Welcome Bro he has been dropping amazing tutorials here and his webnars try join his webnar class you will be speechless he is extremely good on this my name is Onyedika Harrison just happy to see my tribe here
As someone who works with film, I gotta tell you: you should desaturate your grain. Film grain doesn't shift color like your plugin does. You probably see it in film scanned images because of the digital scanner. But in the actual negative, it's grain is basically the color of what you have. If you had a white wall with your plugin as you left, there would be color spots combined in the wall. In actual film, the white wall would be all white grain spots because it's more texture than anything else.
That's informative, but also confusing. I know there's four layers within film including the rem jet, but each of them have different crystal sizes, so would that effect the grains color?
@@blokout I don't think he meant to disrespect quazi in any way, I think he was just adding onto the information within the video about how someone would go about adding grain for a more realistic film look. I could be wrong, but I didn't think this seemed disrespectful or as arguing personal preference.
@@fujicinema It actually doesn't. You should look at grain as a desaturated sand overlay on the image. The grains of sand are different depending on the film but each grain only has the color of the image it's representing. So if you have an image of a clean red wall, Kodak Vision film for motion pictures would have one size and type of grain while Kodak Portra or Gold would have a different size and type of grain, but all of the grains of sand (as you could call them) would be red. That's why people that know the stuff usually complain about digital noise, because digital noise doesn't do that. Digital noise actually does what Qazi showed in the image, it adds color spots that depending on different factors look ugly because it's like seeing a leopard with tiny red/green/blue squared spots or go unnoticed. And the worst part is that, digital noise (the same as grain) changes the position in each frame. So in motion pictures, digital noise changes the position of those red/green/blue spots in each frame, making it more noticeable. That's why if you use DaVinci's internal grain effect it doesn't look like Qazi's external plugin, because the grain DaVinci adds has a texture without colors while in Qazi's plugin you have to desaturate that texture manually. Again, great video anyways, just something I saw that didn't fit and that I had watched him do properly before.
easily the best channel i've run into in a veeeery long time. literally can't stop watching (and obviously learning) all of ur f videos man. keep it up. much love and appreciation all the way from spain :)
One of the things that occurred to me as I watched this video is how similar colour correction and the aesthetic of the colorist is to the mix engineer in music. That leaves me to think about what would happen if the colorist and mix engineer, one pushing and pulling, crafting and enhancing the image, the other the music and sound, coordinated their efforts in such a fashion as to enhance each others domain. And if there is a corresponding aural science that complements the colour science psychologically.
You are such an amazing tutor i always never want to miss any of your class wish i could do more to appreciate you Quaziman i love this couldn't believe one can push this so far from FX30 notwithstanding am still in love with FX3 due to its dynamic range and AF system
Awesome video! Its good to see that a "cheaper" camera still holds quality. I would definitely like to see a comparison between the sony fx30, fujifilm XH2, and bmpcc6k.
Qazi is the Gem and a great Teacher. You are the reason I have leveled up Color Grading game and I still feel like ameature no matter how much I come far along.
Excellent tutorial and demonstration of some of the FX30's power. I've actually preordered the FX30, and this makes me feel even better. Also, I believe the FX30 has a 26MP sensor. Thanks so much.
I think it'd be good to mention that this camera can do more (or less) than 10-bit color - however to do 12+ bit it takes external recording on a compatible monitor. You leave us assuming the camera operator chose 10-bit color, and don't mention the compression or other recording profiles at all. Those can also affect how far you can push the footage in Resolve.
Honestly I think that if you want to push your look so much more then this you should first change your lights and composition before shooting at all...
@@NuwandaSM I agree, though 8 but would be hard even for a simple look since banding can be present in some shots. Honestly anything 10 bit plus usually is enough for a simple grade, though higher bitrates could be used if you really want to push it for a creative effect you can't get in camera. I do agree in camera would be the best way though
How far you can push the color depends on your skill and knowledge whether its 8bit, 10bit or 12bit raw! I think he was doing a test on how far you can push the 10bit aspect on the Sony FX30 before it falls apart. The reality is that Resolve allows you to also push an 8bit video without seeing any color banding if you use the right tools and avoid using destructive methods like pulling color qualifiers and messing with the Saturation wheel.
The fact that this was lit pretty well makes all the difference. An FX30 with a properly lit scene will look better than way more expensive cameras with bad lighting.
