COLOR GRADING FEATURE FILMS IN ACES - DAVINCI RESOLVE FREE LIVE TRAINING

so hello everybody [Music] just to mute my there we go uh happy to be here again actually you know it's been maybe a couple of weeks since we did our last one and it went so well um thank you for all the fantastic feedback and um you know all the questions um also just to let you know that um last week we had an amazing live training class we call it a remote classroom and it was such a great experience like 50 or 60 people you know joined together and we learned everything well you know not everything those was a little bit something more to learn but we learned quite a lot about um color management and as a part of that um we were diving a little bit deeper into look development so i'm going to continue in our private group to continue you know talking about looks and developing some looks um i i think you know already like this week i might post something and then next week again so you'll see a little bit more stuff coming in the meantime i just want to say hi to a few of you to see who has joined us let's have a look uh lucas from buenos aires very good hi lukas and somebody from barcelona maria lucia henrique from brazil hello henry kim i hope you guys would think well i hear you kind of getting like this kind of tale of this virus happening at the moment uh jeremy from san francisco hello and nicholas is there drew from salt lake city very good and luca from italy hello luca and then we have andres from spain and tom from the uk and signing from sarajevo wow very good we haven't had anybody from bosnia this is a probably first one hello sonian um hi and and and this can i'm sorry if i mispronounced your name from holland and peter is here hello peter good to see you good to see you hi and nico well god nico has a great blog everybody with some fantastic information that is useful to you maybe niko you can post in a chat a link to your website i think you know it's fantastic then we have someone from portsmouth and and then you know let's see frank is here aaron felipe cedric hello cedric yeah cedric is from new york or switzerland i'm never sure where he is uh igor is here hello igor very good to see you very good to see you here and someone from kenya wow i love it i love it you know and liosh oh my god lios i so happy to see you here hope you're doing well elijah and your family i'm i'm so glad to hear back from you thank you so much for joining liars very very nice to hear from you uh then we have a mikael and then emiliano from mexico and then we have someone from india and jasper jasper we were we were actually online just earlier this week i think it was a tuesday on that red event you know good to see you jasper again i'll promise i'm gonna make that video how i made it look so you know bear with me i'll definitely do it you know i just this week was a little bit hectic with a couple of things post-production is waking up so we have a little bit more things going on at the moment and then i have a mauricio from germany and someone from brazil oh my god i and it's keep going it keeps going very good i guys i love you all thank you so much for joining and fantastic to see you here oh my god the list is so long i think i could spend another hour just going through it you know and but you know let's let's kind of now crack on to see what is going to be happening on this uh particular uh live training and then you know i'll come back a little bit to the chat later on at the beginning i would like to quote josh pines um he's a basically a person who is really responsible for asus workflow for you know these big movies you know that i have mentioned in my introduction you know so all the captain marvels and um and basically and this is his quote he says aces can be used for good or it can be used for evil it's a power so basically i think as i start a little bit explaining you know how we do film scenasis you guys are probably to understand what josh wanted to say with it um also i want to just use this opportunity to pass my regards to alan robert hopkins who was the d.i.t and a daily scholarist on the um on one of the jobs uh i have mentioned now it's let's just slip my mind which one it was but he just contacted me really said that i'm not gonna be able to go live uh so i just wanna you know give him a shots alan and you know hopefully you're going to be able to catch up live recording later on um basically i want i'm going to talk to you about a couple of things today number one we're going to go through project settings just if it's the first time that you know you are going to be doing basis just to kind of reaffirm how to do it um i also want to show you what will change actually many things will change i'm going to try to focus on on that kind of amount of things that is most significant and actually i will also show you how i you know work to you know counter fight those changes um and then we're gonna go and talk about the film look you know because we're grading film you know we wanted to look filming so there are you know certain tricks we have to do i'm gonna also show you a way to how um we are able to create um of that filmic looking ace aces using parametric method so there is a kind of method we're using at the moment which is using a lookup table and there is a one which is called which is we call a parametric because there are just a simple parameters that we can adjust and change and so we can tweak and adjust the look um the advantage is obvious because we're not going through any lookup table we have a flexibility where we can change effectively our lat our look so it's actually probably workflow that we hope we're going to see more and more with the asus 1.2 yes there is asus 1.2 i'm not going to talk about it now i want to make another event like this one where we're going to go a little bit deeper into it as it gets um more adopted um and also i want to talk about um you know how to set this as you know kind of you know settings for sdr master for hdr master for gum and num and for that i am going to use actually a reference document that was created by netflix um you know simply because uh you know i think we just want to kind of avoid confusion i want to be 100 sure that what i will tell you is exactly how you should be working um so that is kind of a little intro let me just quickly uh you know cast my eye on chatboard and we have somebody also from edward from venice so my neighbor hey very good and vanessa from london very very good okay guys so um just uh without further ado uh let me basically start with how to set up the project and and you know to cut the whole story short what we are doing in color grading is we are using asus ccct and this is your color space you should be using don't get confused that maybe your effects company will be using asus that you know there are certain other forms of aces like asus cc you know just ignore everything your color space you should be grading and it should be a society because it's going to behave the closest to what you are used to when you are grading log material um so uh basically i'll start first uh with the kind of you know how to set up uh the system and then slowly i'll take you through all of these steps to you know what needs to happen so the first thing you want to do is you want to click on settings and in settings there is a color management tab and in there um you have to you know normally like in davinci by default it says davinci yrgb right and then you want to click on that and you want to select