dude , the result is so damn crazy ! thank you so much for your work ! i really do wish more people use tiktok and youtube the way u do ... instead of sharing sh1tty content everyday for no reason .. real talent here andrik ! keep it up mate !
great video man! I love how you created the LUT based on the timeline edit, and not the invidiual clips. makes a huge difference if you want a consistent style!
Awesome video Andriks. Happy new year. Hope you had an amazing Christmas with your family. Always great to see you back and I always learn something new from you.
This was a great tutorial, and also the first one that discussed grading multiple clips at once! My only trouble at the moment is that after all of this when I delete the node at the end with the colour space transform it goes back to looking very similar to how it was in LOG. My footage is in S-LOG3 so it already looks milky and you can barely see any colour in it at all.
Excellent question, yes, both clip and timeline adjustments will be included in the LUT. One thing I always do when creating a LUT is re-import that LUT and compare to the grade I did on my footage. You can do this pretty easily by taking a still of your image, disabaling all the adjustments on timeline and clip and then applying your new LUT and comparing with the still image you just saved. Hope that makes sense and helps! :)
Awesome stuff. I left davinci because it was just a memory hog but they recently updated and it's a beat again. I googled the shortcut to add new nodes but what's the shortcut for labeling them?
Hey Lucio, great question! Those types of adjustments are best suited for a shot-by-shot basis. When I'm creating a Look LUT that’s intended to be applied across many different clips, making shot-specific adjustments isn't recommended, like qualifiers. You always want to make the most non-destructive adjustments as possible. For example, I use the most smooth curves as possible and very gentle tweaks in the HSL adjustments rather than harsh, strong color shifts or hue swings which could break your image when the LUT is applied in different scenarios. Hope that makes :)
@@AndrikLangfield I think I should have the camera manufacturer conversion to 709 somewhere in this. I exported a LUT following your tutorial and put it on a Shogun monitor to view my footage on set but it was applying the LUT I created without any conversion, so I need to put in a node somewhere to tell what colorspace to convert to.
That’s 100% correct, I missed to mention in the tutorial that if you’re intending to use it as viewing lut on your monitor, you need the CST included. I’d place it first in your node tree or close to the beginning. But I recommend that once you come back to Color grading to apply the cst and then a Rec 709 version of your lut seperately as it’s useful to grade under the cst, in between the cst and lut and after the lut for different effects.
Can one set a second monitor dedicated to color grading and Luts? The reason that I ask is that my back and hips are really bad, so for editing I have to recline and use a 55" or larger display. But for color corrections I'd like to have a quality monitor at my side.
So for log footage i should get rid of the color space transform of my particular footage before exporting so i don’t mess up the other clips with my settings,is that right?
It depends on what you want your LUT to do. If you intend to use your LUT on a fieldmonitor to preview your log footage then you want to export your LUT with the color space transform applied (if you didn't it would look really flat). But if you intend to just create a LUT that can be applied across multiple cameras then yes, get rid of the CST so that it will work on any Rec 709 footage. You'd of course have to use a CST to convert any footage back to Rec 709 when using your LUT. Hope that makes sense :)
Awesome work! Quick question, at 6:46 what keyboard shortcuts where you using to toggle the preview of the new LUT onto the other clips of your timeline? Is the process for this different if you were working in clips view not timeline view? And would the 33 cube file work for premere pro with those export settings? Thanks!
I have used glow tool while grading so while creating a lut will it consider the glow node ? Also will I be able to add the 33 point cube to Vn mobile application?
No, it won't, I would just disable it when exporting so you know exactly what it will look like. Glow does some things to saturation and contrast that would alter your perceived result. As for the app, im not sure about that, sorry man.
Great video question I have been creating some lots for Slog 3 footage using the power grades that I have, the tools I have used are the Color Space Transform at the beginning of the node treen change slog to Arri Log and the end of the node tree is ARRi log to Rec 709 out and I have been doing all my tweaks with Nodes in-between the CST node at the beginning and the Rec709 Lut at the end. However I exports the out the look is different to the power grade. Do you know what could possibly be causing this?
Hey, I just recreated the scenario you mentioned and I got it to look the same. Did you export the LUT with both CSTs applied? How different does it look? Alot or just some gamma changes?