Yeah, with 14 stops of dynamic range now! I have a Fuji xt3 and using the eternal lut already gives me so much detail from the shadows to the highlights. I'd love to see the xh2s footage and how it's graded! P.s. do you have the Fuji xh2 or something else?
This is awesome! can't you start a series where you walk through cameras and the image quality from a colorist standpoint? that would be awesome! Maybe start with the C70🙄
Hi, Congratulations on the tutorial. I have encountered a problem in performing the same procedure of colo management and ACES TRANSFORM. I use clips from sony a7sIII and a7IV but once I set the settings you indicate in the video in the color management, my clips convert from flat log to an already converted color profile. If I then continue with your tutorial, a sort of double coloring occurs and the result is hyper saturated and burnt colors. I don't understand, is it maybe the update of davinci resolve 18.0.3?
ACES transform makes my MacBook Pro m1 pro screen go mental. Like digitally destroyed the colour and image completely. Is this a common error that I'm doing or is something not working properly for me?
Funny you should say this. I think I’m experiencing the same thing. Creating the same timeline with SLOG3.SGAMUT3.CINE with 3 nodes configured with identical color management and transforms as in this video, I am getting SEVERE, super-saturated posterization on the image in the viewer. Using M1 MacBook as well. DR STUDIO 18.04 Build 5.
@@aerofart yeah! Still not sure what the problem was. I'm sure it's either something I don't know I don't know, or an issues with the software compatibility. Really strange. Because he even says tick this so the colours don't go nuclear. So obviously there are situations where it goes mental, but not sure why in this case
I must be "OLD SCHOOL" , but when I learned to light/shoot/post...... we got it right from the git go.....more keystrokes here than if I was writing "War and Peace".. my too cents...
Hey Qazi! It would be amazing if you did Black Magic 4k/6K or GH5 in trying to achieve the new Witcher trailer look in Blood Origins! Great colour grade!
I have a question, why let it the chroma grain, is not more clean only put luma grain? I have seen in different productions for Paramount Plus and Netflix in which I have worked that the colorist does not apply chrominance noise reduction, is there a theoretical reason for this or is it just taste?
I'm interested in knowing if LUTs can be the shortcut to this good of color grading? Like if you are in a hurry, yet you know what you want already? I mean not the sections of work done here, but the over-all color palette?
why did you do the qualifiers and windows nodes before the "c curve{" node? does it make a difference if you do them after? just wondering because i do those after the c curve node usually
Happy Holidays Qazi. I am trying step by step what you are doing in this video and for some reason my clip in the timeline still looks Slog but the preview looks like it has a LUT. Do you know what might be causing this issue. Thanks
I just purchase the fx30, and I shot in cine Ei at both the base iso, but I got a lot of noise in the shadows. Did these images have a lot of noise? Any work around that could help get some of that nose out, beside using the noise reduction effect tool in da Vinci
Great tutorial! I’m a 3d motion designer and in similar way you also want to add that difusión to you highlights, grain, chromatic aberration etc to simulate a film look. I’m starting to dive into video production and color grading. Could we download the test footage to practice? I preordered the fx30 and would love to get my hands on a well lit and shot footage to practice. Cheers!
Would this be the same process if the footage was shot on the FX3? I've recently purchased one and have been trying to figure out the best coloring process for the footage to maximize the potential - would love some insight
I still can’t believe this man puts this out FOR FREE! Such a Great Guy!
Welcome Bro he has been dropping amazing tutorials here and his webnars try join his webnar class you will be speechless he is extremely good on this my name is Onyedika Harrison just happy to see my tribe here
🙏🏾
As someone who works with film, I gotta tell you: you should desaturate your grain. Film grain doesn't shift color like your plugin does. You probably see it in film scanned images because of the digital scanner. But in the actual negative, it's grain is basically the color of what you have. If you had a white wall with your plugin as you left, there would be color spots combined in the wall. In actual film, the white wall would be all white grain spots because it's more texture than anything else.
Wow nice.....explain a bit more if you will....
That's informative, but also confusing. I know there's four layers within film including the rem jet, but each of them have different crystal sizes, so would that effect the grains color?
You're arguing personal preference which is nonsensical.
@@blokout I don't think he meant to disrespect quazi in any way, I think he was just adding onto the information within the video about how someone would go about adding grain for a more realistic film look. I could be wrong, but I didn't think this seemed disrespectful or as arguing personal preference.
