How to Correct Log & HLG Footage & Make LUTs

okay it says we're live hey everybody let me just uh move a couple things around here to make sure you can see everything that's going on good got the chat there this looks good we're not dropping any frames perfect okay so i assume that everything is okay check check audio check uh banana all right so i've got a couple things i want to say here for people that are watching this after the fact um [Music] but it looks like we are in action okay so yeah we're doing this live right now if you're watching this video after the fact because it showed up in your feed and like why is this guy staring off and rambling this is a live stream but i've got a couple notes i want to hit at the beginning to make this easier for everybody so and you guys can share this if people join the stream afterwards uh you know moderators or whoever else point them in certain directions so in the description to this video there's a few links already there's a link for samples that we'll be talking about during this video and then also two links to the previous videos that's for people that are watching this after the fact if i reference stuff we talked about before you can use those links one is on sort of log correcting mistakes which is the most recent one which this video is going to be addressing more directly and then the previous one is where i did like color matching and color correcting with like hue cue curves and saturation curves and that kind of thing both are good to watch if you want to learn more um okay then yeah samples in the description they're all tiff files i didn't include video footage because i shoot a lot of my stuff in like raw and dnx and their massive files so what i did is in resolve i exported high bit depth tip tiff exports from resolve and then put them on a google drive link so you can download the tiff files which are big on their own but they should give you the same result if you want to play around with these and you know make your own little log grades uh they should still work when doing them with tiff files i know tiff works and resolve i don't know if it works you want to work on your exhaust pipe out there buddy i know that tiff works in resolve i'm not sure if it works in final cut or premiere which brings me to my next point which is that if there's anybody that's like really good at premiere color grading or really good final cut color grading and you want to provide translations to some of the things that i'm saying of how that would work i'd love to see that in the comments or in the chat letting people know you know the relevant name of a tool or something like that i'm going to do things on resolve in this but don't be discouraged a lot of the stuff that we're going to do and resolve is going to be available in other programs and i'm also going to try and provide some solutions for basically just any nle that you're working with but that being said i do highly recommend using resolve for this kind of work it's definitely better provides better results better tuned all that not sponsored by blackmagic i don't have any reason to say that i switched and it was the same kind of difficult slog as it would be for anybody else trying to like convert their workflow but i'm glad that i did because it's made my life easier in the long run and the editing on it is pretty good now too that was the thing i was like i like the color but i don't know about the editing once you get used to editing it's really fast and optimize your hardware well cool uh yep okay so now the actual stuff that i want to show you i've got a couple of those things written down too so i don't forget um okay i'm just gonna say hello in the chat and we'll jump right into it hello to everybody thank you all for joining the live stream here i've got a super chat here from pubmets phil hey gerald thank you for this live stream this is something i'm very interested in perfect um the only thing that is going to be somewhat limiting in this video but i'm happy to see if you know we can make it work somehow is that it's difficult to provide like tons of different possible shooting scenarios so i'm going to try and talk super broad but also use cases of how you could apply this on set when you don't you're not you know filming charts and in perfect white balanced environments whatever so we'll talk about some of the fundamentals but then we'll talk about how you can do this on set easily because that was one of the biggest questions so don't be alarmed the samples are just charts and we're gonna be talking about charts a lot of the questions i got asked was like how like should i buy a 1300 chart or whatever just to do this no no and and i in those previous videos i've also done it with just a passport video color checker from x-ray but those can be too expensive for some budgets as well so if you have the money to get a good chart get it and makes your life easier if you don't get yourself just like an 18 gray card on amazon for like 10 bucks or whatever but you will need some kind of you know tool if you will to give you a baseline for exposure outside of that we could say skin tone but skin tones vary as well so it can be kind of difficult anyway we're gonna try to apply some practical aspects to this anyway uh thank you for your generosity phil uh as far as super chats guys you don't need to worry about it so much for this video because i don't know that i'm gonna be that in tune with the chat but i'm gonna try my best and i've got my moderators here let me know when there are super chats but i don't want you to drop a super chat and then i get it gets ignored and then you know you're disappointed whatever but i will try my best to keep up with it but this is free content for people to learn from okay so i've got a setup here so if i press 2 on my adam mini it should bring up resolve and if i press on here it should show my stupid face over there and resolve hi okay so let's go over what we're working with here um i'm assuming i didn't like thoroughly check the chat but i'm assuming that nobody's saying we can't hear you or whatever right okay your black magic is flickering what does that even mean my atom are you talking about this thing yeah yeah that's just a whole led thing not relevant let's stick to the content guys um okay so sli versus hlg differences we're definitely gonna get into that okay all right so we got resolve open here these the samples that i put in that folder that you can get in the description the first three are s-log two but again this is any log you can apply these ideas to so we got slog2 i did some overexposure so this is 0 ev is what it says in the description that means that it's exposed by the book the way the manufacturer wants which in this case is 32 i believe middle gray which means that your your middle gray which if you had an 18 gray card just the gray card you would want that to show up with 32 zebras let's say or 32 percent on the waveform and then you would get an exposure like this and then we did one stop over that and two stops over that and they're marked as plus one ev and plus two ev in the folder then we've got s log three which is exposed to forty one percent so your eighteen percent great card make sure that's nothing to do with the live stream it's probably just youtube telling me i'm live yep uh your 18 percent uh grade card should have 41 zebras or 41 on the waveform you get an exposure like this this is by the book and then we got one stop over that and two steps over that and then we've got hlg now this is supposed to be exposed by the book it might be a third of a stop under i called it zero ev but it might be just a hair underexposed um and then we've got one stop over that and then we've got just sort of a rec 709 full contrast yeah i've got a hair on me a rec 709 full contrast one here to give us sort of a an idea of what i guess like what an end result would be when transformed and that's kind of what we're going to try to get to some of the questions i got asked in the previous video was how do you get this x to show up this is not a setting that you turn on in your waveform this x is created by this 11 step grayscale on the chart so you actually need to have a chart with that to see the x i only did this for demonstrative purposes in the previous video i think some people thought i was saying you got to buy this chart in order to grade log you don't i'm using this chart it does make your life easier if you want to make like your own luts and stuff like that this chart would be like if it's a business for you this is a good investment for that lut making business but if you it sounds like the laptop might be picking up noise i'm trying to do all this on one laptop for fun too so i'm streaming right out of here i have resolve open color grading in here i'm doing the aid of mini management stuff so we'll see we'll see how this laptop handles anyway uh the chart is a good investment if you plan on making luts but you don't need to spend this money a chart just a grade log and that's kind of something i use the chart to demonstrate the problems in the previous video but i'm going to show you how to solve the problems we're going to use the chart to see how they've been solved but you don't need the chart in order to do this hopefully that makes sense and also there was a question with regarding the x of why the one side is higher than the other side and that just has to do with i didn't light the chart perfectly even there's a little bit of a brighter the light's hitting it a little bit more on the right side than the left side so this white chip is just coming up a little bit if i let it perfectly get on and it was done correctly it should be exactly the same on both sides because both of those white chips are the same intensity cool let me just check the chat make sure everybody's good up to this point exactly aaron said the same thing streaming and obs for the laptop well color grading is a good demo i see a superchat here so i'll just read it real quick thank you for doing this drill any chance you could touch on grading a raw image such as from red so grading a raw image isn't actually that much different because generally first you have to choose the the way that you're going to present the raw image i don't have a raw file in here but let's say that we did this over in resolve you would choose this and say we had blackmagic ron here you'd have to choose how you're going to decode the raw so if you chose log then you would apply the same log grading principles if you chose like a rec 709 decoding well then you wouldn't it would already be done there's no raw picture profile if that makes sense you always have to put it into a different picture profile in order to develop your raw and then you grade that picture profile the same way you would if you had shot in that picture profile from the get-go hopefully that makes sense okay so let's start off with a couple things in the previous video i was talking a lot about how contrast how just adding contrast doesn't correct the image correctly which is why you should be weary of it especially when it comes to luminance values and what i did is i showed you the waveform here in the bottom right hand corner and the way the x is positioned and then i showed you like a rec709 image here and said that if we take this image and we just add contrast that we can't make the x and obviously this is a terrible demonstration of contrast but let's actually like let's try to do it a little bit nicer okay so i was trying to demonstrate that adding contrast does not make your image look like the rec79 image it's kind of looks like an x i guess but it's not it's not right um now with that though there was other people that chimed in on different ways you could achieve a more sort of like linear expansion of your log image and i didn't cover those because i didn't think that they were available in premiere and stuff so i try to choose the things that would be more obvious across all the different nles but i would like to demonstrate those things for people that understand it because they were fair points the first one is that let me reset this one is that resolve allows you to change the way that your contrast is applied so typically it's an s curve which is why if you jack this up you'll see that near the top it starts to sort of curve away and at the bottom we can't really see it because it's pushed really down but it's a classic s curve which would be the same idea and the pivot would be your sort of pivoting point of that so if we demonstrate this on the curve it would be like this you would have you know sort of like an s curve and your pivot would be adjusting