Professional colorist & educator immersed in the intersection of visual storytelling and technology.
D.I. Colorist who loves collaborating with filmmakers to create beautiful films. I've had the privilege of working with leading artists on projects like The Chosen: The Shepherd, Vindication S2 & S3, and global brands such as Chick-fil-a, Manfrotto, RED Cameras, Camping World, as well as award winning feature films, shorts, and documentaries.
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yeah i have been using this num pads for a while now
Hi bro, I need help. I have 27" oled 240hz and high end pc with pulling 900w. My question is can I use 900w pc + router + ps5. I will stream on that pc (and some time stream and play games on ps5). So can it run it? Edit: talking about 2200va/1320w model
interesting I've seen this process done by using layer mixer node with a hard light composite on the bottom node. would there be any reason not to use that and doing it linearly like you've done? Very cool explanation.
Can also use a proper professional keyboard that comes with numpad. Ideally backlit.
This is awesone - I didnt know this either!
👍🏻👍🏻
the infrared filter was a custom project done by the filter god Ron at Birns & Sawyer. same man who made the Nope infrared filter
@@ConnorHu-l9h Very cool, thanks for the info!
Love this technique! I only wish there was a way to map it to the gain wheel for linear gain adjustments, which I prefer for balancing.
SAME bro...I may have to double check the custom shortcut settings... there might be a way to map gain
Printer lights are awesome. For even more fine tuning, you can also use your mouse like a slider in the numerical RGB values of the primaries to make the same adjustments to RBG. Printer lights are really nice for cyan/magenta & yellow. Dang, that footage is great BTW and held up either way! Finally, adding blue vs subtracting yellow can yield wildly different results as well! Great video!
Love it!
Awesome tip!
Thanks!
@@BarrettKaufman this may be an obvious question, I’m new to color grading in DR. But is there a way, like with color warper, to pick a color from one clip, and have it auto correct another color on another clip to match? Specifically what I’m trying to do is make a LUT for applying the internal picture profiles of my camera to raw footage from the camera. I have a raw shot from my Sigma FP, with a color checker classic clear in frame, and then with the same settings and framing I have shot a sample of all the internal profiles, so I hope the color info needed is all there, but I am having a hard time trying to dial it all in to match by hand.
so simple yet effective! great tip, thank you!
Glad it was helpful!
I use StreamDeck for everything and I love it
awesome!! did not know about this. will get one!
Great!
Awesome!! I love it, when you go technical - wouldn’t mind a little more of this… One specific question: As a DP I‘ve been creating my own looks for a while. How would I go about creating Show LUTs for on-set monitoring with different cameras? I‘m mostly using Blackmagic cameras, but sometimes we also have to work with Sony or REDs. Additionally I‘m using a pre-made pulldown-LUT that I would have to combine with the creative show LUT.
Yep! For an on set lut you would need to combine the creative choices and a technical transformation to display space Just make sure that you're happy with that transform, because you should probably also use it in the grade for consistency
so to do both in your project settings do you keep the contrast curve to linear then apply the roll off via curves in high/Low soft? OR do S-Curve option and do the linear adjust with Lift and Gain to control both? The above aspect specifically talking about your Project settings in the cog wheel area
Often I develop s curve contrast using the curves tool or a 3rd party plugin
@@BarrettKaufmanthird party being DCTLs or dehancer I'm guessing?
@@guyjinpop DCTLs seem the easiest solution at the moment
what the difference between from alpha in and from second input? I tried the alpha in and dragged the mask alpha out to blur alpha in and it worked.
It's the difference between the blur fading with transparency or the blur increasing progressively Using the alpha inl is basically the same thing as the first example I show
@@BarrettKaufman oh okey thanks because the older version like mine on 17, I can't drag alpha in to second out like u showed. so that'll be an alternative way with older version
I know the video is 2 years old, any update on how it is now? was thinking of buying one can you recommend?
Great experience so far!
subscribed
Have struggled with split toning for a while and this just nailed it for me. Thank you so much for not complicating the process.
@@pwanipost Thanks for letting me know!
damn. earned a sub bro this is by far the best Blur tutorial out there. it looks so real!!
@@NINETY-97-SEVEN 👍🏻👍🏻
Very informative video!