@@fujicinema It actually doesn't. You should look at grain as a desaturated sand overlay on the image. The grains of sand are different depending on the film but each grain only has the color of the image it's representing. So if you have an image of a clean red wall, Kodak Vision film for motion pictures would have one size and type of grain while Kodak Portra or Gold would have a different size and type of grain, but all of the grains of sand (as you could call them) would be red. That's why people that know the stuff usually complain about digital noise, because digital noise doesn't do that. Digital noise actually does what Qazi showed in the image, it adds color spots that depending on different factors look ugly because it's like seeing a leopard with tiny red/green/blue squared spots or go unnoticed. And the worst part is that, digital noise (the same as grain) changes the position in each frame. So in motion pictures, digital noise changes the position of those red/green/blue spots in each frame, making it more noticeable. That's why if you use DaVinci's internal grain effect it doesn't look like Qazi's external plugin, because the grain DaVinci adds has a texture without colors while in Qazi's plugin you have to desaturate that texture manually.
Again, great video anyways, just something I saw that didn't fit and that I had watched him do properly before.
This is what the community need not the "I got the camera from sony to make a review about the specs" type of video! Thanks Qazi!
This and real world shot tests and studio tests. Like a dynamic range chart and color chart.
yes!
I've tried this with 8 bit footage. Now i know the difference :P
😂
easily the best channel i've run into in a veeeery long time. literally can't stop watching (and obviously learning) all of ur f videos man. keep it up. much love and appreciation all the way from spain :)
Haven’t watched any colour grading videos in a while. I learned a lot from this. Thanks!
Yeah, I'm glad he posted again :)
Happy to do it.
This channel has always been a motivation for me and helped me taking my skills to another level Thank you .
It is unbelievable how much I learnt while watching this. Amazing content. Thank you so much
Amazed by the end result ! The subtle HSL moves made all the difference ^^
Ik. Made such a big difference and changed the entire vibe.
Color Warper is also very useful, I use it a lot to make subtle shifts for specific hues, it seems to me that it is less prone to create artifacts
One of the things that occurred to me as I watched this video is how similar colour correction and the aesthetic of the colorist is to the mix engineer in music. That leaves me to think about what would happen if the colorist and mix engineer, one pushing and pulling, crafting and enhancing the image, the other the music and sound, coordinated their efforts in such a fashion as to enhance each others domain. And if there is a corresponding aural science that complements the colour science psychologically.
You are such an amazing tutor i always never want to miss any of your class wish i could do more to appreciate you Quaziman i love this couldn't believe one can push this so far from FX30 notwithstanding am still in love with FX3 due to its dynamic range and AF system
Awesome video! Its good to see that a "cheaper" camera still holds quality. I would definitely like to see a comparison between the sony fx30, fujifilm XH2, and bmpcc6k.
I love Fuji and black magic cameras! I'd love to see the Sony Venice since it was used on top gun and now on the new avatar! Btw I have the Fuji xt3 😂
So what camera do you bought?😊
Qazi is the Gem and a great Teacher. You are the reason I have leveled up Color Grading game and I still feel like ameature no matter how much I come far along.
Excellent tutorial and demonstration of some of the FX30's power. I've actually preordered the FX30, and this makes me feel even better. Also, I believe the FX30 has a 26MP sensor. Thanks so much.
Congrats! That's exciting.
26MP sensor for stills. For video it's 20.1MP effective because it's locked to 16:9
Have you received your FX30? I have been looking for one and they are all on backorder everywhere.
Qazi best one out here with awesome color grading tutorials. Love it. Keep it up!
Amazing. Sony always did a great job on codecs to get the max out of the camera, but this is a new level. Thanks for this video 🙏
I think Dahmer series from Netflix created some amazing color Thame from recent time. Everybody needs to check it out
That was MIND BLOWING !!! You're truly a master-colorist and your skills are superb! Please keep it up!
Love you back bro 😀
Que buen Tutorial, estaba esperando que alguien haga un vídeo así con material de la FX30... Great Tutorial!
14:29 next level stuff
I don't understand why it's in the video
Lol! I was so into this video and this exact moment caught me off guard 😂
I think it'd be good to mention that this camera can do more (or less) than 10-bit color - however to do 12+ bit it takes external recording on a compatible monitor. You leave us assuming the camera operator chose 10-bit color, and don't mention the compression or other recording profiles at all. Those can also affect how far you can push the footage in Resolve.
Honestly I think that if you want to push your look so much more then this you should first change your lights and composition before shooting at all...
