NEVER Color Balance using Temp & Tint !!!
Вставка
- Опубліковано 27 тра 2024
- In this video, I will reveal the correct color balancing of Your video using Primary Wheels in Davinci resolve.
Follow me on Instagram 🔥 content and color grading tricks & tips are coming: / vladislav_novickij
Chapters:
00:00 Intro
00:32 Davinci Resolve
01:05 Temp & Tint balance
02:42 Correct color balance using Primary Wheels
05:44 Before & After comparison
05:55 Comparing 2 Versions
06:52 Final result
Equipment used in this video:
Red Komodo 6k
Zeiss Planar 50mm f1.4 lens
Rode mics
Godox lights
Vladislav Novickij
Colorist and filmmaker
Email: vladislav.novickij@gmail.com
Instagram:
/ vladislav_novickij
Man this just opened my eyes to more stuff I need to learn, I always felt that temp and tint didn’t cut it but didn’t know why.
Thanks for sharing this!!!
Thank You, glad it helps 🤗
Completely agree with this.
Originally Resolve was made for "correcting" telecine that was shot 709 colorspace. Temp and tint expect 709, not logarithmic footage. This is the reason why many of the tools don't work well with log-like footage.
Auditioning different tools for balancing is a good idea. OFFSET, HDR global wheel, linear node's gain wheel, OFX Chromatic Adaptation.
Alternative way is to prioritize balancing subjects skin (like he does in the video with offset). After that use curves on a node after to hue v hue and hue v sat the rest of the image.
I prefer to do as much as possible with primaries as possible and after use curves to mold the image in line.
Dude, THANK YOU for saying that. Makes sense 😮😮😮
@@timovepsalainen4927 The Temp and Tint sliders didn't even exist before DaVinci 12.5, so clearly were not "designed for telecine" nor Rec709. They are just gain with predefined vectors, and should be done in linear. If you set correctly your timeline colorspace and are color managing properly your clips, then changing the node where you're gonna use Temp and Tint to Gamma > Linear is enough for them to behave correctly.
The main difference is that when using the offset wheel you are basically offsetting the different color channels while the inclinations and shapes of the curves stay unchanged. this has the advantage of affecting the white balance equally at all levels but it also alters the white and black points which is why he had to redo it later. the tint and temp sliders are also not affecting the shapes of the curves but they adjust the angle starting from the black point keeping it intact. the downside is that they are configured for rec709 signal and thus a rec709 blackpoint. nevertheless they are a good compromise if you want a more straight forward adjustment with less tweaking.
Nice demo. It would have been useful to explain why temp/tint create an undesired effect. They are just gain operators on two axis. They aren't designed to serve as balancing tool on log data but rather normalized SDR images. Offset or HDR temp controls work for log but he most accurate balancing would be to convert to linear and then apply only gain changes with primary temp/tint or the gain wheel, then convert back to log.
Thanks, this comparison is more like beginners would do with the temp and tint. Your method would go for a pro level 🤗
Hi there, appreciate your input. I'd like to try your suggest method but didn't quite get the last part: So you would 1.Convert to 709 2.Adjust the RBG in only the gain wheel 3.Adjust temp/tint Is that correct?
@@mikechen121 If you're working with log footage, convert from your current log space to the same space but linear gamma, then use the gain wheel, convert back to log afterwards. So for instance DaVinci WideGamut / Intermediate to DWG/Linear and the back after the adjustment. When using a CST to convert make sure tone mapping is set to none. If you use RCM or manual management with proper timeline tagging of your working space you can actually set a node itself to linear gamma (rightclick it) which removes the need for extra set of CST nodes.
@@VladislavNovickij Владислав, но ведь такое вмешательство, я имею в виду грубое вмешательство с изменением ползунков +/- 10 единиц возможно, только при условии, что вся нужная информация имеется в наличии как в RED 3D RAW если, взять ролик снятый в 8 битах или даже 10 бит лог, такого чистого результата добиться не получится
@@odessitfromshz По поводу 8 бит согласен там все по другому, легко сломать кортинку, но даже в 8 бит работая с колесами можно многое сделать и сохранить чистый результат. А что косаемо 10бит, я в своем следущем ролике показал как скопировав все что делал тут 10бит также идеально выглядет 👌 там более чем достаточно информации.
