Grade School: Shot matching & color balance workflows w/ a pro colorist
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- čas přidán 21. 07. 2024
- For this live Q&A, we're going deeper into the deep topic of color balance and shot matching, answering your questions based on this week's video: • Get Better Color Balan...
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00:12 Introduction
5:47 Initial thoughts regarding color balance
11:23 How do you go about picking a hero shot in a scene and deciding where the balance should sit in terms of feel?
14:56 Is ‘’color balance’’ the same as color correction and a REC709 conversion?
18:15 How do we use the scopes when balancing?
23:31 Do you use the input sizing zoom with the reference sizing to get side by side on the subject?
29:24 Do you find yourself using the shadow log wheel to get somewhat neutral blacks when pushing your printer lights?
31:07 How do you ensure that you’re neutralizing the creative push of a LUT when balancing? What if a client decides to change the look but their balance is tailored to the previous look?
35:52 How do you work with the histogram to balance instead of the waveform?
36:40 Do you ever go to the log wheels for balancing after trying other solutions?
40:36 What are your thoughts or method when considering skin tones in a creative grade?
43:42 My stills are not processed correctly in the split screen when I color manage at a project level and I set my input DRT to none. Any solution for that?
44:51 Any advice for shot matching material with vibrant changing lighting?
48:45 An apple monitor supports more than REC709. Is it okay to have a CST converting REC709 while grading or do you need to match the CST to your screen color space?
51:25 Do you have any tip for balancing footage with infrared pollution?
54:45 I always feel like my balance shifts over time as my eyes adjust. What is the best way to deal with this? How much time do you need to get your eyes off the screen to let them rest?
57:59 Is there any plan for future talks between you, Darren and Daria?
58:57 How many monitors do you use? Do you have one for REC709, one for DCI P3…? How forgiving is it to grade for CZcams on a wider than REC709 monitor and which prosumer monitors could we buy?
1:01:19 Final thoughts and conclusions
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Would absolutely love more conversations with Daria and Darren! It’s great content to listen while working :)
Thanks for the lessons as always!
Hi Cullen, thanks for all the information you´ve been teaching for free! Question: In case of 8bit cameras like sony alpha series, would it be better to get the pictures for grading in Slog or rec709?
Thank you so much for this 😊🙏
Спасибо!
Hi Cullen, I wonder - do you use calibrated scopes in your practice or do you find the DaVinci scopes sufficient for the way you use them? Thanks for the great content!
@@CullenKelly Thanks! Many of the old-timers insist on hardware calibrated scopes but I believe that is because they aren't working in a color managed environment and are still stuck on the notion of having to ensure colors are valid for broadcast (which is a concern if you aren't working in a managed environment, I presume). Once again, thanks for the awesome content!
Hello Mr Kelly, thank you very much for your teachings. I start working in hdr recently, and I realized that hdr is totally different beast then sdr, I need to develop different style of grading, can you share with us your thoughts about hdr and overall philosophy consuming and working in hdr. Thank you very much.
@@CullenKelly Thank You very much for responding to my questions.
I'm not a professional colorist, but I do produce/shoot/edit/color my videos, I do understand and use color management (thanks to you) and I'm trying to get pleasing HDR videos on cellphones, but I have a problem with automatic dimming screen, it changes HDR picture dramatically. I understand as professional colorist you don't grade for cellphones, but if you could touch this topic in your future grade schools or share your thoughts with us, that would be great. Thank You Very much again for your time and everything.
Thank you, you really dive in deep. Resolve is a really great Programm for Footage of all kind. But my universe is smaller. My biggest quest is to work with my iPhone Footage. It would be great if you could do a Tutorial how to work with HDR Dolby vision iPhone Footage. And get it out of Resolve correctly. There are many Tuts out there, but they convert it to SDR. Is it in general poosible to do this without a HDR Monitor? It´s very tricky.
Hi
Cullen May I know what would you do with the "Ratio Node"
Hi Cullen, a great class again. I've a simple question here. Is there a proper way to get REC 709 trim from P3 D65? The Imac i have has P3 display, selected ODT to P3 D65, color graded it. So, Can you suggest the best way to get REC 709 trim?
@@CullenKelly Thanks Cullen.
Thank you
@@CullenKelly i used to do this on my own you reassured me i was doing it right...
Thanks Teach
Hi Cullen, how are you. I see you are on an Imac! I wonder what color space preset do you have your imac display set to!? BT709 which is rec 709 (2.4) I understand, does it make sense to set the display of an Imac or macbookpro to this colorspace ??
@@CullenKelly Thank you, yes in my studio I have a calibrated monitor ofcourse, I was just wondering about the mac book pro as sometimes I am traveling and like to see some of my projects. Thank you.
Hello, great lessons thank you. I have a questions not related to the balance. Is there any way to make HUE vs HUE, or any other vs curve tool behave like LUMA vs HUE ? I tried changing color space for nodes, didn't work. Thank You very much.
you right, i realized I know much better ways to achieve same results. thank you.
