As a director currently editing a short film, I can't tell you how incredibly helpful this was. I was absolutely stumped before & had no clue what to do. Life saver. THANK YOU!
That's very interesting Evan and another cool knowledge to put in the "skills bag". Especially the part about what type of files to deliver is exactly what I needed to know. Very much appreciated buddy, thanks!
hey man, thank you for this. would love to know the proper process of the whole roundtrip especially from premiere pro to davinci. im having a hard time and have many issues with the xml cause im editing with proxies,.
Thanks for the insight Evan! When you talk about having the colorist work on the raw files- Would you just send the entire clips over? And then replaced the linked files in the edit when they come back?
Yes, you would either send a hard drive with all the files or a media managed timeline with just the raw clips you used. Then you would coordinate with the colorist for what files you want back. Either a final QuickTime or the colored individual files that you can take and drop back into your edit.
Shot a video with a red camera 5k resolution, i don’t understand why the colorist said i should send a 2k or 1080p file when the final delivery is supposed to be in 4k resolution.
Hello Evan, great video and thank you! I had a question. I'm working on a film that will have a snow falling effect. Exporting as a Pro Res 4444 might not be the best since it is baked in. My colorist won't be able to color the snow layer separately. What would be the best way to color a film with an effect like this?
I would deliver the main timeline and then export the snow effect element separately (either with alpha channel, or on black background and then set the composite mode to "screen") for the colorist to composite in their timeline.
Thank you so much for this! I am currently tasked to export and deliver a commercial for a colorist since our in-house colorist is swamped and I had no idea what to do. THANK YOU. Also, on a side note. this was shot on a Red Komodo. But let's say I had a personal side project hat was shot ProRes422. Would I use the same export settings even though I didn't film RAW? and lets say hypothetically for the sake of conversation, I shot it in h.264 s-log. would you even export that to color in Davinci or just drop a lut in premiere?
Absolutely! And to answer your question, yes, I would use the same export settings regardless of if you shot raw or not. This ensures that you're sending the highest quality version and that the colorist has as much data to work with as possible. I would always advise doing color work in Resolve since the tools are miles and miles ahead of what Premiere offers. You'll always get much better results regardless of the footage you're using.
@@EvanSchneider Thank you so much for the reply! I didn't expect one being this video is 2 years old but thank you!! I appreciate it and good to know about still being able to do some color correcting in Resolve with ProRes footage.
I have a question, what if there’s vfx in your video, and that may change once there’s color correction or grading. Should you maybe avoid doing the vfx before and just do it after the grade? Like for example here is a video I made: ua-cam.com/video/lrUlPGjbeXE/v-deo.html At 7:40 there is vfx that I did on the gas station sign. I colored this myself, but I’m planning on getting a colorist in the future, but small things like this kind of confuse me on how to communicate or collaborate with someone on.
You could apply the VFX to the graded footage but then you're baking in the grade and it can't be changed. To make it simple, I'd do the VFX on the original footage, then send it to color. If you shot in log, you should transform it first unless you want to do the VFX in the camera original colorspace. The best thing to do is choose your colorist beforehand and create a gameplan together!
This was very informative, more so than other videos on the topic here on YT, though I'm hoping you could clarify what I was originally searching for: I want to know how you handle footage that has effects or composite shots? If log or raw footage is the best to give a colorist, what happens with shots that require extra work (effects)? Do you just get them as a Pro Res after FX are added and deal with it or do you grade the footage first maintaining the "raw" quality? I can see how that makes it a challenge with shots in the same scene that don't require FX. Could you explain this workflow between editor/FX people/colorists?
Typically the colorist/post house handles the VFX plates. So the colorist would decide what source they want to grade from, then they would export the shots for VFX to work on, usually in a log format. They oftentimes also provide a viewing LUT for the VFX team to work under so that they can see an approximation of what the color will end up looking like. Then, when the VFX are finished, the shots are sent back to the colorist in the same log format that they were received in. That way the colorist can drop the VFX shots in, apply the grade from the original and make any other adjustments necessary. If the editor is handling the VFX shot outputs, they should consult with the colorist beforehand to make sure they are formatting them correctly. If not, it could cause issues or more work down the road.
In short, you would render out a ProRes422HQ or ProRes4444 from your timeline for your colorist to use as a source, of course making sure to turn off any temp color adjustments before exporting.
Really insightful video man thank you! I only have one question, I've been trying to use the second method of delivery with the xml but when I add effects that aren't in davicini resolve for example, it messes up the clips. Any advice on how to sort that?
Unfortunately most effects don't translate from one app to another. You have to decide if you want to apply the effects after you color or treat them like VFX shots and export them individually to import into Resolve.
If the VFX are completely finished, you could cut them into the timeline and then export the XML from there, then provide the VFX shots on a hard drive or download. If they're not, you would keep the temp shots and then I'd add a title with the name of the VFX shot so the colorist can drop them in on their end.