You're right.
When I graded my last film, I used the Temp too and it made my image just as purple-orange and washed out as yours at first!
This is an eye-opener!
Thank You 👌
What a difference, very clean image and so will the vectorscope!!!
👌
wow. this was amazing and super helpful for me! thank you Vladislav!!
Thank You Tommy 🙌
Clean Tutorial ❤ Expecting More Videos
Thank You, new video with full color grading process of this shot is in my channel already 🙌
I think you are mixing to different things here. Temp/Tint have the same function as in photography - just to get the correct white balance. And what you‘re aiming for is a certain color look that no professional would realize using Temp/Tint. You either use the primaries, HDRs or for example the color warper.
Thanks but in this case not. In photography we are dealing with Raw image settings of temp and tint which are the same as on camera, In this case temp is backed in the image. This is different. This was done specially to show that its still posible to correct that later. While this was a RAW file before CSTs, if I do changes in Raw settings with Temp slider then it gives the same result as my Primary wheels. Its just an example of how to deal with such incorrectly shot files 🙌
Brilliant video. Amazing result.
That was absolutely amazing. Thank you!
Thanks. Glad you enjoyed it.
Brilliant. Thank you so much! God bless!
Thank You 🙏
Thank you Vladislav, big respect for this really good tip!
My pleasure, thanks
Thanks very much for this great input. Such a great difference!
This is abit controversial. I dont think NEVER is the right word to put. Since the you are adding more step to the original tempt and tint adjustment. Maybe if u make same steps or lesser; the title will make more sense.
This was amazing! Thank you for this video
Thanks for Your feedback 🙌
Looking forward to more videos! Super Clean
Thanks, I have new video about full color grading of this shot, step by step, welcome to check it out 🙌
Amazing! Thank you for good tutorial! ❤
Ačiu 👌
Incredible tutorial, really impressed👏👏👏
Glad You like it 🙌 Thanks
Super helpful. Will be using this on my next video thank you!
Thanks 🙏
I had not idea, Thank you for showing this method, I just tried your technique on 2 cameras with baked in color and WOW it worked and it blew me away. If you do not more like this for beginners like me, be sure to show how you switch between saved versions and how get the scopes like have in your presentation. The examples and the pace it which you teach was perfect for me. Thank you for the video
Cool thanks for Your feedback 🫶 Sure I’ll be showing more and explaining more in the next videos 🙌
Thank you so much for the tutorial, i was having bad times on my color grading and i dont know what to do, then i saw your video, very big help for me
Happy if it helped, thank You 🙌
I was new in videography, everytime i shoot, i dont know how to color grade😅
@@scenemode2967 Stay here I’ll be sharing my experience 👌
@@VladislavNovickij i will, i want to improve my color grading, thank you very much🙌
Great video Vlad! Easy and straight forward, gonna do this for my grades from now on, look forward to more content like this!
Thanks 👌
you are incredible! one of my favorite tutorials ever!!
Thank You 🤗🙌
worth enough and eye opening.. thnx to vladislav
Thanks for watching ❤️🙌
The first time i tried resolve i didnt like the results of the temp picker and intuitively i did exactly what you did. Thanks for proving that this is not unorthodox at all.
Thanks 👌
Wow! A nicer approach on balancing the colors. Definitely trying this technique on my next grade. Thanks for this Sir!
Thank You 🙏
Really really good video! Straight to the point with nice examples. Keep it up! 🔥🔥🔥
Much appreciated 🙌
This is jaw-droppingly good. So well done. Subscribed.
Glad You like it, thank You
again a great video!!!! thank you!
Thanks for watching 🤗
This was very impressive. Would love a full node tree breakdown soon.
My film emulation powergrade used temp and tint until I changed to HDR mapped Log TEMP/TINT…. But now I will use your method and never go back
Thanks alot. I have a full node tree breakdown in my las video. Welcome to watch it 🙌❤️
Increíble ! Saludos desde colombia !