sort of how how deep and how high you're plunging the curve that's if you have it set up like an s curve let me reset that now if you go into file project settings i think it is and then general options somewhere in here yeah use s-curve for contrast as an option if we disable that and now we hit save now if we apply contrast it doesn't do an s curve you see how it stays kind of straight all along so what we could do is a combination between offset and contrast we could kind of get ourselves there a little bit but without this x chart it's going to be very difficult to know if you're doing the right combination of it which is again why i don't recommend this approach but i will demonstrate it so if we increase the offset we can move the entire x up and let's say we stick that by the way your middle gray for finished image should be somewhere around 45 i usually say bring it just below the midline because again it's hard to know exactly where 45 is depending on the nle that you're using um but just below the midline so somewhere between 43 to 47 is sort of like where you want to be so if we look at this waveform here 512 on a 10-bit scale is halfway because there's a thousand and 24 values in 10-bit halfway between that is 512. if you're using an 8-bit scale it goes from 0-255 there's 256 values so you want to shoot that 128 marker just a little bit below that so we have our middle gray just a little bit below halfway now let's expand our contrast with with that s-curve turned off so it shouldn't sort of curve out the edges on us and we can get a little bit of a better one let's compare this direct 709 actually brexit has even more contrast so finesse it just a little bit but something like that and yes you do you do get a closer result it's not going to be perfect because we're doing this manually but it is a closer result so to the people who asked yes i was using the s-curve contrast yes turning that off does make it easier but in premiere the default contrast slider is an s-curve contrast slider because generally they think that's what you're going for anywhere you want a nice s curve in your contrast so that's the default in most nles but good call there are some other mentions and there's also some other ways to do this too so let's go back in i'm going to put that contrast back to s-curve because i like to keep it as close to premiere as possible for the contrast so that i can duplicate and replicate things if i want but let's talk about just adjusting your sort of limits on the curve this is another way you could do it linearly if you drag this top point on a curve and you pull it in photographers will know about this you can pull it in a straight in a linear fashion up it doesn't curve off weird on you and then you do the same thing on the bottom and that's another way to sort of fill out your histogram if this was photography is by just limiting this line and then if you wanted you could even make a little s curve inside of here like that but that is another method and that method also works but again how do you know how far and what to do with that if you don't have one of these x charts because this is only good again if you're making luts yourself then the last method which i don't think a lot of people really use this one is that you can right click on the node so let me show you what happens if we apply gain uh gain is generally not used well it's you can use it on log but there's actually log controls over here which have highlight midtone and shadow controls which do operate in a bit more sort of like straightforward fashion but the gain control you can see as we increase it it it the gain gamma and lift sort of share ranges so it's not as like precise as separating things and it can operate in sort of a non-linear way because of the fact that it shares ranges so maybe you're increasing your mid-tone values now because your mids are higher than you wanted to be so they're actually considered highlights so they're getting pulled up so you have to deal with that and usually end up sort of finessing early i'll put my lift down or adjust my gamma and gain and then eventually go oh that's good right and then we look at rec709 we go no ours is more curved so it works but there's a little trick you can do which is instead of doing that if you right click on the note itself and choose where is it here gamma you can change the gamma to linear and again i don't recommend this for a lot of applications but now if we apply a gain you can see that it doesn't do what it did before it just kind of jumped on me there it just kind of scales it up a lot more linearly because we changed and look what happens to if we lower the lift and stuff i'm not trying to do like small increments here but i never liked these using a mouse on those toggles there so take a look at this waveform and now watch what happens when i change it back from linear to just the timeline gamma it's crazy to whack so that gives an idea of how it's another method to sort of like linearly scale up your log image but again so i think i covered all those i want to make sure those were a lot of the questions that were asked just broke my pencil lid so she said i don't know what that means curve sliding s-curve making the nodes linear okay but now let's talk about actually you know one-step processes that don't require you to finesse things and require chart again the only reason why i was doing this whole chart thing was to demonstrate the i don't know inadequacies and different techniques for doing it because none of these methods we just approached even deal with the color primaries or the correct saturation or the color space and that's the other thing you'll notice in those samples i gave you i mentioned both the gamma which i said xlr s3 and hlg but also the gamut the color the the color space that we're in so to speak so with the s-log two files i'm using s gamut three cine i'm also doing that for slog3 i like skm at 3 cine better for my taste but i think the default slog2 on sony cameras is s log 2 s gamut that's gamut 2 whatever it's not s game at 3 cine is the point um okay just making sure that perfect okay so moving right along the um the color has to be adapted or converted or transformed as well now there's a bunch of ways to go about this some of them you can do i think probably more exclusively to resolve and some you can do everywhere and i'm going to show you both of those so first off we talked about luts and i said get the lut from the manufacturer a lot of people are saying i don't know how to get the leftover manufacturer so let's see if i can show you how to do that this is lut calc we'll talk about that in a minute so let's go and type in sony official luts i don't know so lut library i think that's actually the one i'm just going to show you a demonstration of how to get the luts i'm not saying this is the only way to do it but this is a way that you can do it in premiere or whatever because you're getting off the internet so if you come down here the actually click on sony luts and then download sony look profiles and get out of here with the cookie policy whatever um so there's a summary here that you can check out and if you want it explains how there's like four like looks that come in the package sorry there's four looks that come in the package and uh they explain what the different ones are and then the yeah and then you have the cube files down here so s gamut for s log 2 s cam at 3 cine for slog 3. so because i shot an s game at 3 cindy frank 2 i probably couldn't really use these but if you shoot according to the manufacturer's guide so for these you'd have to shoot at 32 percent shoot an s-log 2 and shoot an s-gamut and then you could download these cube files from here and the one that's lc709a is probably the most popular one and then you just drop that on your footage i might still have those in resolve so let me just do a quick check uh i do so s log 2 s gamut to lc709 type a and then i have the one for slog3 so again this one won't work correctly so let's jump over to slog3 and i'll use the s-log 3 s gamma 3 cine to lc 709 type a the type a part i think just refers to the level of contrast in it maybe um it says it in that pdf though if you want to read more about it so we'll drop it in here which is basically applying it to the footage and that's going to do a few things for us that's going to correct our color primaries to well sort of a rec7 it's lc79 but that's just kind of like a flavor on rec 709 but it's still you're still now in a 709 gamma and color space and it also sort of fixes a bit of our little x problem there and then you get to i guess choose how punch you want the image from here and you would continue your grading from this point on so that's applying a lot from the manufacturer pretty much all of them like all the different brands supply these and you can download them and you can apply them in just this way just make sure that you're matching it up correctly and that you're following does it fly in here it's driving me nuts missed them um just make sure that you're following the the correct exposure that your color and that your gamma are what they're requiring for that otherwise you're just adding more of a headache okay moving on to so that's manufacture luts now lut calc is a way that will work for everybody so let's should we do that first because it's good for everything or should we talk about transforms okay let's let's do let calc let's say that you're like me and you have this one where you shot with the the right gamma where s log 2 but we changed the color space to s game at 3 cine and the manufacturer luts don't work and we don't have an 11 step chart in order to like try and correct it ourselves and we don't want to play with any of that it's just a shot of a person on a beach and the lut that we apply doesn't work so how do we make our own well there's a website let me close this called lut calc which is really awesome for just sort of like a free tool that's out there and there's extensions you can do in your browser there's different ways but this is the online portal one which is just free and easy to use just go there and use it and they've got some cameras built in up here but let's just go to generic which lets us if you're not using one of the cameras provided the reason why you could use these cameras is that they have like cine cine ei compensation and the best part is that if you have your exposure like wrong i said i said you have to expose by the manufacturers well well if you have your exposure exposure too high you can also do stop correction in here and i'll demonstrate that on the curve over here let me get my face let me move my face a little bit here so let's put the y position up yeah up is probably better put myself in the top corner and i'll move myself over a little bit too there now we can see pretty much everything so so here we go the we're talking when it says rec gammon gamut that's what you recorded in so we recorded an s log three you can see there's a whole bunch of different gammas this is think of this as like your um your your luminance curve your like exposure curve if you will and then gamut would be the colors which colors how color is supposed to be represented where the primaries are what red is that kind of thing um that's your gamut and we recorded so for that first one we did slog 2 with s gamut 3 cine and our output gamma if we wanted to be converting to rec 709 that's where we would choose this so there's a lot of different output gammas that you can use though like if you wanted to convert it to something else like maybe you wanted to convert it to like an alexa gamma and then apply an alexa lut you could do that because you can if you have a lut that you really like you can convert your footage to the camera that that luts for and then apply that light so if you if you had a workflow for panasonic all figured out you could shoot on sony convert it to panasonic and then use your panasonic workflow but if you're just trying to do something finished we'll do rec 709 800 which is a bit of a wider dynamic range rec 709 which still gives you some room to play in post and then for output gamma we'll choose rectangle nine again so we're going from s log to s gamma three setting to to both rex and nine there's a bunch of tools below here that you can use to adjust things as you can see highlight black level knee etc i wouldn't bother with these if you're just trying to do a straight up conversion but you can if you want like if you expand this one for instance and change the highlight level you can choose what 90 reflected white which on the chart is those white chips how it represents over here on