Відео

Brilliant, clear and concise.. Thank you

Bro actually knows what he is talking about , so many losers on youtube pretend they know about color grading but this guy is the G.O.A.T

I have recently found your video and the only thing I can say is: THANK YOU! Your video made it absolutely clear what ACEScct is and why it's worth using. I use it to grade and deliver HDR footage on an SDR display, which was hard to do without an intermediary color space and ACES. It's not a "correct" way to work with HDR, but it works like a charm for my needs. So, while I'm late to the party, I just wanted to thank you for this tutorial.

Really helpful. Thank you.

Hey Cullen could you do a video on grading black and white. For example not just de-saturating the image but playing with the luma values of the colour in black and white to get more contrast and interest. Something like that 👊

Awesome stuff but i just wonder how in the world they managed all that killer work with the Lav mic around you? 😂 I hope that person is not working in gov service wiring up the agents.

Oh so I don’t have to switch gamma to linear for the HSV Saturation.

Great talk. Thank you!

Can you interview Waler Volpatto too?

Do I use a CST node before I apply the lut ?

Is this video only aimed towards workflows using an Apple dedicated Display (Studio or XDR Display)? Or do they also work with workflows like using just your Macbook Pro/iPad? Furthermore, I feel like there should be better disclaimers regarding this viewing transform LUT in terms of what gamma it uses (I believe 2.2?). I grade using my macbook pro as the main monitor and sometimes the GUI monitor, outputting to a BenQ monitor via Ultrastudio that's been calibrated. I mainly work using Rec.709 Gamma 2.4, so should I still be taking into account what this video is saying or is it just irrelevant for my case?

What ISO was the image with the least noise set to?

6:27 Burning question about the wheels. Is there a way to change sensibility of the wheels? You changed the image significantly yet the wheels look almost untouched. This finiky behavior drives me nuts when im grading, there is no fine tuning possible when 1mm movement of the dot is already a change like day and night.

Beautiful conversation!! It was also really nice to see you both touch on the extrovert-introvert topic, which I find very interesting and am always curious about, how people with different personalities, whether extroverted or introverted, manage to excel in the same field😃

Cullen, you make the best content when it comes to color grading, hands down. Your time and effort are appreciated, never stop!

great content, as hobby videographer. do you have playlist of basics and principles of coloring? I would like to learn as philisocial level and basics for my hobby videos. beginner colorist

The best lesson I’ve seen on the exposure pipeline and the variables that modify exposure. The discussion on ISO alone could be an hour long lesson. ISO setting is so misunderstood and counterintuitive. There is so much great information here that the best way to view this video is to take notes on the subjects then expand your knowledge on the subjects through Cullen’s other videos or research. In a nutshell, as a test, you should be able to drop your captured coverage into Resolve, put it in DaVinci colored managed, drop the exposure 1/2 stop, and without doing any adjustments see a beautiful image that’s well exposed, no noise and with correctly balanced colors. That kind of raw file is what you want to hand to your colorist as a starting point.

Thanks so much for this. 😊

I will happily pay for an F-LOG2 LUT and how to setup Resolve to deal with the clips :-)

Hey, when using ACES, my color wheels are all fucked up. When I'm adjusting LIFT for example not only is the "lift" being affected but so is the entire image when working in the aces color space? Is that normal and when can I do if I don't like this?

Thank you so much Cullen and Corinne! It was such an insightful conversation! Bests

I remember teaching both these guys everything they don’t know. I remain the greatest colourist that never lived. ☺️

What a nice conversation ❤

A true and outstanding professional. Cullen you are the best DvR educator bar none. Sorry Darren, FYI I've got you in P2 and close behind is Negative Phil. He has a dark side I find a bit distracting and he just disappears every now and again 🤷

Appreciate your sharing a lot, Kelly. I am from Cambodia.

Their entire family is into color😹

Thank you so very much for sharing. As a mostly amateur I learned at least three things.

Bro this is soooo inspiring 👏🏻

Great conversation. Generous, skilled and open guest. 10/10

You gotta get Mitch next.