That’s exactly how I started! I would recommend coloring your own projects yourself and sharing your work, and reach out to other filmmakers you know and offer to color their projects. Also, like a lot of other things in film, you kind of have to just start calling yourself what you want to be. So at some point, just tell people you’re a colorist and BAM there you go. Definitely scary for the first few projects but the confidence will come!
@@EvanSchneider this is one of the weirdest things about being a photographer/filmmaker/colorist... Is not knowing when to entitle yourself with what you really do. For me, it only happened after I saw my job title in the contract of a full-time job offer, even tho I had been paid before, multiple times to do photoshoots. Sad haha
It's going to vary based on location but in NYC/LA it's probably on average around 70k per year if they're salary. But it's also based on skill, experience, and location. Many colorists like myself are freelance too.
“Hey guys I just wanted to tell you guys that Jesus loves you and that your here for a reason. Repent by turning to him and just accepting him as your savior, and your Lord, for he is very real and wants you to know him. Just take that leap of faith by letting him into your life.💖” Jesus is the same today yesterday and forever more people die but God is eternal✨❤️
Hey look at that, now you know a colorist! 😎
ahahah yayyy!
Evan, you're the best colorist I've ever worked with! I don't trust anyone else with my grades
I'm always honored to grade your projects! You're the best!
As a director currently editing a short film, I can't tell you how incredibly helpful this was. I was absolutely stumped before & had no clue what to do. Life saver. THANK YOU!
Great to hear!
Great video❗And is case if Evan is busy..I'm a colorist too!👀
Hey man! Burgeoning colorist in SF here. Super helpful video for me, and also for my collaborators.
THanks!
Wow this is very insightful for me as an aspiring colorist. Thankyou so much
Thanks for the info.
Thanks for Coloring View & Chew! The food is tastier with your juicy grades!
Thanks for making me hungry for a week straight!
Thanks. Great video
This is SOOOO EXTREMELY HELPFUL - Thank you so much, I am emailing you now!
That's very interesting Evan and another cool knowledge to put in the "skills bag". Especially the part about what type of files to deliver is exactly what I needed to know. Very much appreciated buddy, thanks!
Thank You Evan! This was very helpful (P.S - the colors in this video looks great )
Great video. Kindly make one on how to handle your clients.
ty
Extremely insightful. Thank you!
Glad it was helpful!
A much, much neeed insight!
hey man, thank you for this. would love to know the proper process of the whole roundtrip especially from premiere pro to davinci. im having a hard time and have many issues with the xml cause im editing with proxies,.
great info. THANK YOU
Thanks for the insight Evan! When you talk about having the colorist work on the raw files- Would you just send the entire clips over? And then replaced the linked files in the edit when they come back?
Yes, you would either send a hard drive with all the files or a media managed timeline with just the raw clips you used. Then you would coordinate with the colorist for what files you want back. Either a final QuickTime or the colored individual files that you can take and drop back into your edit.
This was very helpful! Thank you🤠
Happy to help!
THIS WAS EXCELLENT!!!
Shot a video with a red camera 5k resolution, i don’t understand why the colorist said i should send a 2k or 1080p file when the final delivery is supposed to be in 4k resolution.
That’s definitely something you should communicate to your colorist!
pricing would be a great subject to make a video
awesome value content as always Evan!. Thanks!
Thanks for watching!
Good video. Thank you for sharing it ✌️
This was so great, thank you.
Hello Evan, great video and thank you! I had a question. I'm working on a film that will have a snow falling effect. Exporting as a Pro Res 4444 might not be the best since it is baked in. My colorist won't be able to color the snow layer separately. What would be the best way to color a film with an effect like this?
I would deliver the main timeline and then export the snow effect element separately (either with alpha channel, or on black background and then set the composite mode to "screen") for the colorist to composite in their timeline.
Thank you so much for this! I am currently tasked to export and deliver a commercial for a colorist since our in-house colorist is swamped and I had no idea what to do. THANK YOU. Also, on a side note. this was shot on a Red Komodo. But let's say I had a personal side project hat was shot ProRes422. Would I use the same export settings even though I didn't film RAW? and lets say hypothetically for the sake of conversation, I shot it in h.264 s-log. would you even export that to color in Davinci or just drop a lut in premiere?
Absolutely! And to answer your question, yes, I would use the same export settings regardless of if you shot raw or not. This ensures that you're sending the highest quality version and that the colorist has as much data to work with as possible.
I would always advise doing color work in Resolve since the tools are miles and miles ahead of what Premiere offers. You'll always get much better results regardless of the footage you're using.
@@EvanSchneider Thank you so much for the reply! I didn't expect one being this video is 2 years old but thank you!! I appreciate it and good to know about still being able to do some color correcting in Resolve with ProRes footage.
Super helpful. I am wondering about rates for a small indy 25 min documentary.
Hi
this was so helpful man! thank you!!