the curve you can you can tweak it to your desire now let's take a look at this curve so in is slog2 which is represented by the red line and then out is rec79 that's what we're doing to it with the blue line but let's say that we shot incorrectly if we go plus one plus two plus three plus four so you can see how stop correction is going to affect the output curve and you can go the other way as well so you can go down so that's what you can do if you're not at the correct exposure and then you can create a custom name for the file you can click auto title and i'll call like slog2 s game of three cindy direct799 with 800 so it like gives you like a name for it and then if you're grading with it in resolve or in premiere or something like that then you want to choose grading lut and general cube and i would turn off the clipping if you're going straight to delivery the reason why you could put these clips on is so that the you're doing the clipping there the blacks and the whites are clipped off and then you're within the range for delivery but if you want to still be able to finesse it in post a little bit going unclipped is better because then you're not clipping the data you can decide and post where your upper and lower limits are going to be it's probably the better way to do it and your input and output range is important as well just if you're shooting full uh maybe if you're shooting log in camera your input range is probably 109 and if you're going to be editing the thing afterwards leave it at 109 as well uh and then i know the resolve supports 65 type cube files but depending on your nle you might have to drop it down to 33 and if you're going into a monitoring lot usually you can't use 65 you have to use like 33. so once we've done all that just i'm just giving a demonstration of what kelp for some reason there's an instruction video from the maker of this you can watch as well but we'll click generate lut and it will make it and we'll save it to our desktop here and we'll keep the same file name then you have to load that lot into your nle which will dissolve i found the fastest way is actually to right click on luts and choose open file location and i have a folder here called let calc which will be for the ones that we drop in there and let me just drop it in like that and now we can right click and choose refresh and now we have our lut lut calc folder with that lut in it now if we take that and drop it down here it does the correction and then you can see nothing crazy happened it made our x nice and we can still we still have headroom if we want to expand this as you can see we can bring it down and make it we can make it more contrasty basically is what i'm trying to say and if we look at our vector scope then actually are these set up right now i'm going to go two times zoom the skin tone indicator that'll make a lot easier to see so our vectorscope we can see that our saturation is a little bit low um but our colors are lining up correctly with the boxes and our skin tones are on the skin tone line and so everything has been converted well for us and then if we wanted we could just you know something basically add another node and now you can just add contrast that thing that we talked about the previous video now you can just add contrast so we could you know increase the contrast there and scoop the pivot up a little bit for getting that middle gray like i said just below the midline and there we go we've got a finished image and we don't need to see the chart we have the chart we can see it but we don't need to see it because we know what we shot so with luck calc we went we shot slog2 with s game at three cine we shot for our 18 gray was correctly exposed so we don't need to have an exposure compensation and again if you just join in the stream 18 great you can literally just buy like a 10 card on amazon it'll probably get you most of the way there set your zebras or your waveform to target the correct exposure which restlog 2 is like 32 but you should probably overexpose a little bit [Music] and then go to let calc generate it and then drop it in you can drop this in in premiere and final cut in resolve and there you go image good to go right now there is an easier way to do this um if you have resolve i don't know if you can do this easier in premiere or in final cut again i'm not i used to use premiere a lot but i don't know i've kind of like forgotten a lot of instances switching to resolve and i know they've added a lot of tools and final cut i've just never really been well versed in so i'm going to reset everything we've got going on here and what i'm going to do now is we're going to use a color space transform there's two ways to do this as well the best thing about resolves there's 100 ways to do everything and uh that was going to be sort of like my alternative title to this because whenever you make a video on working and resolve you always get comments of like i do it this way you could do it that way you can do it this way the results often end up the same but there's just so many ways to approach things so right now we're talking about sort of managing color in resolve which has a lot of tools for it i think a color space transform is probably the easiest way to understand especially if you just followed what we did with lut calc which is just a way to convert things it's kind of like that but built-in resolve so if we go to open effects and choose color space transform from our resolve effects color throw that on our node instead now i'm only using one node to demonstrate this there is a node workflow and this is true for premiere as well you don't want to necessarily do things that are destructive before you do things that are going to be artistic well unless they're minor because let me demonstrate that first actually because it's a good little lesson here uh those sony lots that we were talking about let's go over to the s-log 3-1 where we have the lut for in sony so let's drop that lut on here now if let's say that we had overexposed our image early on so we're going to add a node before and with resolve it works kind of like how premiere works top to bottom this one works left to right whatever happens left happens first and it's prioritized like that if you load a bunch of stuff onto the same node resolve has an internal way of prioritizing that so maybe it does saturation before contrast whatever but it's easier if you break it up in nodes so you can see what's going on where and you can disable them or delete them as they go so let's say that we really over expose this image for for slog3 like we're not actually clipping anywhere even though it kind of looks like it but you know we shot too hot for s-log and then we pop on this lut well now the lut is expecting to increase the exposure because it's expected to get 41 middle grade but we gave it what did we give it like 70 middle gray so it's like it blew it out right and i think i'm pretty sure we're hard clipped now well if we add a new node and say we go oh i just got to recover those highlights so we go to bring these down like that we actually had decent success with it but now let's say that we because it's actually it's actually quite hard to clip slog3 um which is a great thing about it so now let's see if we can recover this one okay so i had to really look at what i had to do this exposure here i had to put middle gray at like 90 in order to now if you had a light source or a specular highlight or the sky it would have clipped easier but this is a you know evenly lit mostly evenly lit chart so it worked a little better so we've got crazy overexposed image which right now we could correct it if we added another node we could just reverse that and bring it back down and we're fine but if we applied the lut first because luts even the manufacturer lots they're destructive the let's boosting that up converting it transforming it whatever now with our next node we can't it doesn't matter what we do even if we bring the exposure all the way down here these white values are gone there and our cyan is mostly gone as well why is obs flashing that was trippy did you see that when i go full screen and back does it break the stream at all is it fine let me just have a quick peek at that so this is me i'm just watching the stream back i want to see what you guys see okay it just flashes and then it goes full screen it's fine obs was flashing when i did that so i wanted to make sure that uh that we don't break it okay that's what the chat is saying okay i see we're on topic down there all right and uh one second here cool okay resolve all right so we can't bring it back the lut is destructive i'm going to show you how you can how the advantage of transforms is that they're not but if you make a cube file with lut calc which is what we just did let's reset all this and go over to slog2 file so what is this i don't know what we have going on here so i'm going to just reset that but if we do the exact same demonstration but here with slog2 so we'll take our exposure up to crazy town and then we apply that it's like two conversion that we made with let calc and then come down here and try to fix it we have the same issue maybe i went a bit overboard with the exposure but okay so we have the same issue there's no way to bring those highlights back we can try by reversing the gain they're just gone so that would be i guess the disadvantage of let calc you can use it in all platforms and it's great but it is destructive just like luts from the manufacturer they're luts lut calc is making a lot for you it's a great tool but it's still a lot so it's still destructive okay now we're talking about color space transforms so we'll do that same three node operation but in the middle we will go open effects and we'll add a color space transform this will bring up a new toolbox over here which is very similar to what we just did with let calc you have your input color space which for this one's slog3 so we're going to scroll down same thing too you can convert it to other ones if you want to grade it differently so we have s gamut 3 cine and our input gamma is s log 3. i got those backwards when i just said a minute ago but now for output color space and output gamma you can see it's pretty much just instantly looks great and that's because we're using timeline which is the other way that you could do this if you didn't want to do it clip by clip node by node you can go to file project settings and you can do it in here under color management you see how you have timeline color space which why is that 2.2 it should be 2.4 hopefully that wasn't a problem if you if you use 2.2 and then you like grade it a certain way and then put it up to youtube which i think was expecting 2.4 it can look contrast or whatever but anyway i must have played around with this and then didn't put it back anyway you can also come in here and choose color managed and then you can do the exact same controls you can go input color space timeline color space output color space so you can make your whole project basically without needing to do these for each clip or whatever you could just be my entire project is slog3s game at three cine and i want all of that to be rec709 and that's that or it could be blackmagic raw or blackmagic film and i want that to be extended video you could just make the whole the whole enchilada work up in here but because i know that our timeline color space is rec 79 gamma 2.4 then when and our output is gamma 2.4 as well then when we choose use timeline we're just automatically getting rec79 2.4 so we don't have to choose it but if you did choose the gamma for that be careful about one in here so you see you have gamma 2.2 gamma 2.4 if we choose gamma 2.4 it doesn't change and if we choose 2.2 it does change a little bit obviously but also look out for rec 709 there's rec 79 or x79a if we choose them you see how they get much darker i believe that's because it's using rec 709 scene instead of 2.2 or 2.4 which would be the same one this is just a theory i could be wrong but if you look in the project one you see how you have the option for rec79 scene that is about similar in in darkness to the one to the rec79 over here in output gamma so i think that's the one that's using so i would use gamma 2.4 is what i would use or use timeline if you're set to that okay anyway so that's the color space transform and then depending on what your shot is like you might want to enable tone mapping for this one we're actually fine because again we shot exactly correct like exposure but again let's say that our exposure was a bit hat you see how we go way out of the waveform we're in like just crazy clipped