Here in this post, we will show you the basic quick and easy workflow how I color grade with LUTs and and make it as easy as possible so I have to say this again I’m not a professional colorist or professional movie blockbuster editing guy but I like to make my videos aesthetic and artistic and this is one of the most asked questions on my channel of all time what is my color grading workflow. Gotta go to the other room because this huge screen they sent me doesn’t fit on that table over there because this is my main setup over there in the corner with the iMac Pro but yeah it doesn’t fit on that table so I had to set it up in the other room so make sure to stay until the end because I’m doing a small contest or giveaway where you can win one of those great 34 inches screens and a backpack and some LUTs some preset stuff and whatever let’s go yo so here we are look at that big screen that is that’s insane like so much space, nice! 38 inch first of all I gotta say this is more of a tutorial for beginners like I got a ton of messages every day like how do I apply LUTs so if you’re more advanced video editor or you got your hands on already on that stuff this is not for you! okay here we are in premium pro I just selected some some random clips from our USA road trip and just put them into the timeline because that’s basically how I start my editing just just selecting the clips and now you do all these stuff you want to do your editing transitions or whatever and now let’s say you want to add some color grading so first of all we’re gonna add an adjustment layer on top here we are drag it over all of your clips and now here’s what I do really basic really simple we are going to add that artistic or stylized look onto that adjustment layer and then I’m working the clip itself to adjust further yeah that’s basically it so here we are adjustment layer selected go over to your lumetri color tab if you can find it try to search for it on the top over here like click on color or maybe you can find it on the window and you have to enable it and then it should pop up on the right side so here we are let’s open up the creative tab that’s where I have my LUTs onto because the good thing about this is you can just turn down or turn up the intensity of this LUT like let’s say you want to add some extreme teal and orange look you can just play around with the intensity to make it more or less visible and so I’m selecting my Canon 2018 LUT because that’s my all-time favorite i I just used it for the Canon but I’m using it as well for Sony shots so here we go and as you can see it already looks nice so you can either take a look at myself like shop which is linked down below or you can find a million of other LUTs online so there’s basically a lot for every kind of style you have ever seen in your life so I’m choosing the Canon la 2018 and yeah it looks nice already so I just keep the intensity at 100 that’s perfect so and that is basically all I do with the adjustment layer so now what I do is just leave the adjustment layer on top and go to each clip – to see if we can tweak some stuff so now I’m selecting the clip underneath the adjustment layer and we are heading over to the basic correction now so the good thing about this is you can always keep your look on top which stays the same and you just do the editing or the adjustments on the clips itself like and this one my already turned down the highlights like let’s turn it back like this and he I just want to make the sky more more I don’t know like more textured so we try to bring down the highlights so if you know me you know that I don’t like to shoot with and these or stuff and I like to to just running gun and when you film running gun shooting like picking up the camera real fast you don’t always get the exposure right so here’s what you can do like turn down the highlights a bit bring up the shadows add some more contrast and yeah maybe some situation if you want to and yeah that’s the procedure now we’re going on to this one I already tweeted so let’s put this back to zero here we are so the same thing over here I just want to get a bit more of details in highlights so we got to bring that down for the sky yeah it’s basically all I do it’s no magic nothing special real easy I don’t say that this is the best or the right way it’s just my way and you asked for it so so here it is yeah let’s take another one yeah it looks great let’s say you want to make this a bit warmer then you just select the clip again go to temperature and you can play around like bring it up if you want to get that sunny mood and yeah that’s it and this one I totally messed up the exposure so so it doesn’t help a lot if I bring down the highlights because there’s simply no information left but I think it’s a nice shot anyway because my my my back and my silhouette is exposed correctly so you just have to try it for yourself what works for you and you don’t have to get after that rules always like there are so many people there hating that you are not correctly exposing why you don’t choose with n DS and stuff and I always say I’m making videos on myself like for keeping memories and creating stories short vlogs whatever and it doesn’t always have to be that perfect cinematic movie like quality you know so fuck it okay so I’m fine with that it seems like I’m turning down the highlights almost in every clip it looks so much better especially if you’re shooting on a bright sunny day with with harsh lights it often helps to just bring down the highlights and as you can see it looks nice perfect so there’s another thing you can do in the latest version of Premiere