You Are Color Grading HLG3 And Slog2 WRONG! | SECRET Of LOG Color Grading | Davinci Resolve Tutorial

what if i tell you that you are color grading your hlg and s-log footage wrong lots of people have been asking me how i get beautiful colors with my hlg and s-log footage and my skin tones look so much flattering today i am going to show you what you are doing wrong and show the science behind color correcting the log footages so let's watch the intro and then jump into the davinci resolve and start the tutorial [Music] i have imported my footage into davinci resolve and this was shot with hlg3 picture profile let me first start with the wrong way which a lot of people do they start by giving the footage some contrast for example they give it some gain fix the gamma bring down the lift to give it some contrast they give it some saturation for example and they change the temperature and they do the color correction and then they move to the next note to do their color grading but there is something wrong here when you shoot your videos in lock format it doesn't matter what camera or what kind of lock format it could be the sony s-lock sony hlg canon c-log harry lock or any other camera there are two things to consider one is the video gamma curve and the other thing is the video color space when you start adding contrast to your for example s-log 3 footage you are just fixing the gamma curve to change it to rec 709 by giving it some contrast but the thing you are not doing here is not changing the color space of your video like you see here if you have a color as different color spaces for example s came at 3 as gamma 3 cine and bt 2020 dci petri and itu-r bt-709 and this is the rec 709 color space which is their standard for most social networks and tvs and broadcasts and when you shoot your video in lock formats for example s lock 3 the color space of your video is scanned 3 or it could be s comment 3 is cna or for example i shot this footage with hlg three picture profile which the color space of that picture profile was bt 2020 which is this section marked with the green as you see here so what you are not doing here is that you are not converting the color space to this rec 709 uh in order to deliver it to social networks or tvs and you are just converting the video gamma curve by giving it some contrast so that's why a lot of people complain that they are not getting beautiful colors with their hlg3 or slog2 profiles and their skin tones are not good so what is the solution here you need a way to properly convert both your video gamma curve and also the color space to rec709 there are multiple ways for doing this but today i am going to talk about the color space transform feature of davinci resolve let me first reset these nodes now i will create a new node and i will call this color space and the first node i will use for my primaries and white balance and saturation i will go to the color space transform node and from the f open fx i will search for color space transform so we have four options here input color space input gamma output color space and output comma the first option as i said for this video which was shot with hlg3 picture profile is the color space and the color space of hlg3 is bt 2020 so i will search for bt 2020 via rec 2020 which is the same as the b20 i will select this when i select this take a look at here the colors change we have properly converted the color space from bt 2020 to rec 709 which i will select here output color space our timeline should be req 709 as i said for delivering to social networks and media which the standard of them is rex 709 and when i change it you do not see any difference because the in davinci resolve the default color space of the timeline is rec709 so this is the color space conversion which we did not do in the wrong way but we are doing this here and the only thing remains is the gamma curve conversion now we need to change the gamma curve of the hlg3 which the gamaker for the hg3 is the rec 2120 hlg is the gummaker for the hlg3 i will select this as you see it becomes so much contrasty and dark and the outputs come off the timeline we will select select the rec 709 which is the standard for the media and social networks here you see rec709 and as you see we have a lot of difference here if i disable and enable this node you will see we have much difference and just look at the skin colors here it was so much pale and it was not flattering but now look at this we have so much difference in the skin colors and skin tones i can again show you with this i will create a selection of the skin here i just want to show the skin change on the vector scope so you can better see i will select my vector scope i will enable the skin tone in the actor and here you see and this is after enabling after transforming the color space and if i disable this if i disable this color space you will see that the skin tone was way off you can see how much it has changed it was so pale it was somehow greenish but now after i have changed it uh to the i have changed the color space you see that the skin tone is right on the line of the skin tone in the actor and you don't you don't even have to fix the skin tones here and have you have a beautiful skin tone so after you use the color space transform function then you can just go to the primaries note and start your color correcting process by for example if you want to give it some contrast or just make it darker or lighter then you can do this in the first note you can decrease the saturation or increase it or change the temperature and then keep on doing your color grading or and whatever you want to do to give it your creative style then you can do it really easily and correctly the first thing which is really important guys is always doing the proper color correcting which we did here now let me show you another example this time with the s-lock 2 footage this footage was shot with s-log 2 with sony a7 iii so again i will create a new node here for the second node color space transform again i will add the color space transform effect to my second note so for the s log 2 the color space is the s sony s gamut i will select the sony s gamut here and as i selected you will see that the colors have changed and the input gamma i will select the video gamma for the s-log 2 which is s-log 2. you will find it here sony slot 2 and as you see it has affected the contrast and made my picture much contrasty and now i will select my output color space again here i check the rec 709 and the output gamma again here i will select the rec 709 like before now you can go to your primaries note and start balancing your picture you can bring down the bring down the lift to give it some contrast you can decrease the highlights to recover some of the highlight details and then you can bring up the gamma you can bring down the lift and start balancing your picture you can give it some gain it depends on the look you are going going for but here in the first node you are just color correcting your note you can give it some saturation it depends on what look you are going to make and you can even change the temperature here but here as you see we have properly converted the s-lock to to rec 709 both in video gamma curve and video color space which will give us a beautiful image and not that pale colors and unpleasant the skin tones again if i zoom on the picture and on the skin tone and if i disable and enable this you will see there is so much difference in the skin tone color it has brought the skin tone to life it was really bad before converting so the color space transform is really important for converting your color space guys there are also some other ways to convert your video color space for example by using correction lots but i do not really like it i prefer the color space transfer but in the davinci resolve 17 there is a new option here in the color management section which you can use it for your to work in a color managed timeline here you see color managed by rgb color manage davinci resolve team has developed a new white gamut davinci white gamut they say that it is the widest color gamut it covers all of them and you can use it to work in a color managed timeline and edit your videos i am just starting to utilize this davinci white gamut i will definitely make a video about it in the future so if you want to know more about this davinci white gamut do not forget to subscribe to my youtube channel so you do not miss that video it is really game changer guys i am just starting to use it and i really like it thank you so much for watching guys i really hope this tutorial was useful for you and if you liked it please do not forget to give it a thumbs up and also subscribe to my youtube channel so you do not miss any of my upcoming videos in the future have a great day and i will see you in the next videos

Channel: Mehran Hadad

Views: 59,531

Keywords: Mehran Hadad, MehranHadad, davinci resolve color grading, cinematic color grading davinci resolve, cinematic color grading davinci resolve 17, davinci resolve 17 tutorial for beginners, davinci resolve slog2, davinci resolve slog2 to rec709, color grading slog2 davinci resolve, davinci resolve 16 color grading slog2, sony a7iii slog2 color grading, hlg3 color grading, hlg3 color grading davinci, color grading hlg3, color grading log footage davinci, slog2 color grading

Id: HfYmYX7HVY4

Length: 10min 51sec (651 seconds)

Published: Wed Jun 30 2021