@@AndrikLangfield thanks for the reply I realised it was an issues with how I had set up the colour management of the project that’s why it was appearing different
Thank you, maybe a strange question I want to ask, Can you use a lut and then modify it before or even after the lut and export it as a new lut. For instance have a color space (and gamma) transform node and then export it as a lut. Or just make creative tweaks to an exciting lut and export it as a new lut?
Yes to both. This is great if you want to save yourself a few steps or if you need to combine a CST + Creative LUT for your camera or field monitor when shooting in a Log profile. I do this for my camera whenever I use SLog and still want to preview what it will look like on my external monitor. Hope that helps! :)
Yes it does@@AndrikLangfield , so I could change all rec 709 luts that only work with cineon gamma and need a cst and then export that lut. I would then have the original lut but can apply without the cst (cineon gamma)
That's exactly right. @@aliquintana301 Another option you could look into for this case is turning those nodes into a power grade, the benefit of a power grade would be that you could go and change anything in the CST. But if all you're looking for is to modify the LUT then this will work. I'd still go and compare your end results in the same way I did in the tutorial at 8:23, this will give you the extra boost of confidence that you did it right :)
hi Andrik, an answer to one question inspires a new question. Hope you dont mind. If you would need to make an slog 3 lut with specific creative tweaks, and you do not have actual slog 3 footage. Could you take for instance blackmagic footage make a transform to slog 3 as first node and last node a transform to rec 709. so do the tweaks in-between? Something in my head says this wont work properly...... but then again maybe it will. I see many luts for sale with the same shot for many different camera color spaces.
Hey, I dont mind at all. If I understand what you mean you wouldnt have to do those steps all you'd need to do is change your CST so it converts the footage from (SLOG > Rec 709) My node tree would then look like this before exporting it: INPUT ----- (SLOG > REC 709) ----- (Creative LUT) ----- OUTPUT You could then continue to change the CST to whatever other camera you'd want to make the creative LUT work with. Alternativly you could forget the CST and just advertise that it's a "Rec 709 Creative LUT" and then include a blurb on how they can tranform their footage to Rec 709 that way if they want to use it with another camera they can do the conversion themselves. This is what I've done personally with my LUTs which you can see here, scroll down to the bottom to see how I worded it: andriklangfield.gumroad.com/l/andrik-lut-pack
When I Export my lut it does not look the same as when you apply it and compare it to your original color grade, it looks blown out. Is there a reason for that?
Thanks for the tutorial, that's exactly what I needed. On the other hand, I have a problem with Davinci Resolve 18, when I generate a LUT, it does not save on the disk of my MAC. Any idea ?
OMG you saved me!!! I have been trying to figure out how to create my own lut from scratch on my IPad. I just long press the clip and generate lut, then add it to the davinci resolve lut folder on my iPad. Oh, and create a folder under the lut folder then just name your new lut like Slog2. How are you adding nodes? Like what shortcut keystrokes are you clicking to get the new node to pop up. I’m having to click the icon on the top bar. Figured that out after trial and error. Thanks.
So on the A7iii Slog is not optimal since it's 8bit footage only. Now that I have a camera that shoots 10bit, I shoot everything in Slog3 which is the best. But whenever I use my a7iii I still don't. I sort of explain it further in this video you might find helpful, I also show the comparison between the two. Hope that helps :) ua-cam.com/video/vzRfGLpbXU8/v-deo.html&ab_channel=AndrikLangfield
@@AndrikLangfield Just watched it, thanks for that. With the HLG2 I take it you don’t need to use a colour space transform node on the footage like you would with S-Log then? You would just fix you exposure/curves etc straight away
@@pepsimac That's right, technically there is a slight transform curve happening but I never bothered with it since it's so close. I just grade straight from the clip as if it was Rec709 and dial my contrast to whatever looked good using my primaries. Also, make sure the colour space on your camera is set to 709 and not BT2020.
i was wondering where should the CST goes , you put it in the last node after all the creatives , but some people's tutorials put it in the second node just behind the Primary , and do the creative after the CST . is there any big differences ? thanks dude , this is a great tutorial !
