still looks cool lmao.
Music name at first of the video??
4:18