What is a qualifier?

[@oxysoxos]

One of the best and sincere explanations of the Qualifier HSL tool I have watched so far. Thank you!

[@elcasanelles5806]

How good it would be that KZbin pushes this video up; people need to find this before falling into the trap of all the qualifying tutorials that mislead them. I arrived at the conclusion of discarding the finessing tools the hard way and always thought I did not understand how to use them.

[@ah242]

always great video , waiting for a clean white look in your next video

[@patrickvanoorschot9019]

Always look forward to your next video. Keep it up!!!!

[@Mionwang]

When I use qualifiers, I like to add a new source and add a CST and then a serial node on which I add the qualifier key. Then I output that matte to the main node tree node where I want to add the corrections etc.

[@dasgerm4797]

same learned it from quazis channel

[@bryzr]

@@dasgerm4797 tbh Quazi doesn't provide the best information, i sense a bit of a phoney "professional colorist"

[@Mionwang]

@@dasgerm4797 i didn't learn it from him. Also, it's mostly not needed for a color managed workflow.

[@Mionwang]

@@bryzr qazi is really good at his job. But beginners probably shouldn't learn from just Qazi. Lowepost (now ravengrade) has excellent but cheap courses.

[@dasgerm4797]

@@Mionwang As someone working in a color managed environment aswell, I still use the technique although I personally dont like Qualifiers that much. I just think that's the only way they are usable considering when you make changes downstream the qualifier becomes unuseable and they tend to artifact a lot, at least on my footage (sometimes it is fixable with a 3rd party denoiser but too much work)

[@movie-trailer19]

An excellent solution to the subtle use of the scalpel tool in color correction Most affect the image using all three qualifier values, which breaks the picture. Here it is absolutely necessary to fine tune for the best result.

[@D0nnyM4cD]

Thanks Cullen, good insight. Donny.

[@helle_larsen]

Such a good video! When I started learning color grading back in 2021, I would use the qualifiers so much, and sometimes I even had to track power windows. It resulted in a lot of errors that just overall looked horrible. Like absolutely horrible. I am currently grading my exam film, and I have been using a lot of your advice already, and it is truly wonderful! I do have more consistent lighting and colors now though, since I have improved as a cinematographer, but also I noticed the small subtle changes in color correction and grading are enough to give the grade I like. I don't need to do big, difficult things. I prefer a grade that is gentler, but without those visible pixels and errors, like it is way better. Visible pixels really ruins the overall look of the shot.

[@helle_larsen]

I learned how to use the denoise every time I used a qualifier, and every time I only experienced issues. My grades are looking way better now that I am trying other methods instead!

[@flochfitness]

Came here to hear Cullen talk smack about qualifiers…

[@MarvinFalz]

That is very helpful. Thank you very much, Cullen!

[@bryzr]

another fabulous episode🐐

[@franzmathauser]

Thanks for pointing that out. Gosh I wish BM would implement their UI to represent more that a single decimal value for the input fields in the qualifier. At least they support more than one decimals to be typed in, but the value is rounded for display. After clicking in the field there is no way to see the typed in value and on press of enter the rounded value is applied. This is so annoying.

[@jonicolton]

thank u 🤟🏼

[@JimRobinson-colors]

Grade school comments on the qualifier - the setting in the project settings according to the manual for color space aware seems to be applicable to ACEs and RCM where the qualifier will remain consistent as being color space aware. If it doesn't apply using node based management then they should grey it out. From the version 18 manual - "The Qualifier palette is color-space-aware when you’re using Resolve Color Management (RCM) or ACES. This enables Qualifiers to create high-quality keys as you would expect, no matter what the color space of the original media is, or what Timeline Color Space you’re using, for both SDR and HDR mastering. This makes Qualifier isolations easier, and a more consistent experience no matter what your workflow happens to be."

[@RafalGendarz]

When I use qualifier in Wide gamut color managed settings it is marking very large range of colours so i started using 3D qualifier only to make it do-able. Is there anything I could change to make it normal like in rec709? I am using slog3 materiał

[@antonarap]

When using the qualifier, the "luminace" filter starts affecting the greyscale shadows from 50% onward. Anything less than 50% doesn't filter anything out. why is that?

[@stefanocson6237]

great

[@davebassP5]

I don’t even know what ‘talking smack’ means, let alone a qualifier. 😂

[@frankinblackpool]

I'm sorry to say that this episode has left me even more confused about Qualifiers than before I started watching. Speaking from a personal, and most definitely, novice perspective I really would have appreciated a "Real World" demonstration of using the tool to achieve a task, rather than a theoretical demonstration of moving the sliders and seeing some gray movement on the screen. Maybe this episode was not for a novice such as myself and rather more pitched towards intermediate/advanced people who already had a good grasp of what a Qualifier was and how to apply it to a grade. Sadly I'm a monkey see, monkey do sort of student.