If I’m in a time crunch, I use the glow tool which accentuates the bright areas. Obviously, it takes some fine tuning to make sure it doesn’t make the video look like it was shot entirely on a 1/4 or 1/2 for example, if that’s not the look for what I’m doing, but that’s another great method for doing this similar thing you talk about that I’ve found useful. Great tutorial, thank you!

the masking technique is so simple yet so effective!

Такого видео не хватало очень! Спасибо огромное!

Thanks for this! You edit how my brain works. Painting with light. Loved buying your course!

@ANDBERY

Жыл бұрын

Not at all :) ❤

I've never seen those techniques! Thank you for sharing!

Thanks, Master Andbery!! 👍🏾👍🏾

@ANDBERY

Жыл бұрын

❤️

This is a great video, thanks for sharing!

really loved Lighting Mastery by DaVinci Resolve...i think you shoud make more videos on this series.....

That was a really nice video! Lots of information covered in just the first six minutes, you clearly know your stuff!

Taaaaanks . Its helpful Your videos are the best in my eye

@ANDBERY

Жыл бұрын

😌

Wow😍

@ANDBERY

Жыл бұрын

❤❤❤

Damn i ddnt realize that u could actually use mask in grading. Great tutorial, man!

Wow, thanks man!

@ANDBERY

Жыл бұрын

Not at all :)

nice tips! I was wondering if I was the only one who wanted to add negative fills in post production. I was afraid that it was not natural

@ANDBERY

Жыл бұрын

And your concerns are justified. Achieving a natural negative fill requires navigating a fine line. It's important to make the shadows shallow and unobtrusive, while ensuring that the transition is not sharp.

@secondshooterweddingfilmmaker

Жыл бұрын

Cullen Kelly also shows a negative fill technique. He just uses a straight edge gradient that he brings straight down the center of the face, and goes on the wall to the edge of the shot.

@vinc74600

Жыл бұрын

I was thinking of using the HDR wheels and also changing the temperature to have something a bit colder (because the shadows are colder during the day)

definitely learnt a few things

good information 🤩🤩🤜🤛

i do this always 😍

These are very cool techniques that can look good, but in practicality if you’re grading a project with 300-400 shots or even a whole featured with 2000-3000 shots, if you try to do this with each shot it will take you exponentially longer to the point that it just isn’t practical. This could work perhaps for very short projects or even just to enhance a very special sequence of shots that might need some help

@ANDBERY

Жыл бұрын

My friend worked as a 1AC assistant on the Guy Ritchie film "Operation Fortune: Ruse de Guerre." He was surprised by the number of scenes that were filmed with a contrast ratio of 1/2 (it looked flat), and the light setup was kept minimal and quick. However, during post-production, some shots were enhanced to create a deeper and more cinematic look. I believe that the approach to lighting and post-production effects can vary depending on the budget and the limitations faced during the filming schedule.

@ksanders308

Жыл бұрын

I also saw some BTS of the grading process for The Revenant and it was really eye-opening. They were doing all of this kind of work to add shape to the actors faces that wasn’t there in the raw footage.

@jorgequinterohmp

Жыл бұрын

@@ksanders308 this make sense as most of it was shot on location in very remote rough locations, I would imagine they heavily leaned in post to help with shaping things, being a big budget feature I’m sure they probably allocated enough to do this in post. My comment was more for your average production, on the indie landscape, typically there isn’t a huge color budget. I typically won’t have the luxury to go to this amount of detail per shot in most of the projects I color, I typically select a few shots that really need it or can benefit from the extra care to be very impactful in the final piece

@ayeapprove

Жыл бұрын

Yeah I don't think this is feasable for a multitude of fast paced scenes

nice job

nice video. question for you, shouldn't you be applying the CST downstream of the pipeline? wouldn't you have better results if you applied the grade before converting to a smaller color space (rec709)?

@ANDBERY

Жыл бұрын

Sure, that makes sense. While I've experimented with brightening and shadowing to some extent, I haven't noticed a significant difference. However, I do understand that if I want to achieve more complex grading, it's best to perform it before color space transformation (CST) to achieve optimal results.

Your approach can be done much easier in the wheels tab then just masking. More room for mistakes in that approach

@ANDBERY

Жыл бұрын

What approach would you prefer to use for the same tasks?

@connorrousseau6809

Жыл бұрын

@@ANDBERY using shadows and highlights on wheels will help create a more balanced look for half the time

@Vistacreativa

Жыл бұрын

It’s also very time consuming, imagine doing it for 200+ clips on any project

greattttttttt tips

By setting timeline to Rec.709 you don't need to set each recording to Rec.709 separately.

for 5:20 being honest about the result that look much more like vfx and green screen to me, such like an ads vibes for a travel company rather than a true documentary look or movie look

@lch7145

6 ай бұрын

I guess it is more like the way the hut behind is being over lit in a unatural way without any light blocking of the trees and also the lack of natural contrast that you should get in a dark forest (even though the snow is reflecting a bit )

Hey there! Love your content. Quick question, why not do all of your grading before your CST to Rec709 so you have the most amount of information to manipulate your image with?