well if we enable tone mapping to luminance mapping well now that's reeled back in and then we can play with it afterwards and the same thing goes for the gamut mapping down here it's on none if our saturation maybe had like a red channel that was going to clip or something funky like that you could i just missed it i'm going to get that guy but if you enable saturation mapping then you can control your saturation max and your knee and save those aspects from like being clipped out by applying the transform how make sure that's not related i've got some people messaging me if i'm missing something oh thanks my i was covering the cst live streaming's tough okay let me move that sorry about that guys i had that up for lut calc and then i didn't move it back it's okay it'll just be a stupid moment on the stream thank you to i think uh the couple for dennis and some other people in the moderators let me know about that all right is that okay maybe we'll just scale it down a little bit so we can see everything i'm experimenting with this i haven't really ever like moved this on the fly using this updated uh thing okay that's all right so i'll just go over that real quick so everything i just said still applies um you just weren't able to see it obviously so this is stupid so basically input color space look at this thing when you saw it in the timeline it's the same way that's listed over here because i'm assuming you were stable to see my project settings right even though my window up is the chat making fun of me yeah well deserved okay so we have our input and our input here and then our outputs as timeline and what i was showing is i said that uh be careful if you use the gamma of rec 709 because it makes it darker because i think that's the one that's using scene so you could use gamma 2.4 or use timeline if it's set to 2.4 anyway and then i was showing the luminance mapping so this was set to none and i had the first node of sort of overexposing the image well now if you set this to luminance mapping you can see the waveform it brings it back in and then down here i was showing uh none for gamut you can switch it to saturation mapping and then you could control like if i change saturation max here you see how the image is a lot less saturated and i can crank it up so it gives you a little bit more control over that you don't always need these options if your image just happens to be shot to spec but how often does that happen where you like nail everything perfectly right normally there's some tweaks to be done so this will help you with that but let's say that we don't enable this let me actually just reset these ones so we have an overexposed image and we'll over expose it crazy just like we did with the luts and then we have our color space transform which is converting it to rec 709 and now with our next node we can bring it down and if you look you can actually even though this curve let me let me not use the curve let me do some let me see if i can do it with gain there you can actually bring everything back so the cool thing about using the transform as sort of that step instead of using what you could produce with let calc again let calc is outstanding i'm not complaining about it and it's great if you use premiere um but it is a destructive like it's like once that's on anything that happened up to that point that's baked in now you got to work with what's left over with a transform you don't as you can see you can then pull it back down and that happens whether or not you enable the tone mapping but that's why generally i would say i wouldn't enable tone mapping and gamut mapping until it was our last transform step if you were to do multiple like pathways you could take it from this put into that then put into this and take it into that or whatever don't map things until the last one that way you can still play with everything as you go but it's pretty cool right how you can do with a transform and the same thing obviously applies if you change your entire timeline to a different color space because it couldn't possibly be destructive because if it was then there'd be no node based workflow at that point right so both of those work another thing let me check how we're doing here so csts uh getting luts lut calc color management okay aces i get asked about aces is a lot because i normally just breeze by it instead of this node arrangement so let me just hide those two instead of a color space transform maybe you could just use aces which is essentially the same idea but rather than it being this list of things that you choose from here it's there's a standard if you will that were that's what aces is it's like academy color and coding stand system instead i don't know i'm making it up but it's something like that um so let's get rid of the trans formulas up here there's an aces transform and put that in its place it's very similar you choose your aces version and then for input you have to do the same thing they're just comboed here as to like the exact combination so we're still using the same uh clip so we're still going to be s log 3 s gamma 3 cine so that's our input and our output we can choose rex 709 and there we go and then there's a blend i guess too if you wanted to like control the intensity of your aces application so that's that we just converted it to rec79 it didn't produce the same result as the color space transform that's the thing i guess is that although there's multiple ways to transform not all the transforms produce the exact same result i was saying in resolve you can do everything a thousand ways and you can because now with this next node you could make it look exactly like that color space transformer you could make the color space transform look like this and i'm not going to sit here and tell you which one i like which one is better or worse we could analyze it from based on you know how closely matched we were looking for what we think of our skin tones you know that's up to you really but it's just another way to do it but let's put the destructive test on it so we'll put this first note in again crazy overexposed let's put the second one on and you'll notice that we cannot recover so aces is destructive at least in this array of application and i don't do aces a lot and i'll tell you why it's because for some things it looks great i found that the aces looked really really good for the a7s3 but i find that it looks terrible for the blackmagic pocket 4k so for me i guess it's like having a standardized system only works if everybody's using it and it gets built out and there's like and the standards get enhanced and it gets better and better and you know you have multiple experienced authors playing off each other to like whatever you get the idea if right now we're still there's some that are great but we're still that's my chair by the way i'm not farting on camera there's uh there's still a lot of like flaky asus implementations out there and so i'd rather just use the transform because it's quick and easy and then do it however i want to do it afterwards and if i'm using something that's not resolved i'll just go to lut calc generate one base it on the over under exposure that i did throw it on there move on with my life um if there is a way to make aces non-destructive for this type of testing i i don't know what it is um but uh yeah something to consider anyway as far as you know my opinion on it again there have been some really great aces once so if you like it then go for it now we were talking a bit about converting from one to another and then applying a workflow that way so let's do that just to give an example of that and i suppose you could use aces or colored space transform whatever you want for that so let's say that we've got this node here and let's just add a couple nodes so let's say that we have this footage which is s log 3 s gamma 3 cine but we have a workflow for our i'm about to say this camera brand name but i've been working on it because my my german accent is terrible and uh i was actually i was bugging one of our german viewers so a lot of americans say airy which is not correct and then i say ari which is a bit too like piratey you know ari um so it should be like ari ari ari ari alexa ari alexa anyway i'm just trying to i'm trying to practice i when you say word enough to sound ridiculous right anyway the ari anyway that i can't do a good i can't do a strong r after an h i find it hard anyway we've got a an ari alexa log c direct 79 lut here but we have to have an image that's in log c but we don't we have an image that's in uh s log 3s game at three cine but say that we really like this lut okay then what we can do with this middle note here we're going to leave that first note in case we want to make some exposure changes before we hit it hard with say aces which is then going to bake that in so we'll put on an asus transform in this middle one and we'll go from isolog 3s gamut 3 cine boom to not to rec 709 to log c is what we just said is there there's got to be a log c in here isn't there oh no you can't use asus for this implementation can you because aces is for finishing yeah so scratch that you can but you don't want to you need to use a color space transform there's another reason why color switch transforms rock so we'll put that on here forgot about that so we're gonna go s gamut three cine s log three sorry if that was confusing i was just on the asus mindset again that's another reason asus is just kind of like get things to standard and then be done with it color space transforms are more fun so now for output oh am i blocking something else now what does this say let's see i've got people giving me updates as we go here you wouldn't work inside aces color space just straight going asus rex 709 asus consists of the idt which converts to linear aces which then will transform ac cctv log space which is used for grading at the end it'll be transformed back to linear for vfx for that's a perfect explanation but i don't think that that is something that we should worry about in this video at the moment because we're already probably like an hour deep but thank you dennis uh i thought you were going to comment on my ahi pronunciation anyway so for output color space let's choose the alexa log c thing that we're looking for here so ari alexa i alexa for output color space and then re log c for the gamma so now we basically just went from one log to another if you look that was before that's after before after it doesn't really change a whole lot right i think i think dennis is just trying to be in the live stream so basically ace is transformed asus cct then grading then aces cct to rec 709 there's your the answer to what i just said you have to transform the ace's cct then do the grading then aces cct back to brexit and i again though it seems like a color space transform unless you're required to work in asus if you're just doing this for yourself and just want to make it look good and that's whatever if you're not required to work in aces i think color space transforms have a much more logical workflow and because you can sort of recreate it with lut calc it allows you to apply to more systems and create a more useful thing also you can create luts and resolve i read online maybe this is an earlier version but i read online that you couldn't put your color space transform into the light if you so see uh i'll demonstrate this actually we'll do it at the end of the step i'll then generate a lot out of this and we'll see how it applies okay so we've got a transform here that goes to log c and as i showed you by turning off and on it looks pretty much the same now for our next node we can drop on our arri alexa log c to rec 79 let boom and we get a similar result to when we just transformed straight through but maybe like i said this was your favorite light or you have some tweaks in there you made it you know you love it whatever so that's how you can go and you could really transform across because they're non-destructive you get out a couple in there if you want and something that was pointed out to me again by dennis he's a good great viewer is that we won't be able to demonstrate this because they don't have any raw up right now but i guess blackmagic's been adding if you shoot on blackmagic raw they've been adding more and more conversions to their decode options so rather than just going through the different black magic choices you can now convert your raw directly to like i think panasonic there's like a v log in there there might be like a red one in there and they might be adding more in the future so you can just go right in here and decode to a different uh space and gamma right