asus cct okay and then the version you want to select is the version 1.1 now just so you know there is no difference major difference between 1.03 and 1.1 apart that 1.1 has got a larger amount of you know idt's oddities and stuff like that so it's a kind of a little bit more expanded library of those okay so the next thing you want to then do is you want to say what is your asus input device transform and i strongly recommend do not set anything here like leave this blank and set all the idt's on actual clips so basically don't really do it here and then our output device transform is going to be 709 even guys if you're going to be like grading in hdr i would always recommend start your project first with 709 make sure you're getting you know things looking approximately where you want them to look and then switch to hdr simply because you know usually projects you know have been graded on dailies or you know somehow the look was created on set in 709 so it's a good way for you just to establish that your kind of reference that what that has happened and that is pretty much it the only thing that i would kind of you know say that is a common mistake that i have seen happen is that somehow this little setting called use broadcast save stays on and that's a problem so make sure that you don't have any broadcast save it should be completely without it and and and you're done and what's really beautiful about it you see i have here some re 65 shots alexa 65 and basically they straight away look as if you have like look applied to it and this is primarily reason why color is like cases because it just very quickly gives them a an image a look at a result and you know and in comparison to davinci color management that has a similar effect this seems to be more standard that basically if i was to set you know these settings in davinci and i was to set it up in baselight in nucoda in mystica or you know using live grade by comfort on set i'm always going to have exactly the same result and that's not the case if you are working with davinci color management because that's a very specific for davinci and nobody else is going to be able to necessarily tap into that workflow that you were doing unless you're good in exporting lots and giving lots and so on okay so this would be basically you know your first setting now how do you set idt's what you have to do is this because these shots that i have imported they are raw they are basically re-row you don't have to set any idt for those and this is one of the kind of you know confusions that i normally get from people say oh what's the id no raw material does not require any idt because asus is handling that asus is able to use the scene referred data from the row capture and adapt it to its color space you don't have to do anything to it however if you do have a material um like some sort of prores or some rgb kind of files or you know anything else it's is not wrong what you're going to have to do is you're going to have to basically you know click on those clips and what's what's really interesting is that here if you scroll a little bit you know you have a ability to sort things by format or by video codec and that is going to group your different camera materials really nicely and then all you have to do is you just have to say okay shift click all of these shots right mouse click and then you say aces input transform and select it in my case this is alexa whatever your camera is now the question is what do i do if my camera does not have an idt or i'm using something like that and the answer is try one different idt and try one which is gonna get you closest to where you want it to be it's okay it's okay just make sure nothing's clipping nothing's going too crazy you know and see which one's coming close to where you want it to be okay what happens if i'm bringing an archive footage something that's already been graded to direct 709 in that case what you want to do is you want to just select and 709 idt and basically this is the one rec 709 and basically when you stick that then any material that is coming you know from um you know archive or something like that is going to be adopted automatically so you know you don't have to worry about it so don't despair necessary if you don't have an idt you know you it doesn't have to be like exactly from your camera as i said like i remember i had some dji footage and i was using i forgot now something like a canon i just kind of tried few kind of idt's and i got one that looked like a closest to it now i also can show you how you can make your own idt's but this is not part of this necessary workflow there is a way how you can build your own idt's for the cameras you're working with and how you can get these transforms going but you know this is really something that we do normally on bigger movies on bigger projects when there is a really a need for us to kind of have a constant idt working and so on because it takes a little bit time you have to have a camera after shoot and so on so it's not necessarily straightforward you can just open the file and make an idt based on that file okay so now that i got everything sorted let me just kind of start you know get straight to the point and and tell you what is the first thing that you will probably notice is going to behave differently and this is basically how the controls behave inside an asus project okay let me first actually delete this so that you can see what i normally do so you'll see what the problem is and this is one of the main actually obstacles that many callers don't want to work in aces because of this problem so have a look i'm going to now change my lift and look at my curve here what's happening with it maybe i'll make it a little bit bigger so you can see you know as to what's happening right so look so if i basically now go and start changing my lift see what's happening with it right it doesn't look like lift at all it actually looks more like some sort of gamma isn't it right okay fine now look if i change gamma look what's happening uh-huh everything's looking a little bit funny again all right looks similar to lift by the way and then you know i go and change the game oh my god again you know it just looks like if i'm applying a gamma to it so so you know that kind of you know linear you know effect that you know we're getting from left gum again and offset and stuff like this is just not happening you know because it's aces it just works a little bit differently right and that puts off most people because they kind of you know grab controls the gap tables lift gum again and suddenly realize oops my system is not behaving exactly in the same way you can still get to a very good look don't get me wrong it's just kind of needs a little bit time for you to get adopted so what i do to actually avoid this problem from happening is i do following so i'm going to go and open another node and then in your ifx library you're going to find something called asus transform and i'm just going to put that asus transform on my second node and in that transform we're going to make following transformation basically i'm going to say my input is going to be asus cct okay and my output i'm going to make it to be 709 okay all right so now i have kind of converted this signal to b7 then i'm going to have a node okay so this is going to be my basically kind of in all right then i have a node which is going to become my primary okay and then i'm going to pick make another node all right and this node i'm going to make my out okay and