Great question, I've tried both methods and they do give different results. What's most important is that you do your primaries before the CST so you don't clip your image. I've seen a pro colorist do it both ways and wondered the same question. I know it'll make a difference also in what Davinci is sampling from. For example, every time you click on a new node working your way downstream you'll notice the overlay scopes under the curves tab change to whatever node you're on as it's sampling from your previous settings. So if you were working from some kind of log, all your scopes will look pretty flat vs once you convert to a rec 709 image. Feel free to add info if anyone else has any advice :)
Never go smaller space untill the last node. When go smaller, you cant bring back information. Why pros use CST in beginning is to make the tools behave familiarly. Turning 709 to Arro Wide Gamut/LogC3 doesen't harm footage. It just makes the wheels behave intuitively for the person. If he has premade Looks/LUTs that expect that space, he can re use those.
Good tutorial, still applicable to 18.14. But I wished you had said what shortcuts you were using, its a bit hard to follow, although I did manage to add nodes, it wasn't as clean as you did
Thank you so much and yes, that would be helpful. The most common shortcuts I used to add nodes were Alt+S to Add a Node in front and then Shift+S to Add a node behind the current node. Hope this helps in your future work :)
I also believe that you can have shadow and highlight refinements in your style lut. Try adding a node where you're keying just the highlights with a soft roll-off, set the primary's "pivot" to zero, then crank the contrast knob to pull down the highlights. Do the reverse operation for the shadows, and voila.
Hi there! When I apply a custom made LUT to a clip, the result is quite different (specially underexposed) than the original grade from which I created the LUT. The grade is quite simple: one node for contrast, one node for tint and saturation and a last one for Color Space Transform. I have tried 17, 33, and 65 point luts, I have tried using it on my monitor and some other tests and I always get a really underexposed image when applied. What am I missing??
Hey, that shouldn't happen. Sounds like you did everything right, when you import the lut, you're applying it without the transform node right? Since it sounds like you're wanting to bake in the CST
@@AndrikLangfield Thank you for replying so fast!! Yes, I apply the LUT to a brand new clip without any correction. Is there any way I can send you a screenshot?
Hey, yes a variation from this one, I finally got around to putting out my LUT pack with 3 LUTS based on the colour grade I use on all my videos. You can find them here: andriklangfield.gumroad.com/ also, I've got 25% off right now with this code: LUT25
Anyone know why I'm not succeeding in creating a LUT? I'm following this, and other tutorial's, to the T! and the LUT I'm trying to create isn't what I created. I've got DR18 (not Beta) and the LUT that is being created seems to only be saving part of my node tree, not the whole node tree. Anyone???
Nevermind, I just found my answer. I operate a Z Cam system, so if you're also running Z Cam, know that the Z Log Color Plugin does NOT save to the LUT you're trying to create. Thanks for your tutorial. It definitely helped me out!
@gilbertsatria I can’t remember which ones I used in the video but the most useful to me are creating nodes before and after, alt+s makes node after your current node and shift+s makes a node before your current node :) hope that helps 👍🏼
dude , the result is so damn crazy ! thank you so much for your work ! i really do wish more people use tiktok and youtube the way u do ...
instead of sharing sh1tty content everyday for no reason ..
real talent here andrik ! keep it up mate !
Thanks so much, glad you liked it 🙏🏼 I appreciate the support and comment!
Thanks, i have a little exam tomorrow on how to export LUTs and i totally forgot and i lost all my notes haha ! You just saved me
Ahah that’s awesome! Glad to hear :)
Amazing tutorial. It was a bit hard to understand how the creation of LUT work and you solved all my doubts. Thank you so much man. New subscriber
Hey David! Thank you so much for your comment :) glad I was able to help!
thank you buddy such a good tutorial..and hope more video like this ..cheers !!!
Hey so glad you enjoyed it! Thanks for watching
great video man! I love how you created the LUT based on the timeline edit, and not the invidiual clips. makes a huge difference if you want a consistent style!
Hey, thank you so much for your comment! I deffinately agree 👍🏼
Awesome video Andriks. Happy new year. Hope you had an amazing Christmas with your family. Always great to see you back and I always learn something new from you.
Thank you so much! We did, hope you and your family did too :) Nice to hear from you!
@@AndrikLangfield yea it was good thanks. Great to see you back hope you have an amazing 2022 my friend 😀
thank you so much
Simple and usefull methode
Hey, you're welcome! Glad it was :)
Thank you so much your videos is so informative 😊
You are so welcome! :)
Thank you 🙏🏻
You’re welcome! :)
Precious content. 👍
Thank you 👊🏼
Really good stuff
Hey, thanks so much!
amazing 🙌🙌
Thanks! 🙏🏼
Thanks man, great job. Very clear and easy to follow.