There's more than one?!?

Yes!!!!❤

Thanks for the valuable information. How would you manage ACES CG (CGI) footage in this workflow once there is no Input Gamma for Aces CG in the Color Space Transform? Thank you very much, @CullenKelly

next: mitch bogdanowicz

Reservation dogs?! That show is soooo good

She started as film Retoucher 🤩 - HELL YEAAH Perfect Background. 🌈 Great stuff !!

Yes!!!!!!

Its taken me 18 months to come back to this episode and actually understand what is going on. I think I'm improving. 🤣

Wow, I really thought you'd be rolling a FS or something. Great to see displays under 5k usd being used professionally.

What do you do if you need to go into the "camera raw" section of the color page and switch from "decode using Project" to "decode using Clip or decode using metadata" to adjust any RAW parameters for a single clip? My BMPCC6K metadata was color space "BlackMagic Design" and Gamma "Black Magic Design Film"

What are your thoughts on the Overlay blend mode for color density? Frenchie Color did a video on that as an alternative to HSV Sat.

I tried to make the timestamps as close to a question/topic as possible which made sense to me, if anyone finds a better title or the way i wrote is wrong and has a alternative lmk i'll update 5:45 how do you evaluate your exposure choices? 7:07 guidance for how to expose for the best grade (from post side) 9:25 do you meter ratios or just key 10:25 importance of ratio 11:25 importance of collaborating with production 11:50 A new trend where while shooting you expose, treating it not as the final exposure but leaving a leeway and deciding the final exposure in post (shooting for the final image/ shooting for a grade that gets you to the final image) 12:35 importance of the tools we use to measure exposure (the monitor on set might not be calibrated properly....) 14:04 dialling in the exposure knowing you dont have a control later 16:16 while optimizing exposure, do you limit or select your tools in a particular way to make those changes 18:40 experience of the audience members working with colorist 21:14 protecting brand colors from production to post 25:50 controlling exposure 26:42 what is exposure? 30:43 controlling exposure 31:55 controlling exposure- display 33:44 controlling exposure- pipeline 40:00 controlling exposure- camera - iso 46:52 controlling exposure- camera - sensor 47:58 controlling exposure- camera - shutter angle and frame rate 49:15 controlling exposure- camera - aperture 50:35 controlling exposure- camera - filtration 51:42 the tools on the camera to adjust the exposure is a artistic and story choice 54:55 controlling exposure- scene - lighting 59:25 controlling exposure- scene - subject 59:48 controlling exposure- scene - environment 1:01:36 how often do you adjust the reflective area part in post 1:02:37 controlling the reflectivity using polariser 1:04:27 bonus -middle grey by cullen 1:05:49 key takeaways 1:07:16 working with a DIT on set 1:08:47 question from audience -(about native iso) 1:09:43 dual gain

Knee and *Elbow

Hey Cullen - thanks for this one - very interesting and a nice refresher. I know this has been asked by others but somehow you missed the question - you mentioned your version 1.4 exposure DCTL would be linked in the description but it isn't. Would you mind providing a link in the comments when you get a chance? Thanks :-)

thanks a lot, great video as usual. quick question guys, what about the lift + gain contrast but using only the luma slider? not the overall one that moves together luma + red + green + blue, but only moving the white square under the name of lift and gain? usually ive been using it, I can understand that its like not effecting saturation, but does it effect something else in particular-? thanks!

Do you ever use your Voyager lut pack combined with your 2383 for a look or should they not be combined?

What do you set your output colour space when you don't know the ICC profile of your monitor and you can't find it either? I'm using a cheap monitor (HP 24f) - because that's all I currently have access to. Worked for a week on a project colour correcting/grading, and then during the render process all the colours look horrible. Now I'm trying to figure out what went wrong, and I think it was my colour profile. So - I'm stuck trying to figure out if I need to change the colour management on the project or the settings on the export. But either way, the question still stands. What colour space do I use if I don't have an ICC profile for my monitor?