@@NuwandaSM I agree, though 8 but would be hard even for a simple look since banding can be present in some shots. Honestly anything 10 bit plus usually is enough for a simple grade, though higher bitrates could be used if you really want to push it for a creative effect you can't get in camera. I do agree in camera would be the best way though
How far you can push the color depends on your skill and knowledge whether its 8bit, 10bit or 12bit raw! I think he was doing a test on how far you can push the 10bit aspect on the Sony FX30 before it falls apart. The reality is that Resolve allows you to also push an 8bit video without seeing any color banding if you use the right tools and avoid using destructive methods like pulling color qualifiers and messing with the Saturation wheel.
Really appreciate your channel man. You do a great job teaching.
Nice one! Please, make more tutorials like this one, creating a look from scratch, without luts.
Will do
Ohh pretty excited for this one ! I like this format :D
😀
This is the video I didn’t know I needed. Amazing job.
Sorry but this is how i am editing my next music vid, i will surely give all the credit cause this is next level bro.
Amazing content, rich in knowledge with everything broken down step by step. Thanks a lot !
Please upload color grading on Sony A7iv footage
The random Lil Nas X frame lol
yeah... laughing my ass off!
😂😂😂
I knew I wasn't the only one who noticed 🤣
😂
I learned so much from this. Great video!
The fact that this was lit pretty well makes all the difference. An FX30 with a properly lit scene will look better than way more expensive cameras with bad lighting.
Could you do a grade using Fuji Xh2s Footage? Would be sweet! It's a compact beaaaast!
Yeah, with 14 stops of dynamic range now! I have a Fuji xt3 and using the eternal lut already gives me so much detail from the shadows to the highlights. I'd love to see the xh2s footage and how it's graded!
P.s. do you have the Fuji xh2 or something else?
Waqas Qazi could you tell me (or someone else can) why you used ACEScct color space not a Davinci Wide Gamut?
Something strange flashes around 14:28 ?😂
I was looking for another comment that noticed that haha
I was wondering if anyone else saw...😂
Bravo ❤ love these videos my brother
Hey Qazi, very informative! It would be nice to see you do a similar test with footage from the Fujifilm X-H2s one day.
So Delicious Qazi! Thank you for making this!
Of course. 😀
Uno de los mejores tutoriales que he visto en mi vida!!!😀
This is awesome! can't you start a series where you walk through cameras and the image quality from a colorist standpoint? that would be awesome! Maybe start with the C70🙄
Will do. Got tons of episodes lined up. 😀
@@theqazman Wohooo! awesome! i know what im watching in the future! also awesome work as always! 😀
Did you have a lesson on Udemy app???
I wanted some of THIS, to change my a7iii for this little beast (a7iii only for photos, not gonna sell it lol), Qazi, my man, you convinced me lol
Let's go! 💪🏾
@@theqazman a year later, I catched a used mint fx30, this thing is amazing!
I have learned so much from you Waqas.
Happy to help brother.
Channel and brand image has very clean very professional aesthetic
😀🙏🏾
Hi, Congratulations on the tutorial. I have encountered a problem in performing the same procedure of colo management and ACES TRANSFORM. I use clips from sony a7sIII and a7IV but once I set the settings you indicate in the video in the color management, my clips convert from flat log to an already converted color profile. If I then continue with your tutorial, a sort of double coloring occurs and the result is hyper saturated and burnt colors. I don't understand, is it maybe the update of davinci resolve 18.0.3?
Same issue! Don’t know why !
This was great, thank you! What makes you decide if you're running an ACES pipeline or not?
nothing in particular. I’m always trying to show you guys different ways to grade.
Shift+Lasso ♥️
Man, this guy is awesome 👏👏👏
How would it compare to a pocket 4K? That’s still a very capable camera at an even lower price point.
autrofocus is one of the main reasons , thats y i didnt choose pocket
Same
Where do you get your stills from? Are they high quality? What specs are necessary for a good reference pic?
that color gradins was Beautiful
😀
Amazing work! Have you also done similar testing against Sony A1 cinema footage?
Not yet
is there a video or explanation to why he uses aces transform and not cst to go straight from slog to rec709?
Holy shit, brother. Wow
ACES transform makes my MacBook Pro m1 pro screen go mental. Like digitally destroyed the colour and image completely. Is this a common error that I'm doing or is something not working properly for me?
Funny you should say this. I think I’m experiencing the same thing. Creating the same timeline with SLOG3.SGAMUT3.CINE with 3 nodes configured with identical color management and transforms as in this video, I am getting SEVERE, super-saturated posterization on the image in the viewer. Using M1 MacBook as well. DR STUDIO 18.04 Build 5.