Pro which is called colorways and match that’s turn this one on for example you go to color with a match and you say comparison view so what it does is to to show you the reference image like the first one and then you can scroll down your timeline to the next shot and there’s now a feature that allows you to to match those two images without doing anything but let’s let’s do it apply match here we are and now it matched the scene but for my opinion it’s way too cold and it looked way better without that correction but sometimes I think for skin tones it works quite fine let’s let’s let’s delete this yeah if you see like this this looks way more natural like and pleasing to the eye I think you can just compare it to another one let’s try it on this one apply match it brings it down to that cold temperature because of that blue sky and the left image I think so yeah sometimes it works but I like to do it manually it it works better for me yeah so now you got to turn off that comparison view again to bring back to normal timeline and yeah that’s all I do when it comes to color grading maybe we can add some some film great now on top and stuff but that’s not the part of this video so I just wanted to give you a quick overview of how to apply lots into the creative tab and how I further just this is the single clips a lot of you told me under the I make video that final cut works so much better on a Mac I made the switch and I’m super happy now and final cut but I know a lot of you are using Premiere Pro so I did this in Premiere but if you want to apply the same procedure into Final Cut it’s no problem at all the only thing you need is like an adjustment layer because there are no adjustment layers and Final Cut by default so you have to either create your own or you can just download two adjustment layers and 1080 and 4k I did for you on myself I stole a link is down below so it’s free just get it just drag it to your motion templates folder and that’s it you can use adjustment layers and Final Cut and it works like a charm so yeah that’s it for today so if you got something to add feel free to share it in the comments so regarding the giveaway if you want to participate the only thing you have to do is to edit a short clip max 60 seconds upload it to Instagram follow me on Instagram and tell you with these hashtags over here you can find all the information below in the description as well and then you’re in so and one lucky winner will win a 34 inch monitor from LG especially for video and photo editing it’s super cool to have that much space second price will be a wander’d backpack because I said I think a lot of my followers love that backpack so I just put that as a second price and the third price will be a big lock pack with all of my lots and Lightroom presets so just read the description below to get all the information again so that’s it with LG Auto high class for today so I’m super excited now to to go out and and shoot some stuff because ten minutes ago my Mavic to parole arrived so stay tuned I will definitely upload some stuff on from the local forest so see you in the next video choose
Video Editing News
HOW TO COLOR GRADE FLAT VIDEO | Tutorial | Cinelike D | Panasonic G7/G85 FREE LUTS
It’s snowing on our great mountain! Today we will make a basic grade for your G7, G85, GH4, GH5 but also any other DSLR that can record flat profile and we will bring colour and contrast to your flat profile the link for the basic grade will be in the description Let’s jump in because i’ve updated to Adobe Premiere 2017 Import your flat/cinelike D footage on your timeline Go to colour tab All Addobe Premiere from 2015 have this tab You will find 6 scroll down menu’s Go to basic correction i start with a drop down of the temperwature because i like that way to -Than i bring a slight the tint to , i like to lift the exposure a slight because i underexpose a little bit always in this bright situations i lift up the contrast to bring back the colours le’s put it on a slight increase of the higlights to i bring down the shadow again to approx -15 and bring down some blacks to -10 On the creative drop down menu i like to sharpen back the footage for this type of video bring up some vibrance and some slight adjustment on the saturation On the curve dropdown menu i make a slight s curve nut just a little bit For this basic grade i do not mess with the colors weels, hsl secondaries and vignetting This was a quick basic grade for your flat picture the setting that i used on my G7 will be in the description with the link to download the lut file..
How to COLOR GRADE your footage using LUTS!
What is a LUT? a short form LUT for lookup table essentially it’s a file that contains code and once you put that file on your footage it makes your footage look a certain way so because you guys asked for it today I have made my 7 left available for purchase using the link below you can check that out you can download those apply them to your footage and get the same kind of look that you see in my cinematics cuttings and the vlogs and the b-roll stuff that I do before we go any further I want to show you what these seven left actually look like in premiere on some footage that I’ve shot in the past we’re going to do that and I want to show you a little technique that I use to get the most out of them so when you’re using them on your own footage you’ll get the very best results so let’s go do that right now okay so let’s run through how to apply these lots to your footage a little bit about what they look like when you can use them when you should use them and the best way to get the most out of them.