Wow, great tutorial, thank you!
Thank you so much! 🙏🏼
This was a great tutorial, and also the first one that discussed grading multiple clips at once! My only trouble at the moment is that after all of this when I delete the node at the end with the colour space transform it goes back to looking very similar to how it was in LOG. My footage is in S-LOG3 so it already looks milky and you can barely see any colour in it at all.
nice and clear tut video. Thank you. Question, if you did corrections on clip base and leave them on would the created lut embed those as well?
Excellent question, yes, both clip and timeline adjustments will be included in the LUT. One thing I always do when creating a LUT is re-import that LUT and compare to the grade I did on my footage. You can do this pretty easily by taking a still of your image, disabaling all the adjustments on timeline and clip and then applying your new LUT and comparing with the still image you just saved. Hope that makes sense and helps! :)
Awesome stuff. I left davinci because it was just a memory hog but they recently updated and it's a beat again. I googled the shortcut to add new nodes but what's the shortcut for labeling them?
Great job men
Thank you so much!
Awesome 👍👍👍 sir
Thank you!!
Do you not make secondary nodes (for example to select skintones) when you create a LUT? If so, why not? Thanks this is great :)
Hey Lucio, great question! Those types of adjustments are best suited for a shot-by-shot basis. When I'm creating a Look LUT that’s intended to be applied across many different clips, making shot-specific adjustments isn't recommended, like qualifiers. You always want to make the most non-destructive adjustments as possible. For example, I use the most smooth curves as possible and very gentle tweaks in the HSL adjustments rather than harsh, strong color shifts or hue swings which could break your image when the LUT is applied in different scenarios. Hope that makes :)
@@AndrikLangfield I think I should have the camera manufacturer conversion to 709 somewhere in this. I exported a LUT following your tutorial and put it on a Shogun monitor to view my footage on set but it was applying the LUT I created without any conversion, so I need to put in a node somewhere to tell what colorspace to convert to.
That’s 100% correct, I missed to mention in the tutorial that if you’re intending to use it as viewing lut on your monitor, you need the CST included. I’d place it first in your node tree or close to the beginning. But I recommend that once you come back to Color grading to apply the cst and then a Rec 709 version of your lut seperately as it’s useful to grade under the cst, in between the cst and lut and after the lut for different effects.
Can one set a second monitor dedicated to color grading and Luts? The reason that I ask is that my back and hips are really bad, so for editing I have to recline and use a 55" or larger display. But for color corrections I'd like to have a quality monitor at my side.
DOPE.... MAKES SINCE
Thanks!
So for log footage i should get rid of the color space transform of my particular footage before exporting so i don’t mess up the other clips with my settings,is that right?
It depends on what you want your LUT to do. If you intend to use your LUT on a fieldmonitor to preview your log footage then you want to export your LUT with the color space transform applied (if you didn't it would look really flat). But if you intend to just create a LUT that can be applied across multiple cameras then yes, get rid of the CST so that it will work on any Rec 709 footage. You'd of course have to use a CST to convert any footage back to Rec 709 when using your LUT. Hope that makes sense :)
my lut doesn't look the same as my nodes.. what am i doin wrong? followed your tute. original footage is 709,
Awesome work! Quick question, at 6:46 what keyboard shortcuts where you using to toggle the preview of the new LUT onto the other clips of your timeline? Is the process for this different if you were working in clips view not timeline view? And would the 33 cube file work for premere pro with those export settings?
Thanks!
I have used glow tool while grading so while creating a lut will it consider the glow node ? Also will I be able to add the 33 point cube to Vn mobile application?
No, it won't, I would just disable it when exporting so you know exactly what it will look like. Glow does some things to saturation and contrast that would alter your perceived result. As for the app, im not sure about that, sorry man.
Great video question I have been creating some lots for Slog 3 footage using the power grades that I have, the tools I have used are the Color Space Transform at the beginning of the node treen change slog to Arri Log and the end of the node tree is ARRi log to Rec 709 out and I have been doing all my tweaks with Nodes in-between the CST node at the beginning and the Rec709 Lut at the end. However I exports the out the look is different to the power grade. Do you know what could possibly be causing this?
Hey, I just recreated the scenario you mentioned and I got it to look the same. Did you export the LUT with both CSTs applied? How different does it look? Alot or just some gamma changes?
