I think you needed to have added a colour space transform node before the Lut, to set the gamma to cineon log, as that is what the lut is expecting. That way you wouldn't have needed to dial down the strength of the Lut and change the contrast after. Then, if you still wanted to change the strength of the Lut, you make a compound node with the Lut and the CST and dial down the compound node. Then to save more time, have a pre built node tree, with the Lut and CST at the end, then you can make your contrast and exposure etc adjustments underneath just the one, knowing how they will look with the lut already applied. No need for the final nodes after the Lut/CST compound node - although it is perfectly acceptable to still add don't if you want, but you might not need to.
Appreciate the comment. My color grading process has changed dramatically since making this video a few years ago. I now use a color management workflow.
If I feel it needs it, I'll do it. Like I said, I try to inspect the shots before I begin a grade. I've found that with ZLog footage, the purple edge removal is needed, at least with what I've shot on the camera. At the very least, I'll toggle them on/off to see what it does to the shot.
At the time of recording this video, it was (foolishly) set to default. Since this video though, I use a Color Managed Workflow. My input color space is set based on the footage I'm working with (in this case Blackmagic Gen 5). The timeline color space is Davinci Wide Gamut Intermedia and my output color space is Rec 709 Gamma 2.4 (or 2.2). If you'd like a VERY in-depth guide into color management, check out Cullen Kelly's video series on Davinci Resolve Color Management. It's the best source available on CZcams IMO.
Give ProRes 422 or ProRes HQ a shot. You'll be very impressed with how the footage holds up. I've got some downloadable footage foe you to test on my review video if you'd like. Feel free to join the Discord community too ;)
I think you needed to have added a colour space transform node before the Lut, to set the gamma to cineon log, as that is what the lut is expecting. That way you wouldn't have needed to dial down the strength of the Lut and change the contrast after. Then, if you still wanted to change the strength of the Lut, you make a compound node with the Lut and the CST and dial down the compound node.
Then to save more time, have a pre built node tree, with the Lut and CST at the end, then you can make your contrast and exposure etc adjustments underneath just the one, knowing how they will look with the lut already applied. No need for the final nodes after the Lut/CST compound node - although it is perfectly acceptable to still add don't if you want, but you might not need to.
Appreciate the comment. My color grading process has changed dramatically since making this video a few years ago.
I now use a color management workflow.
Awesome video man!!! Thanks for share with us. 🤓👍🏻
You're welcome
Such a valuable breakdown very much appreciated!
Glad you liked it
Nice! Straight and to the point! Love it!
Thanks bro! Glad you liked it
Damn this video was good! Covered everything really well. Thx man
Thanks man. I tried to make it as helpful as possible without being drawn out.
Loved the flow.
Ty!
Quality content as usual my man.
Thanks!
Such an awesome video
Thanks!
Really cool 👏 i work and grade with EDIUS 🎬 i am still working 1-2 months for my carporn 😅💪🏼 best cinematic greetings from germany
Thanks for checking it out. I've never heard of Edius. Time to google!
@@joenicklo it‘s a professionell broadcast EDITING software
Thank you for part two! Perfect
No problem!
Next great movie🔥 thx❤️
🤘🏻🤘🏻
Amazing work thanks for sharing your knowledge! 😊
TY for watching.
Awesome video man!
Thanks!
Honestly can't decide between the ZCAM and the Black Magic Pocket 4k.
Well if its E2-S6 vs BMPCC 4K....the S6 for sure. I suggest you rent both and try for yourself.
@@joenicklo it’s honestly just BRAW. I need to edit some ZCAM pro res footage.
Very well explained man, it's very intimidating tho Haha
It's not too bad once you've grasped the basics.
Can you do breakdown for Komodo
Eventually I will
Do you always do saturation correction and purple edge removal? Or just on shots where you feel the need for it?
If I feel it needs it, I'll do it. Like I said, I try to inspect the shots before I begin a grade. I've found that with ZLog footage, the purple edge removal is needed, at least with what I've shot on the camera.
At the very least, I'll toggle them on/off to see what it does to the shot.
Is there any tutorial like this with the m4 :D
It's the exact same process. The M4 uses the same ZLog2 profile that the S6, F6, and F8 uses.
@@joenicklo I see, thank you. Ive been really struggling on how to expose/color grade this thing :D
What is your color management/science set to?
At the time of recording this video, it was (foolishly) set to default. Since this video though, I use a Color Managed Workflow. My input color space is set based on the footage I'm working with (in this case Blackmagic Gen 5). The timeline color space is Davinci Wide Gamut Intermedia and my output color space is Rec 709 Gamma 2.4 (or 2.2).
If you'd like a VERY in-depth guide into color management, check out Cullen Kelly's video series on Davinci Resolve Color Management. It's the best source available on CZcams IMO.
I just picked the s6 up and coming from a pocket 4k, as I see dr you can't use zraw in this? What is the best settings to use in this camera?
Give ProRes 422 or ProRes HQ a shot. You'll be very impressed with how the footage holds up. I've got some downloadable footage foe you to test on my review video if you'd like.
Feel free to join the Discord community too ;)
@@joenicklo I need raw because it's a requirement for the network
@@darkechoproductionsllc9559 Whats the NLE? What's the workflow?
Mind if I ask "WHY" they require RAW?
@@joenicklo its for Amazon
Do you have an Instagram? Mines instagram.com/darkechoproductions