If I am grading in 709 color space then I have to do trim pass for cinema projector in dci p3 how to do sir
This movie grade in dci p3 or 709 if grade in 709 then how to trim pass for cinema projector dci p3
How do u get the node with multiple inputs?
Saw technique this from Cullen Kelly
I’m really liking the Q&A like format as you respond to stuff - keep it up! 👍
@@zachkaufman5254 Thanks!
Like Josh said: what is a good place for finding high quality creative LUTS? Most of the 'high quality' ones I have actually require Arri Log-C or Red log as an input and output straight to rec709. Also Curious about the right workflow in using Davinci wide gamut intermediate
If you are referring to the official Arri looks, they should also be available without the 709 transformation on Arri's website. There should be a version that stays within arri logc Just be aware that many of them will have exposure shifts
Fun fun, well done!
@@outdoorsinontario3037 Thanks!
Hey great video! Do you have any recommendations on where to find quality LUTs?
@@joshforth It's a struggle lol. I wish there was one great place to point to It's been a slow-process for me over time with testing and adjusting. Much of the time I'm just building my own In the future I hope to demo how I do LUT testing 👍🏻
awesome!
👍🏻👍🏻
Try radial blur ;)
I used to get bleach bypass by overlaying a black and white copy on top - in overlay mode. Wondering if it could give nice results in resolve. Love your channel. I'm working in post production for many years, but mostly in the VFX, less in grading so I would very much apreciate a basic tutorial on a modern colorist workflow within davinci wide gamut - I'm stuck in arrilog to rec709 workflow...
I would like to thank you a lot for simply explaining this process and makes us actually want to use it. Also thanks for giving us for free those 2 power grades. You just won a new subscriber!
ARE YOU KIDDING! ! the best
Great!
I'm not understanding the first method why you have such a small amount of softness- it works like any graduation where the larger it is the more gradual it will go from origin to the outside of the oval. So you aren't limited to the shape or size, that power window can over reach - just zoom back - increase the softness, and increase the blur ( way past what you need ) and then resize the shape so you get the graduality that you require. Before we had OFX like tilt-shift etc. this procedure was done all the time. Not that it will look better than what you came up with, but a lot better than the first attempt, without the OFX. In most cases, we would also lower the gain slightly to help the eye trace
Totally agree! The limited softness of the first example was to help demo the problem of using a blur and power window (not necessarily to show a solution)
Damn. Thank You for this man! Looks great!
sure thing!
Great video, i gotta save it for later
👍🏻
Oppenheimer was my first time seeing true 70mm IMAX projection. I saw it at Universal Citywalk AMC in LA, the same theater where Nolan does his test screenings. The screen fills your entire vision. When the opening shot of that raindrop hit the screen in 70mm IMAX it was the most stunning and beautiful raindrop I had ever seen. My mind was blown. The format has such clarity, resolution, and color richness. And when the 'Can You Hear the Music' montage played I practically wanted to cry. I'm glad they did a truly photochemical process because the results clearly spoke for themselves. I wish more people made movies like this
If you want a more in-depth explanation, click the related video in the title
This set of tips are great. Thank you for sharing!
Totally! Glad you found it helpful 🙌🏻
@@BarrettKaufman Cool to see clips from Searching For the Elephant
Is there a way to do it in Premiere? Thanks!
I don't believe there is a native tool in Premiere that does this
I developed my own anamorphic blur thing with lens distortion and lens blur, but your tilt shift technique made a huge improvement, we are suckers for anamorphic😋
Haha! Great!
Might use this on part of my current project for a flashback scene 🔥
mask did not work for me at first, it seemed to blur the white parts too but then i changed the key output offset to 0.5 and now it works.
thank you btw this is a great solution
Thanks for this comment ! Had the same issue and that 0.5 in the key output offset made it work !
Ufff, awesome
100th like, you deserve it
This will save me sooo much time thanks
You are One of the best teachers thanks
Thanks man!
Excellent explanation and useful lesson.. thanks
The result of this technique is really incredible, thanks for the advice!!
👍🏻👍🏻
If you're not getting the same results it's probably a settings issue in the Tilt Shift effect. Download the powergrade in the description which has everything setup (including the map input linked) or watch this short for additional info on the settings kzread.info2vxZ7mX1Eqg