@@aerofart yeah! Still not sure what the problem was. I'm sure it's either something I don't know I don't know, or an issues with the software compatibility. Really strange. Because he even says tick this so the colours don't go nuclear. So obviously there are situations where it goes mental, but not sure why in this case
Great content as always, is there a chance you show us how to grade a GoPro footage? Would be very interesting.
I must be "OLD SCHOOL" , but when I learned to light/shoot/post...... we got it right from the git go.....more keystrokes here than if I was writing "War and Peace".. my too cents...
hi Qazi can u tell me how to get prefect black tone...? thanks
Can you do an in depth review of Boris effects?
Hi ! This technique work in Mac M2? Thanks for you videos
Thanks so much for sharing this
Brilliant thanks.👍
This video made me a subscriber!
I think I'll be hooked.
Let's go!
I’m a Fan
Damn this is such a helpfull video!!
Hey Qazi! It would be amazing if you did Black Magic 4k/6K or GH5 in trying to achieve the new Witcher trailer look in Blood Origins! Great colour grade!
I have a question, why let it the chroma grain, is not more clean only put luma grain?
I have seen in different productions for Paramount Plus and Netflix in which I have worked that the colorist does not apply chrominance noise reduction, is there a theoretical reason for this or is it just taste?
Taste and honestly it's not a huge issue especially when you can cover it up with delicious monochromatic grain.
@Qazi, can you do a grade for Panasonic Gh5 V0log please? we are so much struggling here
I'm interested in knowing if LUTs can be the shortcut to this good of color grading? Like if you are in a hurry, yet you know what you want already? I mean not the sections of work done here, but the over-all color palette?
Why when Im changing Timeline color space to ACEScct my slog footage become rec709? (contrasted and saturated without any nodes applied)
Awesome tutorial & look.
I’d love for you to do a video on the Arri Alexa 35. Test out those 17 stops of dynamic range.
That and also each of the different recording styles, I'd like to see how each one performs in post!
LETS GOOOOOOO
Hey, good video. For future videos i would recommend a editing s
Please Sony A7iv footage thanks
why did you do the qualifiers and windows nodes before the "c curve{" node? does it make a difference if you do them after? just wondering because i do those after the c curve node usually
Why not use color space transform?
Really good content!
Happy Holidays Qazi. I am trying step by step what you are doing in this video and for some reason my clip in the timeline still looks Slog but the preview looks like it has a LUT. Do you know what might be causing this issue. Thanks
Why sometimes you put input and output device transform and other times you put only in the last node?
big fan of you sir..!!!
I just purchase the fx30, and I shot in cine Ei at both the base iso, but I got a lot of noise in the shadows. Did these images have a lot of noise? Any work around that could help get some of that nose out, beside using the noise reduction effect tool in da Vinci
Thanks for the free training very good video but at the end never redirect me to the free download material.
MASTER grade legend 🤙
💪🏾
Hello where can we download the footage to test it?
This clip with this colour grading reminds a movie Jawbone.
Does your course teach how to match footage between cameras (blackmagic and sony)?
Yes, it does. There's a whole module on that.
how to train with this vedio where i can download, i just a little english ,please tell me,how to download it. thank u
Very impressive!
Legendddddd
Great tutorial! I’m a 3d motion designer and in similar way you also want to add that difusión to you highlights, grain, chromatic aberration etc to simulate a film look. I’m starting to dive into video production and color grading. Could we download the test footage to practice? I preordered the fx30 and would love to get my hands on a well lit and shot footage to practice. Cheers!
The only way to get test footage is if you sign up for my MasterClass link in the description check it out.
Hey ! Do you thing this cinema camera is able to take sport photography ?
waqaz just want to ask why i dont have the timeline color space option?
how about sony a7c ii ?
Awesome
What can we know about the video bitrate? It was shot on 600mbit?
After the Q&A there was no link to "freebies" ... :/
Good tutorial though.. learned sth here and there :)
Hey Qazi, im curious if you noticed what I think is a red channel clipping issue in the FX30 like blackmagic had in the 4k cameras before Gen 5?
I didn't notice that.
The s-curve should be renamed to d-curve from drama curve xD Such a difference in mood with that one move !
💯 massive difference maker when used right.
Would this be the same process if the footage was shot on the FX3? I've recently purchased one and have been trying to figure out the best coloring process for the footage to maximize the potential - would love some insight
Pretty much
Nice work