Thank You 🙌
Wow that looks crazy good. Looking forward to trying this out now
Thank You 🙌
Yo this is such a life saver for all those that do not shoot RAW. Thank you so much bro, well broken down, of course requires some practice too.
Thanks so much bro 🙌
Except part of the reason this works well is BECAUSE this is raw footage! The real question is why he didn’t use the temp/tint in the raw section first.
@@VladislavNovickij would the results be the same for non RAW footage? guess I would have to try it, thought I would ask.
@@HakimZziwaTips Yes it works the same with 10bit footage. Its hard to break an image If You make corrections in the Primary Wheels 👌 but You can break it easy with the secondaries if You push them to much.
you got me on this one... I cannot wait to see the full version
Thanks, adding it soon
Super helpful mate! Thank you !
Thanks man!!! I love your toutorial 🙏
You should take a peek at the "Chromatic Adaptation" node on the color page. It's given me unbelievable results quickly. You set it first in the chain, before the CST in, and set "Luminant Type" to "Color Temperature" for both "Source Illuminant" and "Target Illuminant" and then you can change the source kelvin to what the actual scene temperature is and it adapts the colors in a very natural way. Lifesaver!
Thanks 👌
thank you for your amazing tutorial
Welcome 😊
So you are saying that if we use multiple controls for different aspects of the image, we get better results as compared to using just a single control? That is truly mindblowing. I am going to go and try using all pedals in my car now instead of just one. Hope the result will also be great! ;)
😁 I’m saying that we should just understand how to use all pedals and use them when ever we need. Yea its like a rally driver in You example. Uses all but professionally 🤗
please, more tutorials like this!!!
Thanks, will post a full color grading of this shot, node by node soon 🙌
Best tutorial for color balancing 👏
Woow, this is insane 🔥🔥🔥🔥
🤗
This way is better,thank you Vladislav!
Thank you too!
A very useful and basic technique. Thanks!
will definitely be trying this from my next project onwards!
This is the colour grading video I've been looking for. Thank you
Wow! I love this
Thank You ❤️
Hello Blad, the info you are sharing is very helpful and easy to understand, I am a beginner and I can follow your teaching very well,
very much looking forward to more Videos like this. cheers
Thank You 🙌 I’m glad You find it helpful 🤗
Well, I was obviously doing it wrong as I was using Temp to balance. THANK YOU so much for this insightful video!
Thank You for Your response 🤗
Love this! Straight to the point!
Thank you so much for this tutorial 🔥 instant sub
Thanks 🙏
Super well structured video 👍
Thanks alot 🙏
Great demonstration! The one thing I wish you had also shown is how the primaries result compares to actually setting the appropriate WB in raw.
Thanks. Yes I had to show that too. It is 99% same as primaries it was 2000 kelvin difference in raw settings.
@@VladislavNovickij I definitely like the result!
that's a big help, thank you
Love your channel
Thanks for watching👌
BIG THANKS..!! Like and follow from Ecuador..!!
Thank You 🤗
Great video, easy to understand the steps 🙏🏼
Thank You 🙏
I think there should be an explanation on why we should not use Temp and Tint. The best method to show this is by using Grayscale image. Its better to show it and explain its behavior and explain why the dos and donts as not to mislead. As for my test, I arrived to a conclusion that its okay to use temp and tint controls on the Log palette. I think its pretty accurate basing on its behavior that I have seen on the scopes using a grayscale. I read that the tools on Log and HDR palette are color space aware so if correct, I think its okay to use it.