away without even using color space transform so that's that's pretty wild so you could just make your black magic v log and then just drop on your vlog so that's kind of cool um but otherwise we can do it here with the color space transform so then we added our light on and then again then we could add another node and now we could do some finishing stuff we're like oh yeah we'll make it more contrasty and you know whatever and then now we have essentially a graded re log c image although it's been transformed and there's a lot more to an image than just uh i hate this flashes there's a lot more to an image than just the transform though keep that in mind even if you do transform it and then add a lut what makes an alexa special isn't it's just it's isn't just its gamma it's obviously like the sensor and the actual color encoding on the camera and that kind of thing so you can you can make your workflow make sense there but it's not going to give you you don't magically have an alexa all of a sudden don't let anybody fool you about that uh although we're getting pretty close with some of these cameras lately they're like cheaper cameras so that's pretty cool anyway so let's talk we talked about the whole lot ideas i'm gonna delete this contrast thing so i said if we wanted to make this as a sort of like a one step lut and maybe two we wanted to have it where there's like a baked in no actually i'm not gonna do that because that's weird um let's say that we we have it more saturated as well so okay so we have a more saturated i wouldn't put that there but we'll put it there anyway it's more saturated the color space then transforms it to um to the you know what i'm i keep changing my mind this would be easy to see if we went to rec 709 so let's say that we did a color space transform to exactly what we've just been doing all along s gamma 3 cine slog3 and then at the end we put a little bit of contrast on it people were saying that if you then make this a lut that only the contrast only that last node would be there because color space transforms don't get baked in the lut but i've been finding that they do so if we right click on this the the clip that's has the work done on it we can choose generate let's do a 65 point i'll save it to my desktop and we'll call it test lut and then now i'll reset this so this clip has nothing on it but i will open the file location for luts and i will move the test lut in there just loose and then we'll refresh this and so now we have our test lut and if i drop this on that sure looks to me like the color space transform is in there so we just made we basically just did what let calc does we put in our inputs and outputs and then generated a lot so you can do that all right and resolve but now i could share this a lot with you i could say here you go this is uh converts in this case slog 3sqm370 to uh rec 709 with the contrast that i decided to add and then i could send that to you but as you can see it works fine so i don't know maybe that was an older version of resolve i'm not saying those people like are wrong they're definitely wrong about resolve what am i using i'm using 16.2.5 so as of that version you can do that so that's cool okay let me chime in the chat for a minute see if there's any big things going on and if there's any questions answered and then we'll move into hlg just as a quick comparison for that hopefully this has been helpful up to this point though okay let me put it back on me and turn off two me's and let's jump over here okay so because i was worried about skipping some super chats my lovely moderators have been sending them to me uh independently so uh andy dufresne is a new member thank you much thank you thank you much okay i'm gonna go lay down thanks a lot for that we got one here from straws that says there's always great content thank you very much thank you for generosity hopefully you're still watching this point uh prasad said uh and you're picturing pictures in the way of the inspector and resolve thanks rob uh thank you for the super chat prasad um check your phone silly the phone wasn't given notifications was only giving me the whatsapp notifications i thought it was working if you guys know what's up with your phone that it's almost like it kind of goes to sleep sometimes you don't get notifications then when you pick it up you get eight emails and everything all at once uh we got a super chatter from loras that says thank you for detoxing me from camera conspiracies i feel i'm learning something today gotta love camera conspiracies though and then kaspar said this is misleading if you use aces via the project settings and set the idt's which do not clip this is a quirk of that ofx plug-in okay um again you gotta tone down that language a little bit there casper i replied to your comment uh i personally find it less inviting to want to reply generously to people when they when they start with such sort of like an inflammatory first sentence i even said when i was saying that i was like i'm not sure as far as i know this node based aces workflow does do this i didn't say this is a fact and this is why you shouldn't use aces i said maybe let me know in the comments otherwise so this is misleading is a bit strong of language maybe english isn't your first language but i find it a bit off-putting but you're absolutely correct and i got mentioned over there as well that there are other ways i'm just saying that the thing that i demonstrated there is a fact i demonstrated that if you put aces as an in-between no with the with a rec79 end result that it doesn't work if it's a glitch with the ofx plug-in fair enough so you're suggesting that you should do it via the project settings and set the idt's which do not clip seems reasonable um and then should make his phone vibrate just like okay so if i missed any other super chats let me just check the chat now uh okay so i'm just going to scroll through here so i saw the one there from loris and then there's one here from peter that says it's my birthday and i'm watching this what better present than an undone one thanks g thank you that's what are you sending me money for on your birthday happy birthday to you uh and thanks for joining the stream that's awesome uh okay so the people that are asking about vfx i am not a vfx person i like rarely do stuff like that you know i try i try my best to know as much as i can about different processes but there are dedicated expert channels on visual effects and i wouldn't even want to dabble in that it's also why i don't make videos on aces as you can see my ace's understanding is is very like high level is that the expression like i only kind of know like the top level stuff and i've only all i can ever really all i ever really offer when it comes to aces is i tried the current idt's for said camera and it looks good uh for that camera at this or whatever like if that's your workflow i can be like the asus works well for the sony a7s3 you know what i mean but i'm not i'm not the at that level when it comes to like asus knowledge i don't ever use it um okay so let me jump back in and we'll talk about hlg because that was one of the earlier questions let me check midnotes uh good okay so let's jump back into resolve here let me make sure i'm not blocking anything okay so these were the uh different slog three ones now dealing with over under exposure so this one's two stops over which often overexposure can produce a nice result uh when it comes to noise handling you do have to be careful when you hear people say overexposed to reduce noise if you're shooting in something that's like rec709 like this it doesn't work quite the same way and that's because of the way that information is distributed rick79 usually has like a knee on top even if it's like an auto knee set by your camera and that compresses the highlight information so if you move your scene too high up then the information that maybe was once just going to be not that important highlights well maybe now you're putting more information into that need off portion now when you try to pull it back down you have less information from which to pull down from and then it kind of gets sloppy the advantage of log is that all the stops above middle gray have about the same amount of information so you can shift things around a little bit better and they have more information than some of the really lower stops so if you put but the interesting thing there too is that there's still more information in dark areas of log than there is in like linear raw but still less information than there would be at like middle grade above so under exposing is worse because then you're putting your value why am i why am i doing it this way let me do it this way because then you're putting your valuable information in the in the lowest data amount so that when you try to raise that back up you're expanding from a lower data at your noise floor and it gets terrible if you're shooting up high and you're sharing the same amount of information at every stop then there's not you're not not any one is any better or worse than another one as long as you don't go too crazy with it so that's why overexposure and log is okay over explosion rex 709 is not okay overexposure in raw is okay as well because you are going to convert that probably to log but if you overexpose in raw and then convert directly to x79 you might experience the same kind of problems it just has to do with the way the data is distributed i don't know if you can see i have like weird little like charts here that aren't exactly accurate because they're hand drawn and the exposure won't really work for this but yeah forget it you can't see it just picture a bar graph where each one it doubles that's raw so like you the amount of information that's in the top stop is twice that of the stop down so lots of information but that means that your lowest stop has like no information where log is more like we quickly get information like we quickly ramp up and then try to keep it even as we go across anyway let's go back in here now we were gonna play with this one this is two stops over uh s log three so if we just go straight let's do the color space transform technique so if we add this in if we just go right ahead and convert this to s log three and again i hope that this is now showing you that you don't need this chart i'm not saying dsc labs is great to some of these starts to test and show my videos and stuff like that literally don't buy them again if you want to make luts these will make your life a lot easier but these transforms don't require this like the image could just be black and i could still apply these transforms and know that i'm doing them correctly the only thing is now we're overexposed right so the way that we talked about was that if your image is overexposed like this you can enable tone mapping and then you will enable um saturation mapping as well and then we could add another node because it's non-destructive and we could you know monkey around with it to bring that back down to below middle gray and then we could add like so well we'll do another note here and then we could either do your like little curve approach were you expanding it this way or that way and you could finesse it back in even though our image was actually effectively um overexposed before these steps because we're able to bring it back down and again we have a reasonable image here something else that you can do that is a bit contentious because some people think that it's making a transform no longer accurate is that you can kind of reverse what overexposing log does in the first place and you can do that preemptively again people will tell you not to do this because now your transform's no longer completely accurate and they're not wrong but if you get good at it so to speak then you can keep your luminance values into like a reasonable position so i showed this a little bit on the previous video if i now take my uh my curve here and somebody mentioned too that you can qualify that off the chart but again so if i press there you see that's where middle gray is now it's up here so if we pull this down you see how we're lowering the exposure the reason why you can do this with curves is to keep the kind of smoothness to the shot what resolve has is offset which again if we have a premier final cut translator in there is there like an offset control that works the same way in those nles like i don't feel there is an exposure slider but the exposure slider in my experience works more kind of like what i'm showing here with the curves so you can kind of like reverse the curve that was applied to get the transform to not overexpose anymore