here i'm going to go back to acct so i'm going to say hey take my 709 that i've been you know originally in and make it an asus cct project so what's happening you see i'm back completely at square one and you can do that in aces actually this is a kind of a great feature of asus that if you do this like you know ac cct to 709 and back to acct you're not losing anything you are not really compressing it down to cinnamon you will remain and you will have a full gamut and dynamic range that you have from those files because davinci is working in float and can do it and the mathematics for asus is capable of doing that so don't worry like just because i have converted something to 799 it doesn't mean i lost all the dynamic range but what i gained is this so if i click on this primary and now i start changing my lift this is going to be the behavior your guys are used and girls yes so basically you're you can now work with your primary as if it is basically you know primary that you guys know that you are used to be working with you know that basically everything's gonna behave back as normal so this is a little workaround that i use to just start working a little bit more that that kind of system still behaves as i'm used to it but i am still in aces just to like a little kind of tip and a little work around i have a few more of those but you know i said i don't have time to show all of them this is one which is the most important there are a few other workarounds you know like for some other things okay so what i'm gonna do is i'm just gonna go and grab this still because i want to actually use this on my other shots so let's go back to my timeline right and now in this timeline i'm just gonna go to my gallery right and i'm gonna go and apply this great another thing i want to like also tell you which is very important if you're working with raw material and i can basically stress you know this enough you know like this is just you know one little thing that is so easy to forget but it's going to really drive you crazy and which is this right mouse click into the media into the gallery and then scroll down and then you'll see there is this little setting which is called copy grade preserves camera raw settings okay and it's like a very easy to forget this setting and not to switch it on and why i'm saying this is because if i was now to take for example and this particular note tree and i was to copy it to my basically clip like this what would happen it would also copy all of my raw settings and actually they are not the same because you see in this camera the iso is 800 and in this camera the iso is 400 and if i had just copied without its setting it would just apply an 800 iso and and and and everything would start looking out of whack and this is especially important you know for things like color temperature tint and all of the other kind of settings that that you know are part of this whole raw pipeline so um as i said like you know and very easy to forget this little setting but you know it can cause you a tons of headaches when you start working with it okay so now we have it kind of looking you know 709 but you know no feature film really is going to adopt this look you know this 709 look really works for documentaries and you know for interviews and you know stuff like that but you know films they just need to look like like film really and and then as the problem is that basically look up tables that we used in order to emulate film stock don't work in asus and and and the reason why they don't work is is primarily because well it's lots of reasons you know but it's they're just made for a different color space you know so number one the range of the lut is not really correct you know basis has its own range so the lookup tables have to be created for that particular range so number two you know the color space that asus is working in is completely different like it's using this kind of ap1 primaries and this is completely different than what we normally do with the primaries for the cameras when we're building these lookup tables and number three you know that kind of rrt curve you know has its own like a um some sort of characteristic so it's very difficult for us you know to work against it so if he applies any like a kind of curve it just has to fight at rt so you know there is a real method to how we build this lats for asus cct um and and you know it takes a quite a bit of you know pre-processing and post-processing in order for us to be able to you know adapt you know existing color science to it so you can't really use them just forget about it so i want to i want to now just you know basically tell you what i normally do um you know to guess because i can create this kind of filmic looks and i'm going to show you three methods um so basically um you know i think you know let me just check i think i have like even a little slide for that so the method number one is basically and i think it's the simplest method is using a collab plugin for asus and um basically that plugin has got all of this what i suggest explained adapting you know different color spaces dynamic range web done for you and you can just you know use it stick it and you have the luck the next step is to use parametric uh parametric uh print film emulation i'm gonna show you this is used in the form of dctl and and there is a great you know color scientist and and developer um called paul dorr who actually has done an amazing work by adapting a work you know that was already done by aces and you know creating a dctl version of that so i'm going to show you that as well and then i'm going to show you my approach that i just kind of you know started using recently um to how to make a parametric pfe and then we're gonna be able to compare these results um so um let's go and and have a look at this now so so actually one thing by the way that i do regularly and and you know don't get me wrong i don't know you know if this is right or wrong i just kind of like the effect of it is i open always another node and on that node i put a clf and clf is is a new lut format um that is being now just finalized um as a way of basically being a and and and it's called command look format so hopefully it's going to be what's going to become common and adopted by everybody at one moment um and but you know davinci has like a little like um implementation of it and it comes with something which is called neon suppression and i think it's a great way so look if i click this neo suppression you see what it does so have a look like you know at these at my skies here so like i basically do this i'm just going to show you so you see how kind of it just takes off some of that edge you know like from that very high saturated files and straight away they feel a little bit better you know and i kind of you know love alexa but you know alexa just you know sometimes just has this very very saturated color especially grass it just looks so strong and this little kind of transform just helps with that just kind of reduces you know some of that um so what i'm going to do next is i'm just going to go and open another node but they'll pull it here so that we can see better and then i'm going to go to my plugins and i have a here asus color lab asus and i'll drop that here on top and basically now because i'm using this all the time you see i have already created this kind of similar effect called limit gamut so i will disable this one that i just did earlier and then i'll just basically use the one inside the color lab