Also I think its good to mention that color balancing is not always correcting whites to become pure white, but rather correcting the whites on what it should look like in relation to the light source, or rather what the light source should have been. If its intended to have tungsten light source, or a daylight source, then the final grade should reflect that. Not all the time the whites will be pure white because white objects will reflect the light source. It also holds true for the skin color. Even skin color will not always be pure red, and sometimes it will have a tint depending on the environment the subject is in, and if its intentional, colorists should not correct that, unless the cam op captured the scene wrong or the budget is somewhat limited and the production was forced to use a low SSI lights
Thanks for Your detailed comment 🙌 Temp and tint are the tools I personally sometimes use for final look creation but not for balancing the shot. The main rule of understanding the white balance is the white point. Its about how we as humans see the world, where blacks are black and whites white. Its the correct starting point for every creative look. Otherwise while I don’t have balanced image, my look creation could damage whole colors even more. Temp and Tint understanding in my opinion comes from RAW photography, where raw settings appear to control that as in a real world camera settings. In this case we have damaged picture with backed warmth in it. And I show the way to deal with that in primary wheels which are the most affordable tool for everyone. Yes in this case this is a Red RAW file and I can go to RAW settings and change white balance which gives me the same results as my primary wheels but I have pushed it specially to the warmer side to deal with that as it is backed in, like in Log image. In my last video I show that this method works on 10bit log footage too, where you have no RAW settings. 🤗
wow! you sir have definitely earned my sub! amazing work, very detailed and well explained.
Thank You 👌
Fantastic demonstration!
Glad You like it, thanks 🙌
Let’s go baby! First video and subbed right away dude. Color grading is my biggest challenge as you can see in some of my videos.
Very appreciate that 🙌 I have nice stuff in my plans to show 👌
Amazing!
Amazing bro, good job!
Thank You 🙏
Amazing! Thanks
This has opened a new pathway to master! Good explanation🤘
Fantastic!!!
this is actually a great help.. Thanks..
I'm definitely subscribing 🔥🔥
I guess it depends on what you want. If you need a closer to camera image, than you use temp and tint. You can also use a WB pipet and click on white. Working with wheels you do a deeper grading creating a look which is far from what camera sees.
Thanks for the response. In this case the Temp and Tint wont get You to what was on location. This was the raw file that I specially pushed to the warmer look. Camera raw settings change to correct Kelvin value gives the result like my Primary wheels. The background was lit on location as a blu tone 👌 And pipet wont work here good too it would just do the same what was done in Temp and Tint manually. ❤️
@@VladislavNovickij which camera was that?
That's very interesting, definitely will try it!
Wow!! Very helpful! Thanks! I saw some other tutorial where the guy said he liked to switch to linear to make this adjustments and adjust exposure as well. What are your thoughts on this?
Thanks, there are alot of different ways, so everyone choose its own 🙌
woow i like this way is better , thank you for the video
Thank You for Your feedback 👌
very good thank you! is it applicable in premiere too? i don't know if there are as many controls to work at the highs lows and mids with that many parameters that davinci has
It will work in any software but with Lift Gamma Gain not Shadows Midtones and Highlights. As I know Lumetri has the same controls in Premiere and Color Finale in Final Cut pro. 🙌
@@VladislavNovickijPremiere has the Shadows, Midtones and Highlights wheels. Not Lift, gamma and gain. I think an equivalent would be to use curves and change the individual rgb tones
OMG! Thank you sir!!!!
Thank You too and Welcome 🙌🤗
The function the magnifies the sections of the waveform and vectorscope when you park your cursor on the image.... Is that something featured in Resolve?
Yes is the native Reaolve’s tool. Go to 3 dots of the scopes and select “Display Qualifier Focus”
Yes its native Resolve’s tool. Go to 3 dots on the scopes and select “Display Qualifier Focus” 🤗
Great work 👏. Keep it up 💯
Thank You 🙌
Nice example! Can you please tell what's your color management here? Mainly interested in which CS do you grade in
Thanks, I use CST here and work in Davinci Wide Gamut
Good lesson. I usually dont like any tutorial on UA-cam, but this is the correct way to work Nice for the young colorist
Thank You 🙌
my brother, this is insane!
Thank You 🙌
Amazing thank you
🙌
How do you know when to adjust the lift or the gamma? At 4:19, you pushed blue gamma up when I would have pushed blue lift up because it was so low in the shadows. How does that work?
Thanks for the question. I explain that again and more “why?” in my last video. Please check it 🙌
I was skeptical at first. But the results are undeniable. Looking forward to that next video! Great content. Maybe a little bit more explanation on what you were looking for in your waveform. If I were to repeat this process, I’m not sure if there’s a rule of thumb for the waveform or if it’s just up to the eye. But other than that great job.
