How To Color Grade Like a PRO

[@drdemi]

how the duck nobody is talking about this. grading with rgb offset is amazzzzing

[@deheiligebron]

wow, another gem on the web! Thanks Jimmy!

[@BinaryOrchestra]

Great tutorial! Nice to see my footage being used for this. For the close up shots we used a different speherical lens, that's a big reason the shots don't cut together perfectly, but the other shots were all done on an anamorphic lens and were all exposed the same, the weather and lighting was dynamic and that would lead to some inconsistencies with the exposure.

[@scotey]

Amazing deep dive. I learned a ton. Thanks, Jimmy!

[@jimmyonfilm]

Thanks! Really appreciate it!🙏🏻

[@brzrko]

This is the best one I have found so far !

[@helloaudiio]

We love your videos!

[@NOIRGRADE]

lots of valueble information in this. good job!

[@aliamirian15]

man im so happy i found your channel

[@jaredfilms]

Cool stuff man! Your timeline color space should be in a wide color gamut, too. Ideally Arri LogC in your case no?

[@matiascandi8397]

this is amazing

[@Dirkfensty]

Gorgeous work!!

[@outdoorsinontario3037]

Well done! Just like how I did my last project. We’re on the right track at least eh! Very nice looking video shots too! Love it!

[@roadcrewfilms]

great channel mate!!!!

[@ElFabytv]

Jimmy nice video ! you can tell me where I can download the reference clip? I can't find it 🙏

[@crystal.argentina]

I love this channel bro

[@bananopx]

Very helpful bro, nice job!

[@davidalvarez8275]

This is a great lesson. I do have a question, I have a Zcam, where can I find that plug-in?

[@Burningship]

very helpful,thanks a lot!!

[@NoiseComplaintsTV]

amazing ty for the info

[@jgalianos]

I got lost between look dev and grading prep, how did you get what you did on the first step and applied it on the actual short film grading?

[@jc-nu3dr]

Jimmy this is so good (:

[@jimmyonfilm]

Thanks 🙏🏻

[@Pieoptical]

Does this tutorial also applies to HLG color Format that has been recorded on an 8 Bit camera? (Sony ZV-E10)

[@gajapekosak2874]

Sorry if it's a stupid question, but... doesn't putting a color space transform node (or similar coor management lut) in the end mean that it's transforming your environment before you make changes? So then you're editing color in the limited space you outputted? Or it might be that I missed something in the beginning when you were explaining how you manage your spaces?

[@jimmyonfilm]

If you have a Color Space Transform or a LUT at the end of the chain (last node) everything before that node is still in the Wide Gamut/Log space. So you have a lot of room to play with. After the Color space transform or LUT (let’s say to output rec709 gamma 2.4) you are in the limited rec709 space and 2.4 gamma. Hope it makes sense

[@gajapekosak2874]

​@@jimmyonfilm I messed it up and thought that you put it at the beginning and I was very confused. I also wrote "in the end" instead of "beginning" and messed it up even more. The CST is at the end of the tree. All good. Thanks for answering.

[@miketv9484]

its better to label your node so that the viewers will not be confused like us as beginners,.thanks

[@DnDFilms-r3w]

Thanks for sharing this. Very informative! Question, if I use a FPE lut or any other lut thats making my contrast way too crunchy, do I balance the contrast on the clip level or group level prior to the FPE node?

[@jimmyonfilm]

Thanks! Yes exactly you would lessen the contrast prior to the FPE :)

[@DnDFilms-r3w]

@@jimmyonfilm Got it! Another question: In the scene/director/DOP node, if the client wants to change the look, do you stick to just adjusting the RGB offset, or is it okay to tweak the LGG/curves as well?

[@rockindude3001]

First time I've seen grading with printer lights! Nice. Also looks like that's a regular num-pad that is repurposed? Would love to get more details on that!! I can totally see how fast balance-leveling is with that. Wonderful explanations as always. Keep up the great work!

[@rockindude3001]

(found a tutorial, wow that's nice! why is nobody talking about this?!)

[@jc-nu3dr]

@@rockindude3001 can you share?

[@rockindude3001]

@@jc-nu3dr sure kzbin.info/www/bejne/iXXCdYqAiKZ6gLs

[@pavans9981]

hey can you share the tutorial link?