so let me just disable this and here i have a limit comet and it has a similar effect you see it also does kind of very similar thing and then um what i'm going to do now i am just going to go and in in comparison to normal color lab where we have also contrast curves here is no contrast curves basically all we can do is we can select a palette and then basically what you do is you say okay if this is for example kodak 2383 palette this is like i don't know kodak vision 3 palette right or you know i could go and say okay let me work with the fuji stock and i have like you know some sort of you know vivid 500 for example or like you know look at this one 85 53 so all of those film stocks that you're used to working with they are all available here and they work they're adapted to our kinesis and i would say this is probably the easiest way to how you can kind of get into into like a quickly you know giving your projects at your grade in aces that filmic feel and emulating that film stuff um however you know since we have to handle contrast you know ourselves what you do is you put a node in front of the color lab and there what you do you just kind of put like i normally say editable splines and in my curves i just kind of create a little s shape for example like this you know and that straight away helps me to create you know a great looking so this is before and after before and after so it kind of gives me very quickly you know that filming feel you know let me go and actually copy this kind of look to these shots here i love this one actually it's a kind of you know an aerial um from the uh basically new york or whatever i think it's manhattan so check this one out before and after before and after and this is just using basically i think what i'm doing is just using some fujifilm stock emulation okay now what i'm gonna do is i'm just gonna switch to a slightly different type of shots with some skin tone so that we can actually see a little bit better what's happening um so what i got here is um is is just some re footage and in here what i did is i have just applied um a kodak 2383 um you know profile from color lab and i have then you know just you know got that to look like this so basically look so this is what it looked like as a 709 you know um this is kind of normal situation by the way that things look a little bit overexposed when you bring up pros in because of the idt's that are supplied with it so you have to use some offset you know just to bring it down a little bit so you see i have just brought with my printer lights with offset i brought everything a little bit down and then i have applied color lab to it by the way collab allows you as well to export this lut so that you can just you know if you don't want to use plug-in you can just continue working just with the lut and that works by the way as well without any problem okay now i want to show you a next way which is called you know the parametric way and and so for that i'm just going to go and you know i have already prepared here a next version okay so what this version is doing and basically there there is a website called asuscentral.com and on that website there is a four-part blog and tutorial exactly about this subject and i can highly recommend if you're interested in in a little bit this color science please go there and you know read by the way this whole ac central it's a great community kind of space and it's fantastic for you know sharing uh knowledge and and and you know don't be like a you know threatened because there are some people there asking some very complicated questions that are you know involving like some sort of transformed alba but you know what everybody's welcome there you can just come in and ask you know even the most stupid question and someone's there is going to help you with it in in quickest way and also like you know there are some great articles there and one of them is is this one which is basically using parametric way of achieving film stock emulation so that uh has been then translated as i mentioned earlier by paul doerr as a dctl you can find also on that forum a link to where you can download this dctl so what you do you just basically go and you apply i can just do it again so you guys see basically how i did it so you open a dctl or effects plugin you drop it onto your node and then from the list of your dctls and you just load these details like any lookup tables you basically load this one which is called lmtpfe.ofx and basically there you go i have this effect now i personally find it a little bit more aggressive so what i do is i'm just gonna go and reduce the contrast down a little bit so just kind of it doesn't really pop as much and i think you know roughly this is bringing me to kind of that kind of interesting um print film look and feel you know so that is a that is the second approach um by the way there is a whole range of uh parameters that you can use here and i you're more than welcome to start playing with them and you know figuring out you know how to you know come and how to improve these things um i i can you know encourage you to do that so you know there is like a perfectly like you know one thing here we have is a is exposure so you know that same thing i did earlier with my you know offset you can do achieve the same effect here with exposure um you have ability to scale color and this is like a scaling color is just a basically a different way to explain as to how you are reducing the color gamut then you have a standard slope of certain power which is um equivalent of gain gamma and offset so basically the only thing we're missing is is lift and and then um what you have here is then you have a basically saturation and contrast and then this is an interesting approach what we have here is let me show you is a basically a a certain kind of hue that we can pick on and that hue then we can decide how wide this range of that hue is going to be and then we can then rotate that here so we can basically apply like a little like a color you know kind of angle or when it says rotate it thinks about like a hue and you just kind of change the angle of that hue a little bit so it's a kind of like a little bit like think of it like a secondary but parametric secondary but it does the job it's kind of really really good way of how to tweak some of these ranges that we normally have in in film that are not you know like reproduced in the same way like 709 and it just tweaks them a little bit like that so this is one approach i want to show you one approach that i am doing at the moment and basically this is um kind of a little bit more evolved from this first approach one thing that i always have a problem with you know this kind of just parametric um you know approach is is is actual contrast of the file and and let me show you what i mean by that so that you can see basically what i'll do now is i'm just going to desaturate the output so just look at it a little bit just in a black and white so the problem you know that we have with this parametric approach is that we are still kind of dealing with a relatively neutral contrast curve yet film and the magic of the film is is greatly to do with the way how film responds to light and and that particular contrast curve so what i did is basically i i have built you know a following node tree so on this first node here okay what i did is i have applied the clf with the neon suppression okay so what i did here is i have just basically created and said okay i'm just going to apply a neon suppression