does that make sense but the way you can do it and resolve which is easier is to use offset if you watch this x down here as i bring the offset down see how it kind of slides everything down in a more like linear fashion which makes the transform still be reasonable let's do let's compare it by adding the transform to the the no stops over and then this one so with the offset here and here and let me i'll turn off the mapping that's the other reason why we were getting a weird result so here's if you apply the transform to a correctly exposed image here's what happens if you apply it to an image that has been overexposed and then we've adjusted our offset to put you know middle gray in the same position so we don't get the same result we get a contrast image and that's just generally what happens when you overexpose when you shoot with more exposure you're getting more light into the scene and then of course you're going to get a more punchy image just naturally it's like to keep in check just to make sure that i'm not skipping something important here when you mentioned before linear gamut in node using gain works almost exactly like the exposure setting inside the raw tab linear gamma in node using gain works almost exactly like the exposure setting inside the raw tab on log footage of course that's cool to know uh we were talking about a linear gain adjustment as an option apparently that works the same as the that's another thing i've noticed too is that if you're using blackmagic raw footage you can use the like lift gamma gain controls almost like you know uh non-destructive adjustments in like a raw develop it's kind of like the whole workflow is pretty good that's another reason you use davinci well especially if you're shooting on blackmagic i don't know why you wouldn't if you were using black magic camera um anyway what were you talking about here yeah so this is basic with the with the transform applied and then this is with i'm sure i've got the same thing cooking yeah and this is what the offset brought down now instead let's reset that offset and do what i was showing you with the curve so if i kind of like reverse the curve here a little bit and now let's jump back and forth you can see that obviously again i still have these like more more expressed highlights but i would say that in general we're getting the luminance isn't perfectly distributed i i will admit that but we're getting sort of a similar result and you can you know you can play with it a little bit too if you oops to dial it in and if you bring this in then you can raise that up or bring it down this way if you want to like squeeze it down a little bit so i don't know it's not going to be exactly the same and i'm the first one to admit that because i gave this advice in the previous one but i do think that if you're not looking at a chart and you're not trying to compare it back and forth like i just was like this you can get an image that has a really nice texture to it and looks acceptable and i've done this a lot when um when i've had a situation that was difficult to expose maybe i didn't have like a monitor with me or was using a camera that i was shooting in log but the tools just really aren't there in order to really dial it in it doesn't have any kind of like gamma preview i didn't have a monitor there's no waveforms there's nothing i don't have a card with me i bring it back and post a look at i was like oh that's like a full stop over on that um you know maybe it's a sunny day outside i found that if i just make this kind of like anti-curve before applying anything that you get a result that looks great and as long as you're using a log where you can expand that data a little bit from the high end i think that you get a pretty good result and we might not be able to see it here but there obviously is generally noise improvements i'm willing to bet that over the internet this is not going to show up well but let's see so this is like the noise of that one and let's go to this one so you can see how much noise it's the same like this is this one and this is with this anti-curve and then applying the transform so overexposure by this is two stops you can see the kind of noise reduction that you get hopefully this translates well so even though you may be not perfectly hitting your luminance values especially when it comes to color intensity let's look at this one and then look at this one so in order for this one to be fair we'd have to like add like we could add saturation just to test it but whenever you shoot brighter your colors are also going to be more saturated as well but let's just increase the saturation just for the sake of comparing the two to see how they fall i went a little bit overkill on that one just wanna see so yeah you can see that we do have a bit of a shift in how the transform is going to affect that image and that was a complaint that some people mentioned and it's it's a valid complaint but you have to ask yourself i guess like what's more important to you for a given shot if you want this level of you know noise reduction or you want to keep it perfectly in spec but you want to deal with that noise afterwards you know with actual noise reduction uh okay and then i think i said i was going to talk about hlg and then i didn't somehow i don't know how we got distracted like that how long we've been running here guys i don't know how long is too long for um like a tutorial after the fact going for an hour oh that's not too bad i thought it was gonna be much worse than that uh we'll talk about hlg just now let me just check and see okay cool how many people are watching the stream right now three four hundred people okay cool all right so hlg is uh there's some similar things to consider there hlg does have over exposure headroom because the top half of the curve if you will is like a log curve so we're going to get better distribution of the highlights it doesn't perform exactly like log but it does you can't go like three stops over with hlg but you can go like one stop over and also improve your noise that way and then the bottom half is more okay so gamma is a non-linear function so you can't call things linear but there can be like linear portions or like but it's it's almost like if you combined yeah it's not i was going to say it's like if you kind of combine you know rec 709 and then add like a log curve on it but then you would say well isn't that kind of like a knee so yeah in a sense in a weird sense hlg is kind of like having a super knee but where highlight compression isn't as focused as much as data distribution for later on being able to expand that for hdr content so what we're looking at here is hlg i think like i said basic ev i might be a little bit underexposed let me switch over to the waveform probably just a touch underexposed and then this one's one stop over so the same principles apply but if you're shooting hlg often you'll find that there's not as many friendly tools like if you go to um like i don't think there's going to be an aces for for like we can look at it um usually like if we look at sony for instance it's it's just s-log right um and if you go to lut calc there's not going to be one for hlg or whatever so you kind of have to do the work yourself by just knowing what's going on and you can get a reasonable result so if we add a color space transform and we know that we shot okay so in the camera on sony anyway you can choose either rec 79 or rec 2020 if they don't give you the option it's probably 20 20 because otherwise it's not going to work for hdr delivery so i left it on rec 2020 and rec 2020 is probably the best setting to leave it on if you want to future proof your footage because maybe you do want to do hdr if you put it in rex up if you like if you shoot it in rec 709 you can't then put that in a rec 2020 as nicely as you can take 2020 and put it to 79 because you always want to go downward you always want to shrink you don't want to expand whenever possible so we were rec 2020 for our color space um and our gamma so let's see so they have rec 2100 hlg so let's go with that yeah it sounds pretty good um but it does appear this i think people talked about this in final cut happening to them so this is one of two examples here we could definitely if this is going to be our last transform we could definitely activate luminance mapping and saturation mapping as well and now we have an image that's under control let's hide everything before after so this is basically just a straight up conversion now and you can see with hlg you don't really need to worry too much about like it doesn't go from completely under saturated to completely oversaturated it the saturation actually doesn't change that much but if we look at our vector scope before look at the where the colors are positioned to now so there's definitely a color space improvement there and now we could probably just come in here and if you wanted to fiddle with your curve you know i don't know whatever you wanted to do here but make some kind of finished image i'd say that's pretty good comparing the colors i don't know if the transform is going to work the same where was there this was our let's do we'll do a one stop over on this one for this no no that doesn't make any sense sorry i'm making this up as i go along which is important i think because when you actually work on things sometimes you have a recipe to follow other times you kind of got to figure out what is going to work best for the project so here is the one if we used s log three and we can kind of just use this to compare and see if we're getting you know similar colors we're getting a lot more contrast out of the hlg so let's just go a little crazy with the contrast here just to try and see where the colors are falling so the red went a little haywire on us here you can see the red is like way up here but other than that it's pretty good so i would say that this this workflow that i just kind of made up for hlg i would stand by it in terms of getting you a decent a decent starting position so that was just color space transform from rec 2020 and rec 2100 hlg for the gamma to the 2.4 one here now i don't know if you can do that lut calc let's take a look and see what they've got do they have any so they got rec 2100 hlg in the gamma and they got rec 2020 so should we see what kind of result this one produces let's go for it so let's uh auto title this generate a lut and where was i saving these things i don't remember let's save it on the desktop let's see what kind of result we get out of that one what i'll do is i'll make a copy of this clip and we'll reset this one so we have the one that we just made and then we'll drop this lut calc one on here and see how close of a result it gets so there oh put it in the let calc folder so we know where it came from refresh okay let's drop that on here so definitely a different oh what do we have a curve on get rid of that okay so they definitely don't go about the result exactly the same um if we disabled luminance mapping on this one yeah there's definitely a different result i definitely like the color space transform result a lot better let's see though if we can work with this one to make it work so here's the issue is that if we use let calc like i said we're not going to have the same ability we have some because the nothing's clipped so we're not in terrible shape here getting a little bit getting a little bit moody here okay i don't really like what's happening up in the highlights but we still have a similar it's very intense it's kind of like just like um once we bring the curve into shape there we get pretty similar color transformation just a bit more intense so i would say you can definitely work this one in but you're gonna have to reel it reel it back in a little bit but yeah let calc will work for that as well so that would be an hlg like manual workflow um but this color space transform i was really happy with i just threw a curve on it and it's punchy probably a bit too punchy um and i think that i'd definitely oh wait a minute i didn't enable this stuff back so again we can put the mapping back on yeah there i think that's a nice image um and uh yeah you could you could export that i suppose too if you wanted and then put it in your stomach i haven't eaten yet today you can export that and put it in in your stomach because with this export these lats and eat them you can export that and then put it in your monitor and then might give you a better indication if your intention is to grade this to rec 709 and not use it for hdr then i think that would work now if we did the exact same thing but we applied it to the one stop up one then oh