@@AndrikLangfield thanks for the reply I realised it was an issues with how I had set up the colour management of the project that’s why it was appearing different
Ahh, that makes sense :)
Thank you, maybe a strange question I want to ask, Can you use a lut and then modify it before or even after the lut and export it as a new lut. For instance have a color space (and gamma) transform node and then export it as a lut. Or just make creative tweaks to an exciting lut and export it as a new lut?
Yes to both. This is great if you want to save yourself a few steps or if you need to combine a CST + Creative LUT for your camera or field monitor when shooting in a Log profile. I do this for my camera whenever I use SLog and still want to preview what it will look like on my external monitor. Hope that helps! :)
Yes it does@@AndrikLangfield , so I could change all rec 709 luts that only work with cineon gamma and need a cst and then export that lut. I would then have the original lut but can apply without the cst (cineon gamma)
That's exactly right. @@aliquintana301 Another option you could look into for this case is turning those nodes into a power grade, the benefit of a power grade would be that you could go and change anything in the CST. But if all you're looking for is to modify the LUT then this will work. I'd still go and compare your end results in the same way I did in the tutorial at 8:23, this will give you the extra boost of confidence that you did it right :)
Yes@@AndrikLangfield quality controle is a very good idea, thx so much!!!!
You're welcome! :) Have a great rest of your day👍🏼 @@aliquintana301
hi Andrik, an answer to one question inspires a new question. Hope you dont mind. If you would need to make an slog 3 lut with specific creative tweaks, and you do not have actual slog 3 footage. Could you take for instance blackmagic footage make a transform to slog 3 as first node and last node a transform to rec 709. so do the tweaks in-between? Something in my head says this wont work properly...... but then again maybe it will. I see many luts for sale with the same shot for many different camera color spaces.
Hey, I dont mind at all. If I understand what you mean you wouldnt have to do those steps all you'd need to do is change your CST so it converts the footage from (SLOG > Rec 709) My node tree would then look like this before exporting it: INPUT ----- (SLOG > REC 709) ----- (Creative LUT) ----- OUTPUT
You could then continue to change the CST to whatever other camera you'd want to make the creative LUT work with. Alternativly you could forget the CST and just advertise that it's a "Rec 709 Creative LUT" and then include a blurb on how they can tranform their footage to Rec 709 that way if they want to use it with another camera they can do the conversion themselves. This is what I've done personally with my LUTs which you can see here, scroll down to the bottom to see how I worded it: andriklangfield.gumroad.com/l/andrik-lut-pack
@@AndrikLangfield I actually mean if I do not have a Sony slog 3 camera and no slog 3 footage, I just have a BMPC 6k.
When I Export my lut it does not look the same as when you apply it and compare it to your original color grade, it looks blown out. Is there a reason for that?
Thanks for the tutorial, that's exactly what I needed. On the other hand, I have a problem with Davinci Resolve 18, when I generate a LUT, it does not save on the disk of my MAC. Any idea ?
OMG you saved me!!! I have been trying to figure out how to create my own lut from scratch on my IPad. I just long press the clip and generate lut, then add it to the davinci resolve lut folder on my iPad. Oh, and create a folder under the lut folder then just name your new lut like Slog2. How are you adding nodes? Like what shortcut keystrokes are you clicking to get the new node to pop up. I’m having to click the icon on the top bar. Figured that out after trial and error. Thanks.
Hey I'm so glad the video was helpful! :) to add a new the shortcut is alt/option + S
When I export the lut it doesn’t do anything on my pocket cinema. Stinks because it looks so dang good in resolve the color grade I FINALLY did
Why did you not shoot in Slog2 on the A7iii, do you just find HLG2 easy to work with?
So on the A7iii Slog is not optimal since it's 8bit footage only. Now that I have a camera that shoots 10bit, I shoot everything in Slog3 which is the best. But whenever I use my a7iii I still don't. I sort of explain it further in this video you might find helpful, I also show the comparison between the two. Hope that helps :)
ua-cam.com/video/vzRfGLpbXU8/v-deo.html&ab_channel=AndrikLangfield
@@AndrikLangfield Just watched it, thanks for that. With the HLG2 I take it you don’t need to use a colour space transform node on the footage like you would with S-Log then? You would just fix you exposure/curves etc straight away
@@pepsimac That's right, technically there is a slight transform curve happening but I never bothered with it since it's so close. I just grade straight from the clip as if it was Rec709 and dial my contrast to whatever looked good using my primaries. Also, make sure the colour space on your camera is set to 709 and not BT2020.
