Thank you for the honest feedback. Highly appreciated. I'm being honest, the tempo is the one thing I am struggling the most with as I am recording. So it's good someone points it out. I'll try to work on that. Thanks so much man!

Thanks Jim. Nice to see you here.

Thanks. I'll add that to the list!

Merci :)

Thanks so much. One simple answer: Simplicity. Setting up linear node gamma or creating a CST sandwich takes time. Understanding that Offset in log is 99% the same thing speeds up operations. Great question actually! Also btw, sometimes log offset (because of the inaccurate behavior in the blacks) creates just the right crunch in the blacks. It's all about knowing your tools and using them efficiently.

@@NOIRGRADE Thank so much for your clarification and for the quick tip!! I will try to use the offset more for create deepest blacks look if it’s what you were referring to!! Have a great day

Thanks for the kind words! Appreciate it

Thanks! You got that one right. Power windows with linear node gamma. But sometimes if that's too complicated it's also ok to just use the Offset instead. My latest video goes explains in detail why.

Thanks so much!

Thanks for the kind words!

Thanks. I temporarily enabled the S-Curve contrast in the project settings again (contrary to what I did at 0:34). I should've shown that.

@@NOIRGRADE ah okay noted, had it disabled since the beggiing for all projects by default with copy paste prepared project hah. Thank you

I think the same.

Thank you!

Thanks for the kind words. Appreciate it!

@@NOIRGRADE Nah, thanks for the great explanation!

Hi thanks for your comment. That's definitely a good workflow if you don't mind switching between primaries and hdr palette all the time. I mostly use Offset for such things, because I can stay on the same page and it gives an almost perfect exposure adjustment anyway.

Hi thanks for the feedback. I've had quite a lot of thoughts about color management in the tool in the past and I get where the need for it comes from, but I came to the conclusion, that it also doesn't make sense. Since those patches are only test patterns that are meant for different use cases it totally depends on how you want to interpret them. Adding color management "forces" a certain logic onto them that I personally disagree with. The only patch where it totally makes sense imo is the "Ramp + Patch". But please let me know your thoughts on this, because I could be totally wrong with this. Appreciate it. Thanks :)

Hi. I didn't delete any comments. Did you share a link? I guess youtube auto deleted it if it contained a link. Anyways. Thanks for the kind words! Appreciate it.

@@NOIRGRADE Ahh maybe KZbin deleted it. I'm replying from my other account, the link is on my channel if anyone's interested. I have a bunch of free 3D LUT tools, but in this case it's the 3D LUT smoother that's related to the topic. As it's in beta, I'm trying to get people to test it, any feedback is appreciated. In my original comment I also described an issue. When I stress test my LUTs I do the lamp test as well to check for banding near the highlights. Last time I built some LUTs for S5IIx V-Log, I noticed some banding and to my surprise it was not the LUTs fault, it was the source, even though it was 10bit. So this test is not always reliable.

The Clip I used in this video is 12 bit. There is no banding in the original footage. Of course you should always check if the footage has banding to begin with. But also sometimes you need to be careful if there is actual banding in the footage or if it is just on the display. If you view the footage on an 8bit GUI monitor you might experience banding from that. An easy way to check the footage would be to use a luminance qualifier with really little softness and the B/W Highlight Mode. Thanks btw for the incredible smoother tool. I already use it all the time ;)

@@NOIRGRADE Ahh didn't know you know about it already :) Thanks for the qualifier tip, will try it out!

I was about to make a comment about 3D regularization and that there must be ways to smooth out LUT kinks, then I find Attila Bakos here with a tool. Amazing.

If all of those people selling LUTs online would show their LUTs on test patterns no one would buy them ;) Thanks for watching

@@NOIRGRADE Yeah, that's the reason why I'll never buy luts again. Well I saw it always as gambling. But now with Artlist MAX pro, giving me everything, I'm happy really! They give me, voice over, and LUTs in addition to music and SFX. Footage I do sometimes use but rarely. Because some LUTs are nice but only in a fraction of type of shots, and it's very different for everyone what type of shot they have from objects and colours in it.

​@@NOIRGRADE exactly, I mean who sells LUTS? it's so lame, give them away for free...I will make LUTS for people for free....who cares.

Hi thanks for your comment. As you can see around ~1:20 the value of the lamp reads around 20, while the shadow reads something like 0.05. Those numbers reflect what a light meter on set would measure as well (not the exact numbers, but the ratio between the two). To be able to work with those light intensities cameras convert the linear light to a logarithmic state. When you temporarely convert to linear during the grading process you recreate those original values (20 and 0.05 in this example). This is what I meant with "values can far exceed the 0-1 range". Does that make sense? Let me know if you have further questions :)

Thank you so much for your explanation! Why is that the lum mix meant to work in that small range tho? Is it meant to work with logaritmic input states? I don’t know if I’m making sense but I’m trying to fully understand!

@@matteosalvatori4908 you got that one totally correct. It is designed to work with log or display ready images, so just in the range from 0-1.

@@NOIRGRADE Thank you so much!

Thanks man. Enjoy!

Thank you

Thanks my man! Appreciate it!

That's nice to hear. Thank you Sofia :)

Thanks Marieta. Hope you'll find it useful in your workflow! Let me know if you have any questions of feedback.

thanks man. means a lot!

thanks :)

the HDR wheels are mainly made for log footage with higher bit depths. for display ready 8bit footage it's better to use more gentle tools like lift, gamma, gain or maybe the log wheels

tbh that's a good question. I honestly never bought any LUTs online that I was happy with because of the exact reasons I talked about in the video. I heard that Cullen Kelly's LUTs are quite good, but I personally haven't tested them yet. thanks for watching man :)

Thanks. Let me know if you have any questions or feedback :)

thanks man! appreaciate it

appreciate the honest feedback. I'm gonna have a look at it :) thanks. means a lot!

But Marieta, you need to buy that Teal and Orange LUT!!!! Otherwise you will never be cinematic like the PROS!! Guess where the "bad examples" came from ;)

thanks btw :)

glad you liked it. thanks

Great question. It totally depends on the chosen workflow and the project size. From most simple to most complex: - Let's say the main delivery is rec709 and you spent most of the time grading in rec709 you could either do a simple color space transform at the end and add adjustments on a clip or timeline level. Sometimes that's enough. - You should have ideally worked color managed to begin with, if you already new about multiple deliveries. You can simply change the ODT and add adjustments on a clip level - you could do everything with Dolby Vision. But for that you ideally started with P3 or HDR if that was on the list as well (always go biggest to smallest)

Thank you Marieta! I didn't try the HDR Temp and Tint as much as the Global Wheel, but in some tests I found they behave (roughly) the same way. Working linear is an amazing concept that opened a lot of new possibilities for me when I started using it. It does take some time to get used to it and also you might need to adjust the sensitivity of your panel, but it surely helps white balancing and adjusting exposure.

@@UpSco8 Thank you. Appreciate it!