that's not the one stop up one that's the duplicate of that this is the one stop up one it's gonna be what did i just do i just appended it not used to working on the laptop for this there we go okay so we're overexposed right so we can either make this curve a lot more corrective than the other one was which is going to i use curves a lot but maybe i should use different tools for the sake of showcasing this so we're definitely not getting the same our middle our metal gray is a bit high on this let's bring this down i'm just trying to get it like close enough we're definitely contrast here which again always happens when you if you overexpose and bring it down generally you get a contrast here image i shouldn't spend too much time on this yeah that's not working for me let's um oh don't you hate it when does that that's something i don't know if it's like based on the way that i move the wheel but i find that if i move it just a little bit then all of a sudden it jumps and it likes i just tried to do and i couldn't do it but anyway i'm sure this is boring is this what's the camera conspiracy thing is this good content i'm just trying to get it i hate i don't like matching things like this but i'm just trying to get it okay that's that's reasonable enough for me to uh to show showcase my next point what's this one about exposure and white balance slash tint primary correction before break79 conversion correct always uh that was then saying that you should do your exposure corrections before uh you do primary corrections but what i'm trying to show here the reason why i didn't do it that way is um i demonstrated before like i would come in here and i would make sort of like a correction curve and then apply the transform but if we're trying to argue that potentially transforms only work to their desired intent if you're not not affecting the image beforehand then it's easier if we do it afterwards like this so that we can see so that we know that the transform went in correctly into both of them uh but we'll do a we'll do a we'll do both actually just for the sake of talking with us because it's not a bad it's not a bad point so this one and then this one we will reset this and we'll add we'll just do like a i demonstrated doing it with a curve before and we can also do with offset so what does this one go this one has like a a little s curve at the end of it if we took that one away then we'll have a better indication of how to make these two look similar okay so i went a little bit ham with okay so this would be one where we applied like i said sort of an anti-correction curve beforehand and then this is one where it's just so this is this clip here is zero ev this one is overexposed and brought down ahead of time and that's the one that i showed you before where you'll have less noise in this version so there's let me zoom in a little bit more for you there's that and then this is that one obviously much noisier than the one we bring it down and then apply the transform but the reason why i was trying to demonstrate this point here was to suggest that if you have a clip that you had a lot i guess i'm not using a lot i'm using a transform but if we had it and our footage had a lot apply maybe monitoring that way and it came out too hot and he brought it down afterwards what results would you get well you'd get a punchier image automatically and you'd have obviously have a a greater risk of though that thing i was talking about i have more information being able to pull it down well you're going to have less information to pull down from but you still get the advantages of less noise obviously there's like it's hard to see the noise at all on this one because it's been pushed way down and that's due to that punchiness um i feel like we might be getting a little bit off topic and abstract here because i'm just kind of experimenting now at this point because i haven't i haven't ever really done this many different variants for hlg i just have sort of like one method of working with hlg uh but i thought i would play with it while we were in here and do it live so for me i probably wouldn't take this approach i'd go back to the one that like i said can be contentious but it's where this is neutral exposure and i have one that's overexposed i'll put a node first and if this is premiere you could use your top sliders like exposure or whatever and then in the creative panel you could add a lut but if you find that creates a weird result you could actually add a second lumetri color panel and add the lut to the basic on the top of that second one and the first one just be for your exposure corrections and white balance and whatever else sure so i didn't i didn't get it perfect but i'm also not trying to spend any more time finessing curves on a live stream but this would be that same example i showed with s-log where yes the colors you can even see it if you look uh hlg is more friendly for this than i'm looking at where the like the luminance is of the colors here and hlg being corrected with this reverse curve thing has less of an impact than log it seems log has more of a shift to it so it's hlg is friendlier in post for sure but if you look at our vector scope yeah the shift wasn't that bad look at where where the dots are before and after so more manageable this is something you could clean up easily that was a question that people asked me i have a whole video on it but you clean this one up easily if you wanted to by say this third note here we could jump into the hsl curves and you know what's one example let's fix the the green so well actually none of them are that bad to be honestly it's actually tolerable but you'll notice that the green is less saturated on this one so we could like uh line it up maybe a little bit this is huge this is changing the the way it swings like it's hue and then we jump over to saturation and we could just increase the saturation a little bit try to get in a similar position um and then see how this one has sort of like an overall luminance if it was just your colors that were like that you could decrease the luminance of the colors as you can see here but if it's that your curve is incorrect and that's what's causing the issue then you would have to go to this one and yeah to me just looks like we need to shift this like that so then we'll have a much closer image uh might be a depth of field difference there but um [Music] yeah i mean based on me just doing this now live i would say that hlg is much more forgiving for throwing one of these reverse over exposure curves on at the beginning um all we did here was correct the green so we can get rid of that and then yeah you could go and make final touches on that but that's not too bad uh yeah i mean i feel like that's everything i wanted to talk about i uh i'm at the sort of rambly point now so let me jump over here and see if there's any like sort of pressing questions um but we'll look at wrapping it up here because i want to keep this like i said somewhat palatable for people after the fact i'll try to go in and make time stamps like table of contents let me switch to me i'll try to go in and make like table of contents time stamps things for uh people watching stuff for the fact so they can jump around although it's mostly kind of like all interconnected i don't know uh super chat here from category crunch that says follow up to raw question will there be any appreciable difference to using log with a rec light versus just transforming it to rec 79 space in camera raw um yeah i suppose that would just be based on the intent of who made what so because not everything is uniform the answer is always yes as you saw even doing lut calc versus the color space transform or using aces versus the color space for the same thing you get different results and that's i assume that just based on who's making them you know so the results won't be the same but the the point is that you're getting yourself to the correct you're in the correct space where now you can make corrections that are all fine and easier and make it look however you want make it look good to you unless you know you're being paid by somebody who requires it to be a specific way i wouldn't worry too much unless you're shooting let's make sure i read this right log with a wreck lut so if you're baking the lut in though that's a different story because then again you have that destructive aspect where now everything is what it is so log and like baking in a lut versus transforming it in post is a huge benefit to transforming post but if in post you're just bringing raw in and you're saying should i raw develop it to a certain way or raw develop it to log and then put it out to the other one if you raw develop it to rec 709 and you're happy with the way it looks and it's done well then there's nothing to worry about in terms of like lossness lossiness or whatever but if you're raw development with rec 709 and then playing with it that is less i'm going to get it i'm going to get that fly that is less a worse way to do it than raw developing it to log and then doing all your whatever this is corrections that you want to do um but if it's if your workflow is literally just applying one rec 709 lut then look at the raw development if it looks the same then just go with it because why add work if you don't need to but uh yeah it really just comes down to if you're doing more more stuff or not okay i think we're all cut up on uh can you do this on b raw real quick i do i have yeah i could give me a sec i think i i think i probably just have like a b-raw clip on my drive give me one second okay whatever like my last video was hopefully it's not me running around naked i'm sure is on here we should be able to just pull it up right off the drive i'll do that with my own little privacy here first before showing you guys what is this a clip of it's me with bed head holding up a chart good enough okay let me jump over to this are we doing obs anyway people are curious about this whole laptop alright we have zero drop frames this entire time what's the performance like and we're not even using our resources that much there's the beauty of nvinc okay on to resolve so we'll just bring this clip down into tests here and we'll throw it in the timeline over here and so yeah just me i've got both charts i'm holding up a x-ray chart and then the dse labs chart so let's get a let's go with the the x-ray chart let me get a good shot of me holding cool so let's press q there that way if we click on the color panel started that exact frame so let's go to the raw panel so i'll show you a couple are we still good we can see everything my thing's in a good position everything's fine okay so i was talking about i can actually demonstrate this now that if you have your abilities here right now obviously blackmagic design and blackmagic film that's basically converting to log if you will um but you'll notice that now there's canon log2 vlog i don't know when these were added but so we could actually like choose vlog and we could choose v-gamut and now we're basically in panasonic land and then we could go over to panasonic v-log to 709 and make it correct that way kind of kind of wild right that's not the way i would do it though um so it's not the way i do do it is what i mean i guess i should say so blackmagic design blackmagic design film and then yeah you can change the iso let's put this back on waveform okay so this is an image that's overexposed because that's what i do often in here to be to keep the noise somewhat controlled um overexposed by like if you would apply you know like a lut or whatever um so we'll go so this is the raw panel i mean you can change your color temperature exposure you can adjust some aspects in here uh you know whatever you want put on highlight recovery which will help a little bit with the bringing the punchiness back to that light there and then we could apply a lot in here but we can also do a similar thing i imagine like i don't think they're very good but imagine we could even do the same color space transform maneuver if we wanted to in here so what do we have up to here gen 4 so pocket 4k gen 4 film sure and black magic design 4k film is that is that what we're shooting in here black magic design 4k film or is it black black magic design film that doesn't look right black magic pocket 4k film gen 4. that seems more correct okay so there as you can see i am overexposed because i shot overexposed so we could do that whole pulling down the uh the curve thing here i never do this by the way this is this workflow i'm trying to yeah i don't know i wouldn't do color space transforms and stuff like that in resolve for blackmagic