I thought color balancing was about balancing all the shots before creating a ‘look’ So when you create a look it will work across all the shots
Yep, that’s the way I was taught as well but as you can see from this series, it make far more sense to grade under the look to get the flow you need. I suspect if you have some material that wasn’t white balanced correctly, you might still be better getting it normalized with the timeline look disabled, but that’s correcting for a production failure. I wonder what Cullen would say about that.
@@TheRealBarkinMadd What I'v been seeing through out this channel, the point is to make broad strokes to get you to a great average. 1. Choose HERO shots to look out for. 2. Make them work with broad strokes. 3. Look at the scene on clip level to tweak stuff.
I think timeline look design and clip level tweaks work well together.
@@CullenKelly i didn’t say make all the shots neutral. And I didn’t say you can’t do it under a look
Cullen I Shoot Videos from my Phone & edit them on my Laptop Screen. I wanna make the Clips Look more good. Which Video I should Start with on your Channel ??
Lovely! I have a question. When I color grade I change the color profile on my monitor to rec709 but when I change it on my Mac settings the color profile again to rec 709 it does changes on my monitor again… do I have to change it on both or only on monitor? 😅
The short answer is yes. You will need to change it (the gamma) on both. But I think that's the wrong approach and below I'll try to explain why.
The truth is, you don't need to change anything anywhere to 709. Displays generally come with a color profile so that the computer has an approximate idea of how the display will respond. Color managed softwares like Resolve, premiere, photoshop etc. can read that profile - generally ICC - and do all the necessary conversions automatically. So when you change resolve's color management to rec. 709 gamma 2.4, the preview will be already rec. 709 gamma 2.4. *HOWEVER* , if you have a fairly high end display but not quite a pro scientific display, it might actually be able to switch between 709 and P3 or something. If there is an option that lets you do that, you SHOULD change (limit) the display to 709 if you're grading in 709. I do not believe there's an option to change the computer to rec 709, nor do you need to. But I'm not a mac user so I'm not sure.
Unless you have a calibration device like an xrite i1 or spyder etc., and your display supports hardware calibration, I think it's best to leave the display gamma as is (assuming you're not leaving the display in one of the stupid color modes like game or something).
That said, if you don't own a calibration device, you should invest in one. They're not that expensive (i recommend any x-rite device in the i1 display lineup, but SpyderX is also a decent option) and will allow you to get the most out of any display. Set the calibration settings to 6500k gamma 2.2 and set the display brightness to 100cd/m² if you can work in a dark environment. If the calibration device natively supports rec 709, great! Set it to that. Leave the display at gamma 2.2 and an appropriate color mode (every display will have different optimal modes) as well. The calibration software will generate an ICC or equivalent profile and save it in your computer and automatically load it to your computer's color management settings. The color managed applications will also be able to read the file and adjust the colors accordingly to give you the best possible results.
That last paragraph assumes your display pipeline doesn't support hardware calibration and you're not using something like a blackmagic extreme device to send the HDMI/DP/SDI output to your display/displays.
You see, when you change the gamma on your computer (i say gamma instead of 709 because I don't think there's a way to limit the video output to rec 709 in any computer - windows or mac. I'm a windows user so I'm not 100% sure about macs.), it only changes the OETF. OETF - Opto electrical transfer function - is essentially the encoding gamma and it needs to be decoded using the inverse of the OETF which is known as EOTF or electro optical transfer function. So, in a nutshell, if you leave your display at gamma 2.2 but change your computer to gamma 2.4, the computer will encode the output signal to the inverse of gamma 2.4 but display will decode that using gamma 2.2 (and vice versa) and hence you'll end up with an incorrect gamma that's somewhere in between the two. This whole paragraph is a massive oversimplification and I'd highly recommend you read the wikipedia article on rec. 709.
PSA: this info is correct to the best of my knowledge. However, if I'm wrong somewhere, I'd really appreciate if someone could correct me. :)
@@Mionwang I don't think you are incorrect, but to add- the reason you use a breakout box ( Blackmagic design ultrastudio for example ) is that you bypass operating systems profiles and directly connect your video to the set calibrated display without any alteration. Macs have Colorsync that by design analyses the input and sets the gamma on the fly.
This is mistakenly associated with or called a "Quicktime gamma shift" but it really is, is Colorsync applying a gamma of 1.9 to anything that it reads as rec709 on input. This creates problems for people when they then compare ( the correct gamma ) in Resolve then render out a quicktime file and then it plays back a rec709 gamma 2.4 file and on the fly, changes it to gamma 1.9 and then people freak out.
Resolve developed a Rec709-a delivery gamma that a mac user can apply that tags the render file with meta tags - that tells ColorSync to not change the gamma and your render will match when played back on a color managed player like "Quicktime".
This however is just a band-aid for playing back the master file on a Mac- once it is uploaded to youTube, they recode it and it becomes generic again.
@@JimRobinson-colors I really appreciate it. Thanks! (:
@@Mionwang wow thank you that is very informative and helpful! I invested in the Asus PA329C and before I only colour graded on my macbook… so this having a monitor and all these settings “world” is very new to me! I will definitely invest in a color calibrator tool asap! Thank you again for taking your time explaining all of this!😊
@@JimRobinson-colors thank you for this information also!😊