Professional colorist, image scientist, and educator obsessed with the power of a well-crafted image. I'm committed to helping my fellow filmmakers realize their creative vision in camera and in the grade.
If you like the content and want to say thanks, you can Buy Me A Coffee at www.buymeacoffee.com/cullenkelly
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Thank you for this very valuable session: I always learn something here 😊
there is a great Avery Peck video that uses a DCTL to visualize the contrast curve. Really helps to explain it technically. But maybe not well conceptionally.> alt+Y add splitter combiner should be Independant of your color managed setup. I don't think this is the best way to edit HSL - we should just get an HSL option for the curves panel... we already have something like sat v sat - but that is normalized to the derivative and limited in range. So it stays monotonic.
Your videos have helped me tremendously. Thank you !
Thanks Cullen, I always enjoy your content...
Can we please try and dissect some of those shots/nodes in the next livestream???!!!!
I have a question about color management when working under a LUT that isn't DWG>DWG! My cinematographer is insisting I work under a LUT they used in-camera during production. This LUT takes S-Log to Rec.709. Where would I apply CSTs in this situation if I wanted to work in DWG? SLOG>DWG>SLOG>LUT?
Dude, this is the video I've been wondering about for a long time. Thank you!
W👀W #CullenKelly ! I ❤ this and its 🔥🔥🔥🔥
This was just perfect thanks. Easy and simple,
Great content but 720P.
Hi Cullen! Great video and tool! This issue only occurs when grading raw video, right? Cuz every log color space (except arri logc4?) are technically inside the davinci wide gammut and aces color space... Am I correct or am I missing something?
Some really great insights here about how hardware can affect process with client, thank you.
I am blown away at the intro. In most cases my thoughts would be to keep the original intent of the DP and not screw it up. But this actually looks to me that there must have been really good communication from the colorist throughout the process, and the VFX pretty much would have to be decent colorists themselves, to shoot and composite to make the canvas for this colorist. Really interesting.
I downloaded the exposure chart DCTL. However I am struggling with the step to grab still the DWG gray like your tutorial. It's was a wide range of grey not the only one grey. So what should I do after follow your instructions with DCTL
What about the temp tool? Does it work in linear?
As a guy who shoots and grades I learned% 1. Match exposure and contrast on set, fixing it in post will give terrible results. 2. Balance your image on set, use lights, props and study perceptual contrast. 3. in Post - refine instead of fixing
I love adding artificial lights in the grade!
You can also turn it around and ask if compers are colorists 🤔
your videos are of great value as always, thank you, i have been watching your videos for 6 months now, and I can tell you that my color grading has improved tremendously. Respect and gratitude
Mind expanding panel color and VFX discussion. My take aways are many but the key thought was about choosing for everyone to collaborate. Thank you for sharing the knowledge.
Super interesting talk. Thanks Cullen
I have been talking to lots of colorists about this very topic for years and it really comes down to two things. Does the project have the budget to pay a colorist for the job or is it cheaper to go into VFX. After all doing stuff like retouch or add some light rays takes time. Especially if those shots are already full CG, it is usually smarter and cheaper to do those things in the VFX department. And the second thing is whether the colorist is actually skilled enough for those tasks. I have seen many colorists, mainly doing the daily TV, who simply do not have the skill set to perform professional looking VFX - because that's not their job. For most of those shows the color grading is scheduled in a really small time window at the very end of post production, so everything that is VFX simply has to be done way before the colorist even enters.
Great video. How would we debayer CDNG RAW shot from an Original BMPCC? When selecting 'Decode using Project', the only Color space options are Rec. 709, P3 D60, and Blackmagic Design - none of which put me into the Davinci Wide Gamut / Davinci Intermediate Working color space.
At this point I am the vfx, color, mocha, editor guy. Started with just editing. Had to learn screen replacements which led to mocha and roto. All roads lead to color 😂.
Power windows are life.
That was really interesting the amount of vfx work colorist now take control love the video i learn a lot 🙌🏼☀️
I have no idea what’s going on but I watched the whole thing
720 P??? Why release this intriguing video, full of detailed adjustments, in 720P??? WHY??? Who can really see this blurry thing that we know has tons of interesting detail???
you can still make everything out
Might be caching bc it's a large file
Yeah, it’s cullen indeed, you forgot the banding in the background?
It's possible this is a legal limitation.
Honestly this question was in my mind before the video popped up , thanks a lot Cullen
CK master ❤
Yeah, I know, it depends on the project.
Your videos are game changer. Thanks for being so systematic and thorough in your tutorials. For the first time, I feel I can understand the foundations and whys of colour grading and not just on a superficial level and just whats. Thanks Cullen, truly appreciate your effort and work.
So I’m still confused lol I thought it was gamma 2.4 not 2.2 I usually color grade my own stuff and I use s-log3.cine I was wondering if I now need to convert it to 2.2
Cullen says to target P3-D65 but then ignores Apple's 'Digital Cinema (P3-D65)' Preset in the display settings, instead he uses the 'Apple Display (P3-600 nit)' option. Apple's Pro Studio Displays do not allow for any basic calibration under the 'Apple Display (P3-600 nit)' option (only super high-end calibration options with that). Using Apple's 'Digital Cinema P3-D65' option allows for basic custom calibrations but locks out any brightness adjustment. Would anyone recommend using the actual 'Digital Cinema P3-D65' option under a simple user calibration or stick with the out of the box studio display ICC?
This great! But I have one thing: I have a timeline with both braw and slog3 footage when I set the settings as shown, the braw footage looks good but the slog3 looks way to flat. What can I do?
brilliant
Hey Cullen went back to your oldest videos and trying to watch everything through as we speak! Love this series, it definitely helped shape my thinking in a completely different way. Do you have any recommendations for doing everything you did with colloid in the free version of resolve?
Probably one of the most useful and insightful episodes, thank you very much
Hey Cullen, quick question. When developing a look do you color correct x amount of shots prior or after? Thanks.
How to get that colloid?
how would this node structure work if I wanted to use a Kodak LUT at the end that gives out a gamma 2.4? would I just have a node after the Kodak LUT changing from gamma 2.4 to 2.2? thanks
I always thought CST is better than Color Management, it all makes sense now. Tell me, does using the CST route slow down the performance of the computer or laptop? My lecture said by color managing with CSTs, it'd make my color grading performance very slow in terms of performance. True or False?
Great work. Make a new video pls about rec-709A for Mac users, how to use correctly? And about export file from Davinci (how to do it correctly - color spaces etc). And Sony prores Raw (export from Final Cut in wide gamut 2020 to Davinci) - what to do with that correctly (CST grading etc)? Thx.
question: I work with Zcam, Zlog2 isn't officially supported by DVR (as we can also see in this video). However There is a Zlog plugin released by Zcam that can transform Zlog2 into other profiles at a node level. Is it a good idea to set the color management using one of the supported profiles (e.g.: Arri Log or Red Log), then use said plugin to transform Zlog2 into the profile selected in the color management window? I've been experimentig lately but i'd like to hear some insight from a real Pro just so i know i'm not wasting my time😄
@CullenKelly Not sure if you’re aware, but the only link that is working is the RED raw film link, all others give an error. I noticed it initially in my attempt to download your E-Book…
SO much fun learning by serendipitously altering my usual mind and toolset simultaneously. Great way to exam my process and learn the subtleties available within. The adventures continues.
if using the RCM instead of using CSTs, where can I know what color space I am grading? For instance: If there are two luts: 2383DWG to DWG, and 2383 Rec709, what's the correct position(node) I should place?