while should you blackmagic because why would you when you can just use the raw developer but i just thought we'd give it a try for fun and then you could apply luts on here i've often talked about leaving luts in the past if you if you want like a over exposed image that you can apply like noise reduction to so you could use uh this one for instance uh if you're overexposed the gentleman dennis that i was talking to he i think he makes a pocket 4k lot i think we talked about it before i know we talked about the panasonic ones um but you could apply luts on there we could do something where we convert it to something first which could be what we would use um [Music] so yeah we talked about that already where we so i guess your question be whether doing a color space transformer in here this would be a demonstration of that so if we went uh canon cinema gamut and c-log 2 i have the canon cinema game of the clock 2 lut so we could pop that on these are just different i don't know really if you get an image you like you're good to go like i don't know what i'm showing here exactly i'm just demonstrating some workflow ideas so i just sort of bring that curve down a little bit so there's a decent something we did in a couple steps so because i'm overexposed a little bit i corrected the overexposure um we raw developed to canon cinema gamut and canon log 2 and then we applied the official this is from canon itself themselves i think i got this one for the c500 mark ii but they're all the same you can apply to c3003 whatever canon cinema gamut canon log 2 to bt 709 wide dynamic range now let's see what that looks like that's a reasonably nice image it does sort of have a little bit of that canon you know i don't know pinky glow in the skin tones but uh that's a pretty nice image we can take a look at the vector scope and see what we're working with here now i'm going to do something i don't want to hear about how you can make a little window on it i don't want to hear about it because it doesn't give you the same result so i'm going to do this which is a weird way to do it but i'm just going to zoom in on the chart this way so i can see these things a lot more clear if you do a window it's still small so anyway uh yeah that looks actually looks quite a bit like canon the way this looks if we cut a head in the frame we can actually see the difference between an x-ray chart and a dsc labs chart so let's put a cut what am i doing here get the reflectance down okay that seems reasonable let's put a cut here and we'll zoom out on this clip to get the whole chart in the frame okay so now we've got x-ray dsc labs so you can see how some of the things are the same like reasonably close but do you see how um it almost might even give you an idea too of when the manufacturers made the luts who their supplier or like what kind of like chips they were using at the time because you can see that this one does not seem to be optimized for the for the camelon chart but it doesn't be pretty good for the x rate but if we say use paul leming's lut for comparison so let's um let's just put this back to camera metadata so it was how i shot it and then we'll put on paul leming's black magic 4k light and then we switch back and forth that still looks weird why does it look weird i'll take back what i said uh maybe i don't have the correct because i know that paulie uses camel line hang so that's very interesting i'm obviously missing something in here oh right right this is this one the the one that i'm comparing to here i have that curve put in the beginning of it so i'm jumping back and forth um it goes again you can see color shifts if you overexpose an image and bring it down you're then going to have to tweet the colors afterwards that's what the difference is uh i've had shots in the past where the normally the difference i can i can demonstrate for you if you want to know like what the real difference is i think actually i might have an image i don't know if this is like right to share or not um i've got a good example for this for people that are curious i'm just going to access something on my computer so i want to share it uh i have to go over the network paul leeming in his generosity supplied me with an image that was an x right pocket video color checker whatever those things are called um let me just find this here sitting on top of he's got a giant like chroma demand chart or whatever again if you're gonna make luts then it's a good investment sorry where is this located yes okay let me put that on my desktop and make sure there's no naked people in it there are not okay this way we don't jump back and forth to two different shots so i'll switch back to this now uh this could be useful for people just want to know about charts um so let's bring that in it is on my desktop here and we'll add that so there's an image um there's an x-ray pocket x-ray video color checker passport that's what i'm trying to say and then this is a probably what is that like i don't know what they're they're all camo line but one's called like chroma dumond and one's called something else but this one's got a lot of little color chips on it and then the big cross type in there so we could we could evaluate the difference between the two we'd have to isolate them though so we'd have to take this one and let's make whoa click on the wrong clip let's make this one just the x-ray and then for this one we will exclude the x-ray from the shot okay so now we can switch back and forth boom boom so you can see if you get all these little color chips you can actually make this perfect little what is this like a sort of oblong hexagon or whatever uh so that's makes your life really easy if you're trying to like make luts and you can see i guess like how dialed in paulie tries with his color accuracy and let's switch to the x-ray it's not bad you know you guys were asking like what about the passport the passport's fine i have the passport use it all the time it's it's a handy little tool to happen it's much more affordable much more pocketable than you know carrying around one of these massive things but if we look at the microscope big style let's make sure i'm not blocking it with my stupid face either so we can see if if say we go this is this is the best you can get the best results you know everything's dialed in perfectly and we switch over to this one it would look like our red is just a little bit over on the magenta side and our yellow's a little bit on the green side the green's a little bit cyan almost has like a little like a hue rock to it and her skin tones are just a little bit maybe a little bit too yellow but it it's definitely usable i would say if anything based on this uh we could do a hue hue hue let me just like just correct it a little bit that way no yeah you can't see because if you brought it up this way then you'd have to pull the bottom to it so it's but either way we turn it it's not bad it's it's pretty good so rest assured if you only have an x-ray i shouldn't say only because there's still good devices still a couple hundred bucks but if you only have the x-ray passport video you can still you're still in good shape but most importantly what you need out of that is this middle gray that'd be the most important part to have one of those pretend this is middle gray just you know if you're out and you're out in sunlight you can just like hold it and be like okay okay that's forty one percent from slog3 cool and then now you're much better shape and then also you know if you're overexposing versus underexposing versus whatever because then if you consciously made that forty percent you could go let's go two thirds up or one full stop up and i'm about to stop over uh so that's probably the more important aspect of it but that's that was pretty compelling i think like if you're gonna make luts that 11 step cross thing and all the little hexagonal colors are really really handy but the passport color checker video isn't terrible i've heard that there might be some consistency issues though so necessarily like my passport video might not be as good as another one or you know but those tolerances i guess are what you're getting when you save money maybe or like sorry you're getting smaller tolerances by paying more money i suppose anyway what do you think i think that's enough enough enough chatting about all this stuff we're an hour and a half now i should cut this off i wanted people to be able to watch this after the fact um you forgot to add luminescence mapping and cst that's why i looked over exposed exactly uh i hope that you know if you made it this far that you can take all the little things and assemble them and add them to your knowledge and then have a better understanding of it obviously when you're doing this stuff live and i'm playing around with nine different clips and trying to like present and stuff that there's going to be like little little mistakes it's good to go through get your workflow down make sure you check everything don't leave little things out like not remapping your your luma values or even your your gamut um but yeah i mean if we did a quick little recap here i would say that lut calc is a viable option for people who don't have the color space transforms that uh if you do have color space transforms it's a quick and easy workflow in my opinion and it's non-destructive so you can put things before and after and weird things that you did before you can kind of undo them a little bit after if you wanted to if you know if you're worried about that you can still generate luts or you can now if maybe you couldn't before generate luts and resolve from color space transform so you could then load them into your monitors and be able to see the result that way and shoot shoot for the transform that you're going to do overexposure is fixable with just sort of like one of those reverse curves it does remap your colors a little bit uh change your luminance a little bit and you'll have to tweak it but that's only if you're trying to match color for color or shot for shot if you're just trying to or to a chart i mean if you're just trying to make a nice image then you can shoot over pull it down with the type of curve you bury some noise and nobody's going to necessarily know that hey that transform doesn't look exactly like that when you shoot like that with that other one you must have you know changed your values before applying the transform nobody's gonna care about that they just care about the finished image unless your specific job or maybe like vfx workflow or aces workflow whatever requires you to follow specific guidelines then that's the exception of the rule but i'd like to think that if that's where you are that you already have a good understanding of all of this so you are you know beyond that you're in a job as a colorist and you're following the specs of whatever your your job requires um or if you're really advanced you're setting the new trends and you're making these things that i'm playing with right now uh but yeah hopefully that uh that was helpful um you know i i i'm just trying to put this out there kind of like for free so that whatever you know information is valuable to hopefully that people can take something from it and improve their color work at all and i want to do this as a live stream so we could try to interact a little bit normally i like to edit my videos down but i thought that maybe this would and it's worked some of you will send me messages and stuff like that so it's good we were able to handle some questions on the fly it was fun but i'm going to wrap it up here enjoy your weekend everybody and uh it's been a lot of fun and the next video i think we're looking at is probably going to be yeah i think the next time you're going to see me i should hopefully have a new studios undone studio tour for you so yeah looking forward to that and then probably like a camera review or something after that so stick around make sure you subscribe if you're not and i will see you soon have a good weekend everybody

Channel: Gerald Undone

Views: 90,676

Keywords: how to grade log footage, how to color grade slog2, how to color grade s log 3, how to color grade hlg3, how to color grade sony hlg, how to color grade HLG, log grading tutorial, log footage vs linear, applying contrast and saturation to log footage, log grading resolve, grading log footage davinci resolve, davinci resolve color grading s log, color grading log tutorial, grade log footage manually, resolve color space transform, lutcalc, make your own luts

Id: 4O3nUUVJiX0

Length: 101min 5sec (6065 seconds)

Published: Sat Aug 15 2020

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