When you open up the file you’re going to see these seven cubed files you can’t really double-click them and open them they’re not really going to do anything but we’re going to use only through Premiere Pro and apply them to our Clips check this out let’s close that firstly save them to somewhere you’re not going to lose them Dropbox maybe you have something locally on an external and McLeod three things are always a good way to backup the file so check this out we’ve got a clip here of me shooting some b-roll in the forest we have a clip here of the street from an airplane and a dude busting a manual in Venice Beach what come over here in your media bin right click new item adjustment layer enter that’s going to make an adjustment layer in our media bin now we’re going to apply this on top of our clip like so you can be blade to cut that at the end a back to the arrow and delete and we’re going to apply this to all of the clips for this reason hold down alt drag that over hold down alt drag that over and drag that out and we’ll cut off this one I think it’s better to apply a lot and an edit to the adjustment layer on top of the footage that way we can always just delete this adjustment layer we can hide it and we’re always going to have that fresh file underneath okay make sure your limit REIT AB is open hit window down here under limit or E that’s available in the CC version of Premiere Pro
It’s going to give you this tab on the side here I always like to just slightly edit this a little bit maybe up the color up the saturation depending on what it means or what it doesn’t mean and we drop those highlights a little make it a little brighter a little more white a little less black boom kind of giving it like a base coat before I apply the LUT now this is what I do I come over to the first frame here of the cliff making sure that adjustment layer is selected in your luma tree panel over here it says input luck you’re going to click on that menu hit browse and that’s going to open you’re going to navigate to where you saved those Luntz and now you have access to them you get arctic circle black I clean and tidy fade out Kodak killer Noir and peel it on so let’s start with Arctic Circle it’s going to make things look colder that’s why I created it hit open right away I can tell you that it’s coming on too strong like someone else got some bad Cologne and you’re like yeah this is why you apply to an adjustment layer come over here to effect control so you’ll probably be here default click on effect controls for that adjustment layer and we can change the opacity of the lux that’s applied to this clip we start that at zero and then introduce it a little bit until you’re happy with it good around 50% most people left are now they come on strong because sometimes they look great at full stop and sometimes they look better when there’s only a little bit of it introduced so in this case 50% looks pretty good and that’s designed to just give off a more of a cold cool feel for shooting the mountains for snowboarding if it’s at nighttime blue filters why I call this Arctic Circle are good choices to go with if you want to clear that off you can just right click on this adjustment layer hit enable and now you’re back to your raw footage and you don’t have to actually edit or touch that clip below same thing to get it back reverse it you’re back now if you don’t want the sluttin you want to try something else come up here to the input tab hit none and then just browse and pick something up let’s go black eye pretty cool now we didn’t change the opacity of this before we applied this again so it applied a black eye at 50% at 100% way too strong but like I said you can dial that back to zero slowly introduce it I think it let’s get around like 35 even not 50 might even be too much and then you can tweak from there from your luma tree panel maybe a more exposure to get a little more contrast and a little more white and there we had a pretty cool-looking clip now if you don’t like that you can bring this back up to 100 click none and let’s try something else at Kodak killer is one of my favorites it’s kind of like a film emulation kind of vintage so warm feel to it it’s what I use in 80% of my blogs when I do cinematic b-real sequences so that’s when you guys will probably really like check that out Wow look at that it’s just cool there’s just something about it it looks good that’s all that matters is that you are happy you’re having fun there’s no right there’s no wrong sure there’s things that look better or look worse but that’s all subjective if you like it and you’re happy then it’s good to go now it’s in my professional opinion and if you’re doing a job for somebody typically if you take on a filter and it’s that like a hundred percent and it’s coming in hot it tends to be a little more on the amateur side but like I said sometimes I just like to I like to do that because I’m having fun with it so toning them back usually is a little more of a professional look to it so check this out so that was a hundred percent we make this like 45 that looks a lot better in my opinion watching that clip than it did if it was out a hundred so it looks cool but it looks a little more intentional at 45 the teal and orange when you guys have all been wanting and asking for there it is at 100% I typically arrest that that’s at 100% I typically keep it at around 50 or 45 I add a little bit of orange that and drop the exposure a little bit and I up the contrast a little more black.
