How To Color Grade Like a PRO

[@scotey]

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

[@jimmyonfilm]

Thanks! Really appreciate it!🙏🏻

[@NOIRGRADE]

lots of valueble information in this. good job!

[@jaredfilms]

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

[@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!

[@bananopx]

Very helpful bro, nice job!

[@Burningship]

very helpful,thanks a lot!!

[@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?!)

[@NoiseComplaintsTV]

amazing ty for the info

[@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?

[@roismartin]

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

[@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.

[@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.

[@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

[@mfjae]

The amount of value here... Ridiculous

[@jc-nu3dr]

Jimmy this is so good (:

[@Dirkfensty]

Gorgeous work!!

[@roadcrewfilms]

great channel mate!!!!

[@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.