@@AndrikLangfield thanks for your help, much appreciated
@@pepsimac You're welcome! :)
i was wondering where should the CST goes , you put it in the last node after all the creatives , but some people's tutorials put it in the second node just behind the Primary , and do the creative after the CST .
is there any big differences ?
thanks dude , this is a great tutorial !
Great question, I've tried both methods and they do give different results. What's most important is that you do your primaries before the CST so you don't clip your image. I've seen a pro colorist do it both ways and wondered the same question. I know it'll make a difference also in what Davinci is sampling from. For example, every time you click on a new node working your way downstream you'll notice the overlay scopes under the curves tab change to whatever node you're on as it's sampling from your previous settings. So if you were working from some kind of log, all your scopes will look pretty flat vs once you convert to a rec 709 image. Feel free to add info if anyone else has any advice :)
Never go smaller space untill the last node. When go smaller, you cant bring back information.
Why pros use CST in beginning is to make the tools behave familiarly. Turning 709 to Arro Wide Gamut/LogC3 doesen't harm footage. It just makes the wheels behave intuitively for the person. If he has premade Looks/LUTs that expect that space, he can re use those.
Excellent👍
Thank you! :)
Good tutorial, still applicable to 18.14. But I wished you had said what shortcuts you were using, its a bit hard to follow, although I did manage to add nodes, it wasn't as clean as you did
Thank you so much and yes, that would be helpful. The most common shortcuts I used to add nodes were Alt+S to Add a Node in front and then Shift+S to Add a node behind the current node. Hope this helps in your future work :)
@@AndrikLangfield Ah thanks for that
@@Dexter101x You're welcome!
Hi! Midtone detail, shadows and highlights cannot be used for luts. Any solutions?
I also believe that you can have shadow and highlight refinements in your style lut. Try adding a node where you're keying just the highlights with a soft roll-off, set the primary's "pivot" to zero, then crank the contrast knob to pull down the highlights. Do the reverse operation for the shadows, and voila.
Hi there! When I apply a custom made LUT to a clip, the result is quite different (specially underexposed) than the original grade from which I created the LUT. The grade is quite simple: one node for contrast, one node for tint and saturation and a last one for Color Space Transform. I have tried 17, 33, and 65 point luts, I have tried using it on my monitor and some other tests and I always get a really underexposed image when applied. What am I missing??
Hey, that shouldn't happen. Sounds like you did everything right, when you import the lut, you're applying it without the transform node right? Since it sounds like you're wanting to bake in the CST
@@AndrikLangfield Thank you for replying so fast!! Yes, I apply the LUT to a brand new clip without any correction. Is there any way I can send you a screenshot?
yes, shoot me an email to andriklangfield@gmail.com 👍🏼
@@AndrikLangfield Thank you so much for taking your time to help me!
What was the result? As I experience this when trying from davinci resolve as well.
AMZG
Thanks!
hii can i have this specific creative lut?
Hey, yes a variation from this one, I finally got around to putting out my LUT pack with 3 LUTS based on the colour grade I use on all my videos. You can find them here: andriklangfield.gumroad.com/
also, I've got 25% off right now with this code: LUT25
What are your project settings?
I can't remember but it was probably Rec. 709 2.4 and 1080 and 23.976 fps
Anyone know why I'm not succeeding in creating a LUT? I'm following this, and other tutorial's, to the T! and the LUT I'm trying to create isn't what I created. I've got DR18 (not Beta) and the LUT that is being created seems to only be saving part of my node tree, not the whole node tree. Anyone???
Nevermind, I just found my answer. I operate a Z Cam system, so if you're also running Z Cam, know that the Z Log Color Plugin does NOT save to the LUT you're trying to create. Thanks for your tutorial. It definitely helped me out!
👏🏻👏🏻👏🏻
Thank you !!
lot of shortcuts, need to explain that
@gilbertsatria I can’t remember which ones I used in the video but the most useful to me are creating nodes before and after, alt+s makes node after your current node and shift+s makes a node before your current node :) hope that helps 👍🏼
@@AndrikLangfield thanks man