and then what i did is i have reduced a little bit i believe like i just brought down a little bit the shadows with the lift okay then what i did is i have built a curve which is emulating as to what is happening with film stock emulation and how the contrast is working and what is really important to note is that this curve is is a 1d lut so it's called kodak 2383 contrast in asus so basically look what it does so it actually you know creates that fanta you know it's the roll-off curve effectively you could call it like that what it does it just kind of goes from this you know like a um let me actually just delete this node so that we can see better here all right so what it does is this lucy so it just kind of takes your your your your standard asus response and applies this beautiful filmic roloff to it so you see it kind of and the first thing you're going to notice the changes on the skin tone like skin just you know gets this beautiful soft roll off and already now i feel like okay i'm very close to where i really want to be i need this you know 1d luck you know which is by the way much more precise than a 3d light you know because 1d light has got like 16 bit precision so you're really not losing any detail with it it's a it's it's a very well you know you know uh adapted by image you know image doesn't really break if the 1d light is being designed correctly and then what i do here is i have a set of um dctl parameters again and for that i'm using a different dctl which is also developed by paul door and this one is called color balance and in there what i do is i basically tweak the hues in a similar fashion like we have seen previously but for example here what i do is i apply little cyan into my shadow here what i do is i apply i take some green out of the mid tone and here what i do is add a little bit yellow to the highlight so basically you know i i kind of you know create like the three parameters you know that help me do that and i want to show you how they compare so let's say this is basically side by side split screen of uh this is color lab lookup table basically this is the you know using colorlab plugin this is using the dctl for uh print film emulation and this is using you know my approach with the 1d lot and and selective hue range adjustment and um this is why i really like this new approach that i just developed because it just gives me the best result i find it you know and and you know like i can kind of you know i like this but i find that you know you see the highlight on the skin i know it's a zoom and youtube whatever we would include so you guys won't be able to see as much detail but but trust me like basically this skin tone here is just you know has too much highlight we can worry about here i'm back to that beautiful you know soft roller from the highlight and and also you see how my my my my color palette is just really nicely matching the film palette and i was able to get the skin to work but here about skin is still a little harsh you would probably have to work more with secondaries after that we're about here i've just got everything working without any secondary i am actually gonna you know create like another tutorial and a course that is going to teach exactly how i build this and i think it's a fantastic creative tool for you guys to start you know like a building your own print film emulations completely parametrically because this is the transition i can foresee we will be doing with aces that we will be less and less be relying on lats because you know with the new um clf format we are going to be able to save you know these parameters and be able to actually you know use them further and be able to tweak them further and then all i do after that is then i just basically select these and they just say you know we create a compound node and that then becomes my like a show light that i can then continue using further down in production and that is kind of the three kind of possible ways of how you want to try to emulate film and let me just go and try to apply this look on one of the other shots and you see it just looks so good you know and and you know the the beauty of this is that you get all the fidelity that you want to get from aces but you finally kill some of those kind of crazy colors that you can get with it um and also it helps a little bit with that strong contrast that rt's got so you know i i kind of you know at the moment we just have to work with what racist does and we may have to make it good not evil basically as josh pines is has explained at the beginning and i think you're probably trying to grasp this idea you know it's a great tool it's very fast but it also locks you in a particular look and you need to find your way out of it how you're going to actually achieve and preserve the creative intent and not be driven by what aces is actually telling you or it's it's kind of driving you towards you are getting control back in with this parametric way of of controlling your look okay um one more important thing i have to show you is following and and and basically you know it's very important you know like a subject since i could imagine that many of us will be working now for you know streaming channels they are you know going to produce a ton of new material the moment we start shooting and the post is going to get really busy with that so the likelihood is that you guys are really going to be working on on shows for netflix for example and and i wanted to like you know really show you what to do if you are working on network shows what are the right settings now netflix in their own fantastic way of being a company that is very open source you know like is sharing this so there is actually a document you know in in their production support hub that explain this but let me actually show you a little bit you know here what you need to do so this particular setting that i have used so far is exactly the setting that you would want to use for netflix shows that are delivering just sdr if you want to do hdr you need to use this setting and it's called p3 d65 sd2084 1000 nits so just try to remember this one so it's this is the so netflix again is very specific they do want you to work in p3 they don't do rec 2020 at the moment so i have also made an adjustment from my previous training you know making sure that you are using native p3 not the you know p3 in rec 2020 but any in any case this is the correct setting and this is now interestingly going to give you just with one click perfect transformation well perfect good transformation into your hdr and basically so your sdr grade is suddenly going to adapt itself to hdr and with a little trim you're going to be able to get it to work very very quickly however netflix deliveries have got two other formats that sometimes you know cause like a little kind of you know friction or people think like what is this and but they are fantastic actually archiving formats that i would do even if i wouldn't be finishing for netflix you know so they're called nam and gum and basically nam stands for uh non-graded archival master and gum for graded archival master so let me first show you how to do a gum so if you're going to do a gum all you have to do is you click on this and you go scroll up and you say no output transform and what happens now i know that your image is going to look super crazy but actually what happens is that you are now outputting in the linear asus 16-bit space and that is you know going to preserve all of that detail that you can then