Absolutely!
I have a question, what if there’s vfx in your video, and that may change once there’s color correction or grading. Should you maybe avoid doing the vfx before and just do it after the grade? Like for example here is a video I made: ua-cam.com/video/lrUlPGjbeXE/v-deo.html
At 7:40 there is vfx that I did on the gas station sign. I colored this myself, but I’m planning on getting a colorist in the future, but small things like this kind of confuse me on how to communicate or collaborate with someone on.
You could apply the VFX to the graded footage but then you're baking in the grade and it can't be changed. To make it simple, I'd do the VFX on the original footage, then send it to color. If you shot in log, you should transform it first unless you want to do the VFX in the camera original colorspace. The best thing to do is choose your colorist beforehand and create a gameplan together!
Can you please make a video about how to become a colorist ( may be the OG way and the independent learning way) and any tips
Plz ❤️ from India
Love it!
Thank you!
This was very informative, more so than other videos on the topic here on YT, though I'm hoping you could clarify what I was originally searching for: I want to know how you handle footage that has effects or composite shots? If log or raw footage is the best to give a colorist, what happens with shots that require extra work (effects)? Do you just get them as a Pro Res after FX are added and deal with it or do you grade the footage first maintaining the "raw" quality? I can see how that makes it a challenge with shots in the same scene that don't require FX. Could you explain this workflow between editor/FX people/colorists?
Typically the colorist/post house handles the VFX plates. So the colorist would decide what source they want to grade from, then they would export the shots for VFX to work on, usually in a log format. They oftentimes also provide a viewing LUT for the VFX team to work under so that they can see an approximation of what the color will end up looking like. Then, when the VFX are finished, the shots are sent back to the colorist in the same log format that they were received in. That way the colorist can drop the VFX shots in, apply the grade from the original and make any other adjustments necessary.
If the editor is handling the VFX shot outputs, they should consult with the colorist beforehand to make sure they are formatting them correctly. If not, it could cause issues or more work down the road.
Can I do color grading,, in adobe premiere pro? For the film
You can absolutely grade in Premiere, but Resolve will give you better tools and a UI that is more suitable for color work.
@@EvanSchneider thank you
What if I am unable to send out raw footage? Can you shed some light on having other options? Thanks !
In short, you would render out a ProRes422HQ or ProRes4444 from your timeline for your colorist to use as a source, of course making sure to turn off any temp color adjustments before exporting.
I don't know much about colourist that's why I am asking this ,
Sir can I tell that can a colorist colour a black and white footage.
Of course, just another creative style
Really insightful video man thank you! I only have one question, I've been trying to use the second method of delivery with the xml but when I add effects that aren't in davicini resolve for example, it messes up the clips. Any advice on how to sort that?
Unfortunately most effects don't translate from one app to another. You have to decide if you want to apply the effects after you color or treat them like VFX shots and export them individually to import into Resolve.
Thank you! What if you’re project has after effects / vfx work on it? Do you give them the hard drive or xml file?
If the VFX are completely finished, you could cut them into the timeline and then export the XML from there, then provide the VFX shots on a hard drive or download. If they're not, you would keep the temp shots and then I'd add a title with the name of the VFX shot so the colorist can drop them in on their end.
You have any tips for getting colorist work? I’m a DP who enjoys color and I’ve been considering pushing more into that territory.
That’s exactly how I started! I would recommend coloring your own projects yourself and sharing your work, and reach out to other filmmakers you know and offer to color their projects. Also, like a lot of other things in film, you kind of have to just start calling yourself what you want to be. So at some point, just tell people you’re a colorist and BAM there you go. Definitely scary for the first few projects but the confidence will come!
@@EvanSchneider this is one of the weirdest things about being a photographer/filmmaker/colorist... Is not knowing when to entitle yourself with what you really do. For me, it only happened after I saw my job title in the contract of a full-time job offer, even tho I had been paid before, multiple times to do photoshoots. Sad haha
How do you make a photo with three pictures in it? I don't know how to do it.
The easiest way is to use the app Layout from Instagram or you can also use the app Adobe Spark
Are there photo colorist too?
Not really. Photographers typically edit their own photos.
What would it cost annually for a great colorist?
It's going to vary based on location but in NYC/LA it's probably on average around 70k per year if they're salary. But it's also based on skill, experience, and location. Many colorists like myself are freelance too.
@@EvanSchneider I’m looking for a great colorist that can come everyday to my studio. I’m located in NY Queens. You know where I can find one?
Hi. Ummmm you forget to talk about the price 😅
It depends on so many factors, that could be a whole separate video
“Hey guys I just wanted to tell you guys that Jesus loves you and that your here for a reason. Repent by turning to him and just accepting him as your savior, and your Lord, for he is very real and wants you to know him. Just take that leap of faith by letting him into your life.💖” Jesus is the same today yesterday and forever more people die but God is eternal✨❤️