[@rockindude3001]

@@pavans9981 oh sorry, I posted teh link earlier, but it seems it got blocked. Just search 'resolve' and 'printer lights setup' and you'll find several tutorials.

[@DardanPalaj]

does filmmatch also come with a working lut? so I can have a good representation of how the final shot will look while filming?

[@jimmyonfilm]

Yes, absolutely! 😊

[@DardanPalaj]

@jimmyonfilm the standalone luts folder?

[@Saimonthobias]

hi @jimmy, I have tried twice but I have not been able to find the lut kodak 50D, so please help me with the lut

[@96JeSuis]

Make a video colorgrading on top of the film match powergrade. I really need help with this

[@ShermanStudios198]

Hey Jimmy you know your "FilmMatch" LUT can I add this on to Adobe premiere pro?

[@jimmyonfilm]

Hey :) yeah FilmMatch comes both as a PowerGrade to use in Resolve but also as LUT to use in any other software that supports LUTs (Premiere pro included). What can’t be stored in a LUT is the texturing (grain, halation, etc) which is what makes the Powergrade the “full” emulation. Thanks you interested, if you have any questions feel free to ask :)

[@vinjass]

Is that literally just a wireless numpad with stickers on it and the buttons re-mapped? If so that's genius and I need one too

[@rudrathakur6433]

why you prefer only using offset wheel why not use lift-gamma-gain wheel would tell me?

[@mfjae]

The amount of value here... Ridiculous

[@jimmyonfilm]

Thanks man! 🙏🏻

[@maanharman5070]

are you adjusting offset wheel with printer lights ? why not with panel

[@jaredfilms]

@@maanharman5070 because when color balancing or matching you’re ideally only gonna change the Red Green and Blue channel. That’s all you need - add or remove. And that’s also how it’s been done back in the days in the lab

[@maanharman5070]

@@jaredfilms ok thanks

[@FrankGlencairn]

Why would you work in a Arri (or even Sony!) color space instead of the bigger and better Blackmagic wide color space? Especially with material that is not from an Alexa? Also you whole color pipeline seems overcomplicated on not really clean. Like using a LUT to go from log to 709 is les than ideal.

[@flol3266]

Can you recommend other stuff to learn this or do you have created some videos with this depth?

[@NOIRGRADE]

One reason for working in AWG is: you worked with lots of ARRI footage before and are used to that color space. It is not a bad color space, neither is it worse than DaVinci Wide Gamut at all. Using a LUT at the very end is not a bad idea as well if the LUT is of good quality. You could argue about the Film Emulation LUTs in Resolve, but as a starting point, LUTs are not really any worse than CSTs that it matters.

[@jimmyonfilm]

Hi, both Arri and Sony color spaces are very very Wide, wider than what we can see as humans and wider than what any display can reproduce. In my mind it’s like looking for extra Ks of resolution when we don’t really need it. When it comes to LUTs I think there is a misconception about what a LUT is. A LUT is just a container for a color transformation, if the color transformation stored in the LUT is a high quality breakage free one (which can be easily tested) then the LUT will be a perfectly suited solution to use in any professional grading environment. Big studios do that all the time, as the only way to store complex color manipulations is through the use of a 3D LUT. The assumption that Color Space Transforms are cleaner than LUTs is myth, in fact they can be quite bumpy and non smooth when tested on stress images. Sadly LUTs have a bad reputation because there are a lot bad ones out there that will indeed break your image. But that is not the nature of a LUT in and of itself :)

[@TheyCallMeCotton]

Most big color vendors don't even use dwg and they use luts all the time. KZbin is where you find people doing what you think is "right"

[@Easyfilm84]

Yeah so many “colorists” making KZbin tutorials when really they have no clue about the science of color grading. I only trust Darren Mostyn and Cullen Kelly. Avoid Waqaz Qazi like the plague.

[@cod0key]

did you take these shots with an iPhone??

[@roismartin]

jimmy! i send you and email about your 500t powergrade!

[@xilefx]

had to leave you at 0:17 that's not a pro result

[@ShotByToweh]

this is all so complicated

[@simplyheen1150]

Well that's a fact.

[@Jackson-W22]

Wenn mann sich auskennt nicht..

[@marietafarfarova]

If it were easy, everyone would be doing it and it would have no value whatsoever. :)

[@godzillafan31]

If it were easy then everyone would be doing it.

[@Nobmaser]

Its easy just use your eyes