reopen that file and be able to repurpose it for any display so this is like a scene referred archive with color grading embedded into it and it's a kind of fantastic way and look guys all you have to do flick one button bang and just press render and you go the second format is basically this format and it's called non-graded archival master and it's pretty simple to achieve what you have to do you have to go back to your render and then you what you want to do you want to scroll down all the way to the bottom and then in advanced settings there is a thing which says here enable flat pass all right you want to go and select always on right and when you do that you're going to be able to get you know exactly that kind of you know uh no grade applied to it and yet all the materials saved in the negative space so that later somebody could be able to you know open that master and grade it you know re-grade it completely and have all of that material and so that all the cameras have been adapted into unique format into the same format and actually works really really well i don't know like if this not graded is going to be used that much you know but i can tell you that that uh that uh gum is an absolute you know gift because there's gonna be so many situations where you want to reopen your master and be able to repurpose it for maybe imax screen or maybe dolby vision cinema or you know whatever else and you just have a master with a dynamic range i have showed you in my last you know live training how you can do that same thing using davinci color managed approach this is what you can do exactly the same using uh aces and you know at the end of the day one of the first reasons why we wanted to do aces was to have a great archiving format that anybody can read and doesn't need any luts or anything like that and there we go you know we are basically really really close to achieving that with this one so this would be roughly like you know what i had prepared in terms of the you know um you know like subjects i wanted to talk about in this live training today i'm now happy to go back to chat and open some of this discussion um while i'm basically on that subject i also wanted to let you know about a very important information that maybe is is interesting to you guys um we have started doing um our um like what we call a remote classroom so basically the way how it works is that we work four days in a row uh two hours each day um and we tackle subjects that are you know really important for professional colors you know if you if you guys are considering oh i want to really work in this environment i want to work you know professionally in this then then this is really training for you it's not about you know hey cool tips how to make you know stuff it's it's about really how this industry works and what you need to know and how to little bit update your knowledge what is really good about this kind of you know four days live is that we work very intensely then you have to do a little assignment and then we also have a little private group where we can chat and discuss and it was just unbelievable last i i have really enjoyed it i was a little bit skeptical about it because i like to have a classroom sit in front of the audience we have a small group of you know 10 people maximum and then we have like a you know a great working environment we're about you know when i'm kind of learning by myself i usually find myself a little bit struggling with that to self-motivate myself but when i'm in a group i learn much better so this is a kind of an an in between you know where you're like a live on on on a conference call and you can ask questions and discuss things yet um you know you're still like basically at your home um and this class is going to start in june and if you go to our training website you are going to be able to you know register for that and at the moment what we're doing is is i think this class is like you know 200 dollars cheaper than normally um and we're going to be running this special offer for as long as you know we are in this lockdown and and when the things start opening then we will kind of go back to our normal you know ways of doing things but right now we want to help you all and we have you know slash down these prices heavily also um i have maybe announced uh this last time just wanted to let you know that we did start you know with the micro degrees which is basically continuation of our you know fundamental scores and the first micro degrees out uh or was out yesterday and it's called daily scholars and i will probably talk a little bit more about it next time um but you know i created just a short course that will gonna give you update to how daily scholars has to work today it's like basically okay you're gonna get a job to grade dailies and by the way dailies will be graded remotely when we're already setting up you know several productions and we are not going to be doing it on set um and and you know so the chances are that you will be getting you know asked to do dailies and if you want to get an update hey how should i do dailies if i'm working today if i'm working on for netflix amazon hbo what's the workflow you know we put together in a very short course you know like bam bam bam facts you know and and videos that you can also like get access to constantly you don't have to subscribe to you just basically you know get the videos and you have them and and you can reference exactly all of that workflow now let me go and see a little bit how questions are going i'm gonna go a little bit from from behind and say like thanks nicholas so not accg sorry so yes so i can see nicholas has been helping that's very nice uh okay so thank you nicholas for explaining this uh what is why we're not doing the odt that's very good so basically we don't do odt because we want to preserve all of the dynamic range and stay in a scene referred audit t means we have to stick it in the display space and that's not really what we want to do elliot is asking would you put all the grading for the shot between the in and out nodes or would you just accept the funky controls after you set the exposure and primer no i would actually i would i would i wouldn't necessarily put everything in between i only tend to use my primary like that elliot so i try to put only my primary because i like my primary to behave normally and then everything else that you know all the windows secondaries curves i live in asis actually they behave slightly differently but i can handle that i can handle it in some ways they behave sometimes a little bit better um so um so that it doesn't really give me the headache all i want is just to do this one but if there is like a situation there are several other situations where you want to do the same thing like maybe the layers and stuff like this where you really want to do that uh the gum and num it's not end gum the gam and nam if they are ex exported at great stage what happens to any work done in the art in the online um well look you know you actually can open your gun and put an and and continue online because what you do is you bring your if as long as your online system can handle asus files what you would do is you would just put in write odt and you would be fine everything will be actually working so you could continue working nam is not really used for online nam is just a kind of archive what we used to do back in the day with film we would preserve film negative this is exactly what it is it's just a film negative can we great hdr on