@ANDBERY

Жыл бұрын

It makes sense, but while I work with brightening and shadowing, I didn't notice a difference. However, I find that working with color correction before CST yields better results.

🖤

Nice🎉🙏

You are a great cinematographer and a nice teacher, i would say thanks for all the knowledge you share, but colorgrading in this approach is so time consuming, cloud go wrong in any point, hard to trace, and it's almost impossible to replicate the grade and match it to other shots, i still think you can get better results using printer lights and some other basic tools, again i learnt from you a lot and thanks for your efforts

More vfx/lighting crossover videos please!

Interesting and powerful technique but still, imo it’s the best thing to do it on set / in camera. Making several individual power windows for each shot which also can’t be copied to the next one takes too much time. And unfortunately there’s usually not enough time for a colorist in the industry.

@ANDBERY

Жыл бұрын

I agree with this approach as well.

@J_HNP

Жыл бұрын

I agree that most decisions should be made before you hit record. But, if you have a limited budget, it’s way cheeper to pay someone to make small adjustments in resolve than it is to pay an entire crew to capture the “perfect scenario” on set. Cinematography is all about trade-offs and compromises. Yes, we’d all love to have unlimited budgets to capture exactly what we want. The reality, however, is much of us spend time pre-grading to help finesse our less-than-perfect images.

Would suggest using HDR wheels, rather than essentially painting over your entire image and masking/tracking everything.

@Loqu4

Жыл бұрын

Hmm what do you mean? Won't wheels adjust the image as a whole? Like if I only want to increase contrast on the face i dont want it to be on the background as well

Incredible work 👏 do you think with the red Komodo it’s possible to achieve the look of 1940s nitrate 35mm 🎞️ for a period film ? 🧐

@ANDBERY

Жыл бұрын

Why not, try Dehancer plugin

this techniques works best for cinema camera and obviously 10 bit or abouve footages coz a 8 bit footage may break during the process, am i right ?

@ANDBERY

11 ай бұрын

Not really. To reduce exposure and make shadows deeper - you don't need to have a large bit rate. But to increase exposure - yes, you should have 10 or more.

@thegreyfilmsofficial

11 ай бұрын

@@ANDBERY thankyou 💗

Why did you track the light on the dress in the second shot? There’s no camera movements, wouldn’t the outline of the light stay put as she’s moving?

@ANDBERY

Жыл бұрын

Just in case, for micro movements.

你好 我是一個剛學習影像的新手 我使用SONY的單眼相機 如果要學習後製調色 建議什麼拍攝檔案呢? Hello, I am a novice who has just learned video. I use a SONY SLR camera. If I want to learn post-production color correction, what shooting file do you recommend?

@ANDBERY

Жыл бұрын

Hello my friend. SLOG2 or hlg are good for post.

@chiang730530

Жыл бұрын

@@ANDBERY Thank you. Is LOG used in the video?😲

@ANDBERY

Жыл бұрын

​@@chiang730530 Here? I used Arri logC and Red RAW. But LOG by Sony has the same color correction process.

How to configure the davinci project? YRGB? OR COLOR MANAGER? greetings

@ANDBERY

Жыл бұрын

Hi, it depends on the camera footage you are using. Cameras like RED, ALEXA, Blackmagic, and Sony often provide partial manuals for adjusting these parameters. I typically refer to these manuals and set the appropriate parameters before starting my work.

@DodaGarcia

Жыл бұрын

Doesn't really matter in his case since he's strangely squashing everything down to Rec709 before doing any grading.

Hi. You said that you used free davinchi but whenever I try to do color space transform in freesolve it says I need the studio version. Am I doing it wrong?

@ANDBERY

Жыл бұрын

What version did you use? In Davinci 15 it was a free tool.

@casperbengtsson459

Жыл бұрын

@@ANDBERY I used davinchi 18

Can this techniques work in premiere?

@ANDBERY

Жыл бұрын

Sorry, I don't know. Does the premiere have a tracking?

One very, very important thing you did not mention at the start of the video...is when applying the CST, the gamma you select depends on who your audience is. What gamma do you choose for TV, web and mobile? Otherwise great video. But if you don't mind, could you please explain the different gamma choices YOU use, for your productions and which ones you select for delivery. So many YT'ers claim gamma 2.4, 2.2, 709, and 709-A. It's a mess, A true mess. NO ONE has a definitive "good enough" gamma selection for their delivery. Case and point, this video looks dark on my PC, but on a Mac, it looks washed out, and on my TV, it looks bright. See what I mean? Thanks in advance.

@LateGreatHenry

Жыл бұрын

709-A 2.2 is a decent rule of thumb for today's displays, but you'll never find output that will create consistent image across any given display. It's a matter of delivering with a wider use-case net than delivering one export per use case for most people here. And if you are doing that kind of work you're probably not questioning your color space delivery settings.

@matrixate

Жыл бұрын

@@LateGreatHenry Excellent answer. Thank you so much for taking the time to read my comment and replying. God bless.

If I judge your idea of Color grading - then i see you hardly grading your images - it’s some transformation from log to rec709 and then basic life gamma gain and lighting with windows that’s all