Thank You for Your response 🙌 Yes I’ll try to learn explaining more 🤗
Never let waveform dictate what you should and should not do. "Keep blacks black and whites white" is not what it is about. Look at the photo, if you see something, verify your guess from scopes. I use 99% only histogram and vectorscope.
Very nice! Thank you
Thank you so much. one question did you make the Final look after your CST Out or before
Thanks, it depends on the project and look. In this case I keep it clean whites, blacks and skin tone so add a bit of look after CST here. Will show detailed grading in the next video.
@@VladislavNovickij Thank you for the response
Ohhh now I know why I never nailed the WB. That was amazing. Subscribed!
Thanks 🙌❤️
Great results
Thank you!
Wow! What a great explanation, I have totally been doing color wrong. Thank you for the detailed explanation.
Thank You 🙌
WOW! This was realy helpful!! Do more of those please! Subbed!👏
Thank You 👍 Will di my best
Great insight, thx!
Thanks 🙌
Interesting ideas. Obviously you know what you’re doing.
Personally I use a color temperature meter when shooting which gives me a better starting point and don’t need to use temp and tint anyway. Thanks.
Thanks. Sure, agree 300%, if the footage is balanced in camera the colorist just go for creative looks. In this case I show how to deal with not ideal balanced shots. So its always possible to make it better 🤗👌
Thank you. I appreciate your skills!
@@richardsisk1770 Thank You too, I really appreciate You response. Really hope to see Your comments on my future episodes 🤗
Great video, short and yet full of good infos! You mention at one point, that if you push in Lift you have to counterbalance the Gamma - is that a certain rule? Or when exactly do you have to counter balance the image like this?
Thanks, just look at Your waveform. Lift affects the gamma too, so changes done in the lift always affects gamma and if You want to keep the mids/gamma in place You have to go counterbalance. The same happens when You adjust the gamma You affect the lift and gain a bit, When You go with the gain You are affecting the gamma to but not lift, thats why these adjustments are more natural than standard shadows, midtones, highlights wheels that are affecting only their values. I use the last ones just for some small corrections only.
i'm a bit confused on the process. for example i understand why you brought the reds down in the offset but why did you bring the blues down that far in the lift, or any of the left adjustments for that matter. what is it you're looking for in order to stop dropping/raising those adjustments? i didn't really hear the reasonings, though the image definitely looked way cleaner.
Yes I have to learn explaining more in the video of why I do that, sorry if it was hard to understand.
As I see that the picture shadows were too blue and not enough red, I drop blues in the lift way lower the green channel and add the red so it sits higher than the green because I know that I will need to compensate (go an opposite direction) them in gamma, then they will sit in one place of the waveform.
Otherwise I can always make it step by step I mean if I would drop blues until the greens in the lift and add the red until the greens too, yes I would get neutral shadows but also too saturated skin, so I would go to the gamma red and blue to fix that but then these changes will affect the shadows too, so I will have to go back to the lift and push blues down again and reds up and so on. I would need to jump from Lift to Gamma and back again few times and finally would get to the same red and blue numbers as on the video.
thank you for responding, after doing some experimenting i can see why you made the changes you did. thank you for explaining i appreciate it! @@VladislavNovickij
Great video, new things to learn all the time :)
Thanks, I’m also learning everyday 🤗 Life is for learning 👌
Great video! Please make a video on your node structure..
Thanks alot. Full color grading node by node is coming next 👌
Great info, looking forward to trying it out tonight.
I’ve always fought the temp/tint but never developed a good process.
Thank you!
And yes, you don’t need a music bed!
I’m anti music bed these days.
Don’t think it helps anything.
Thanks
@@VladislavNovickij Well, I tried it out and it works phenomenally well!
I still had a shot or two tonight where I needed a touch of tint or temp, but usually it’s in addition to your method.
Well done!👍
Thank you so much for sharing!
Thank you!
Happy it helped 💪
@@VladislavNovickijI’ve been using it quite a bit! If you’re ever in LA, I’ll buy you lunch!
cheers really great example learned something new!
Thanks for Your response 🙌
Good one vladi ....love it :)
Thank You 🙌
Thanks a lot man!🙏
Спасибо! Очень полезная инфа ❤
Спасибо за отзыв 🙌
Amazing