sdr monitor unfortunately we can't you this is the only thing you need to buy riccardo thank you if you don't use asus transfer which is the best way to use the controls offset and contrast and pivot well basically offset is going to work like offset you know it's it's closest to you know kind of what what what probably you know you won't notice a huge difference with that apart from those kind of little kind of you know shifts it it behaves slightly differently but yes you can use it with printer lights and contrast and pivot work in a similar way i know that some people also do is they go into preferences and they switch off that s-shape contrast curve and they believe that with that they get a little bit better response i have a little doubts about it but you know certainly you can try to do that that could help you a little bit with the contrast controls um joe works is there a way to change a default odt output transform that resolve applies to the acct yes there is so what you do is you basically don't apply any odt you leave the one that you have and then you can then put your own odt but this is very rare situation that you do it you know because there is so many different versions of odts that you really really really do this now look you can do a lot with aces but it's pain and i think i would probably have to bring you someone like josh pines to tell you a little bit to what really happens on those movies that decide to modify aces in order to get to that creative result that they really want so all these captain marvels they had the custom aces profiles throughout and and it's a it's not a trivial task let me put it that way luca working with the with the 3d raw files in asus what to consider in setting luca it's exactly the same you know asus is going to handle your raw files the only thing that you probably would want to do is you want to check that you know you can maybe tweak a little bit your raw settings or something like that but apart from that everything is going to work exactly like expected you won't see any any problems with that so you know feel free to do it and feel free to to stick with the ipp too you have a choice to change that but please stick with the ipp too it's super important to do that then say oligar why you don't use log wheels i hate log wheels i really don't think they're done well in this software you know this is like a there are some you know like if you guys compare for example how base grade is working or how like a you know similar effect is working in in um you know laster for example i know that not many people use it but that was kind of one system that i love the way how this kind of you know log grade works also mystica has got a similar log type you know wheels um you will understand that this is just not you know doing a very good job and it breaks image very quickly and i start noticing very quickly noise in it and and and and i don't want that you know i want to improve image quality with my grading not degrade the image quality with my grading so i just stay away from tools that are dangerous in a way that they can very quickly cause my image to break colin aces uh versus alexa white comet which one do you use most for your hdr delivery i use alexa white comet more i i have to put my hand on heart and say that i do get better results with alexa white gamut um now i i again i'm a colorist i don't care you know i work in aces alexa whatever you know i'm super easy with that i don't mind you know i'm not married to any one of those so i can totally work with whatever works best for me so don't despair if you don't get results you know with with one you know you can always switch to another in any case but personally i'm i i'm i get better things i just feel like i'm more comfortable working with alexa light comet uh okay one sec one second colin diego uh hi dado the dctl happens in the cct part of aces or between the cct and rrt well diego everything is then cct and that and the dctl is in cct and it happens before the rrt you're right it happens before the rnt so basically you go from cct to cct that's really what it's dctl is doing in asus can we use lab no we can't um what if netflix demands dolby vision hdr well actually before you start doing dolby vision and they demand dolby vision let's face it you know you have to do grading first so what you do is you have to go and grade your hdr master first you know using this method and then go through dolby vision metadata trimming and everything else so normally what we do is we kind of grade it as if this is just a hdr project and then only on the last day or for a half a day we do a trim pass and metadata pass that's that's the only difference so i will have a by the way a micro degree on that as well so you can really learn how to really you know love dolby vision and and not really have any problems with that um tarik where do you place your final show lat compound node in your note 3 well you know the beauty is this tarik because we are working in scene referred color space i place it straight away at the beginning and doesn't matter basically because it doesn't have to sit at the end like it is in the other workflows it can sit anyway because it does seem referred to scene referred so there is no point in putting it at the end or you know i put it usually as at the beginning somewhere second note and it's absolutely fine like that liosh the highlight saturation problem i use academy fix highlight ctl applying on the file level also gamut limiter on note level okay so uh-huh and but sometimes doesn't work the way i like so if you have a special treatment i have actually lyash you know the problem with that um academy fix highlight is that it's fixed right it's kind of you know you apply it and it just fixes it um and and basically that's the problem now in terms of the gamut so you know there is a new work group created at the academy that is going to look into this gamut issue and we have some great people there i actually like you know don't ever even want to get involved in it because some of these guys are just absolutely amazing um and they will try to find a way how to do it but lions let me just show you what i do if i if i have an issue i go this look i come to my i open a node i go to tab number two and here you have this highlight and check this out and basically with that you can just pull beautifully just to highlight down and i really really love this this is normally my way of of kind of you know controlling you know this kind of picky highlight especially an hdr project um and and i don't think there is anything better than this actually there is nothing better for highlight in any other tool out there than this i have to say that this is the quickest and best way how to fix the highlights uh let's go back so um uh-huh uh liosh that's good i have to see what happened with what happened because you're scrolling there's so many questions now guys wait wait wait wait wait i'm i'm just i have to catch up with you should i set up anything in camera sitting for aces not too sure leave camera alone you know by the way we have some great luts um and you can download them from isis you know foreign camera if you want to use standard just asus transforms but uh you know i think we're gonna do like a class on on grading on set and and and you're gonna see how we can do this in much nicer fashion you know then than just applying a baked inlet um sean asked me would you ever use aces by choice as a colorist even the production didn't establish the workload yes i would you know sean like um i know that asus look and if somebody comes with the right project and i know that i can just switch it to asus and get it looking instant that's the production for it and and you know what i did many aces grades that i didn't even tell clients and working in aces because you know there's little fear like you say oh we're working nice and they're like ah they're a little bit worried you know no no listen you just switch it on and you work and your grade and they love they love the image who cares if it's aces or not this is just relax about it and just do it that's the way how i do workflow for handling of color to vfx synesis uh iron it's exactly the same way how i did the gun so exactly like that you just basically switch off the output transform you render that as exr files and you send it to visual effects where can you find information how to build custom idt's for example missing has looked to this comma 3 using already existing asus data hakeem um you know uh i think this is you gave me just a great idea for maybe another little workshop i'm going to do and show you how to do that if there if you can't find it anywhere maybe it's a it's a good idea for us to do it so i'll write myself down and um maybe you know next time i'm going to talk about making idt's i have to see how many people are really interested in that does the asus workflow affect how a dp captures the image absolutely not you know mike nothing changes for the dp absolutely nothing this is just simply the way how we're going to you know get the post to work a little bit better red eye pictures stefan here from germany hello stefan i'd like to get a bit more in depth into how you would deal with lut when using aces what if they need a lot of the look done in asus for a shogun monitor ah stefan i understand so you basically want to work in aces but you want to bake a lot that you can just load into a device i this is a probably you know what i'm definitely gonna do a class on that so keep an eye um and i'm gonna definitely put it how to build luts in aces that are baking in the whole asus pipeline including the creative part because if you were to do it now it wouldn't work in davinci but there is actually way how to do it so um stefan i'm going to do a tutorial on that that's a very good question it takes like a good half an hour to explain it so i don't think i can do it right now nicolas ramos is it worth working in slot 3 for example with aces yeah totally nicolas you have to be in s look 3 if you want to get a good image in asus so you should use it as a rule and then basically craig i noticed when i quickly experimented with aces it seems soft and organic and produces the image i like it can you describe the creative feel of creating an asus from your experience craig i actually um i find that i get a little more room to play you know image is just so much more responsive and it breaks less i can push it and and and i don't see anything going wrong with it image and and that especially with cameras that don't have a very good logarithmic so sometimes i use like i use asus like if somebody bring me some canon footage or some you know black magic footage or something like that i go like you know what i know that i can go that little extra with with asus and and and i really like it now whether it's organic i don't know i wouldn't describe it as organic for me organic is usually something that feels a little analog and stuff like that so so it's not 100 organic way of doing it but i i would say it does have a a a a softer feel when i'm moving dials i just feel like i have a little bit more room and more control um then i have a rat what about s look 3 since it doesn't have those camera metadata in it uh is it necessary consider working in asus no no you can work in slot 3. no problem uh i don't know if i understood the question correctly but i think um okay navin you should go and get the class and learn a little bit about the stuff so sanji do you think when asus 1.2 gets implemented to davinci when they make the wheels behave okay i don't know when the wheels will behave but i hope that it's going to get implemented soon it's already implemented in color front in in in a software called a rain and it's implemented in comfort live grade so um you know they are uh did i say cola front as well so i wouldn't i would imagine it's gonna not take very long before so we see it in davinci davinci is fantastic in making these things down quickly is there any loss working with davinci yrgb using color lab hdr when working directly with asus not loss at all in opposite uh tom what do you think about using asus inside davinci rgb color space i i actually have tried to do this in a few times and i don't know whether this is really right way of doing it to be honest with you but you know quickly switching to y rgb like i showed you it it it's more kind of a way how i would do it in the parametric method for the low mid and high dc tiles do you have a preserved luma checked no i don't i don't use preserve luma uh grading on set classes would be awesome okay we'll do that you have now at the moment daily's colorist which is as close to set as you can get will you make another remote class color grading feature films in the future because one to four june account i will probably you know i think i will um you have to ask ivana our producer she decides on that schedule and depending on my availability when things are going to be happening but at the moment i can only do one class a month or so so i have other you know commitments um but i hope to you know definitely maybe do another one in the future okay very good guys i think i'm just looking at time we run out a little bit our slot so i'm sure you have lots of more questions coming um what by all means um you know use our facebook page uh you know color training on facebook and i'm super happy to um you know help you there um and um we're gonna be back soon i hope already next week we will announce like probably at the beginning of the week if i'm gonna do it one more like this one um and um yeah i mean thank you for showing up you know i think it is great to see all here this is the reason why we do it why we love it i think next time i'm just gonna go and put a little bit more time uh for youth to question and to for us to be able to chat and answer all of those things i want to say one last hi to my friend stuart and so happy to basically see you here stuart let me see what your message is because it's rolling over quickly on playback i have a uh stuart email me directly with any of that and i'll help you i have a versions maybe that can you know help you the same stuff you have to have a 1.5 for any uh mac computer because of the metal adaptation so um just make sure you have contacted me so that i can send you 1.5 that you can download that uh grazie emily from italy from lucca hey jasper bye everybody thank you so much for being part of this and you know guys stay safe you know and stay happy um so happy to see you here that this community is thriving and you know let me know if there is anything you know you want to see in particular i'll check out you know this chat a little bit later on and yeah i can't wait to be live again soon hopefully we're going to be doing it next week and in the meantime you know have fun and see you soon

Channel: Colour Training

Views: 28,311

Keywords: davinci resolve, color grading, frame io, reddigitalcinema

Id: 1tH96qIqxus

Length: 73min 44sec (4424 seconds)

Published: Thu May 21 2020