That is typically what I use when I shoot for the feeling orange let’s try a different clip let’s try this one here at the city let’s throw kodak killer on this city clip so i’m at a hundred percent though it’s pretty good maybe a little more brightness a little more contrast and i’m happy with that that’s one that looks good at full stop come over here noir is a really nice black and white it’s really clean crisp black and white that just looks fresh super big fan of this one it looks good on just about anything you put it on to note any percentage let’s go over here hit none let’s browse is that 48% let’s add noir to that and pump that up to a hundred still looks pretty cool it’s just I’m a big fan of that one so that’s cool Kodak Euler is great in the teal and orange obviously they took a really popular cinematic trend right now in footage on YouTube in different videos essentially just desaturate the footage plays with the shadows a little bit but give you a really kind of flat feel now if you drop that down to like 65 or 75 it’s a really cool cinematic look that’s pretty easily obtainable
This is good on drone footage it looks good with cars and you’re going to notice that there’s certain lusts that look good with certain Clips at certain times of day and that’s when you start to get really good footage and you start thinking hand in hand to the edit while you’re out there shooting so that’s pretty much it that’s the fast way to apply a lust to an adjustment layer on your footage within Premiere Pro.
As found on Youtube
Cinematic Color Grading In Premiere!
hey guys how’s it going welcome to another tutorial and this one’s gonna be all about color grading I get a ton of comments and questions saying that they like the color grades that I do asking how I do color grades and I’ve been trying to figure out how can I show more of that how can I give you guys more cuz at least for me I love seeing other people’s workflow what do they do what plugins do they use how do they manipulate things I really like seeing what other people do so then I can take some of those things into my own workflow and learn from them and I put a lot of work into color grading I don’t leave a single clip untouched every single clip has some sort of color grade to it I always color grade and the reason for that is that it’s a free easy way to make your footage look way better it just takes time and practice but it’s a free way of making your footage just look so much better so why wouldn’t you tap into that and just take your footage to the next level that being said it is also super hard it takes a ton of practice and just training of the eye in order to get really cool color grades but the only way to get better at is to just practice and just start doing it it is 100 percent doable don’t get discouraged and don’t get scared there’s a lot of things going on but it’s actually fairly simple once you get used to it so here’s how you can get a really cinematic color grade straight and premiere and a lot of these same principles apply to all the other editing programs but I’m just gonna show you guys how to do it in Premiere now my first step is to always start with a lot technically you should be color correcting and color balancing all your Clips first and then adding a LUT or color grade to it but I find that this just saves a lot of time especially for YouTube I just don’t have time to be going back and forth color correcting and grading and then correcting again so I recommend finding a let that you like and then using that as kind of your foundation right away and then just get into it it saves so much time using a lot instead of starting from scratch or doing the exact same things over and over again just use a lot and you have a great foundation to start from not to mention it can be really hard to actually make a cool and there’s all sorts of Luntz out there some of them are super good and some of them aren’t so good but I like seeing what other people’s let’s do it’s a good learning process so sometimes.
I’ll just get other people’s let’s and test them out to see what kind of stuff they’re doing to their footage so we’re gonna go into the creative tab and then I’m gonna choose a lot and I’m gonna be using the cinema love from my cine let’s pack these are the lots that I’m using exclusively for all of my videos so if you’re interested in them or you don’t have any lets you can check them out down below best 20 bucks you’ve ever spent I’m just kidding no pressure there’s tons of good Luntz out there but these are the ones that I’m gonna be using for this example now right off the bat this looks terrible it’s way too strong and that’s done on purpose so you can dial it down and tweak it to your liking in this case I’m gonna choose around 47% and this is the biggest key to making a really cinematic color grade is to keep things subtle never go too far with the color grade it should never be distracting the audience should never realize that this is color graded really heavy it should look natural but still cinematic at the same time especially skin tones you need to be really careful and treat them in a very subtle way skin tones are really tricky if they’re not spot-on our eyes can immediately see that next we start the tweaking process and this is where all the fun happens first off the temperature is a little bit off I think it’s a little bit too blue so we’re gonna bring it up a little bit to around 18 or 19 I also prefer a little bit more green in my image I don’t know why I just hate magenta for some reason so I’m gonna bring it down to around minus 6 then let’s play around with the contrast a little bit and this is where you can really experiment and see what works for your image for example here I don’t really like how bright the sky is it was a much more moody feel when we were filming so I’m gonna bring down the highlights around minus 55 is good and this is just affecting the brighter portions of the image for the most part then we’re gonna go up on the shadows a little bit this is kind of the darker areas of the image just to get some of that detail out we’re gonna bring it up to around 20 and then to get a little bit more contrast we’re gonna bring up the whites which is just the very brightest portion of your image basically just the sky here we’re gonna bring it up to 10 and keeping in line with being subtle I feel like this is just a little bit too saturated so we’re gonna bring it in just a little bit to around 95 then we’re gonna go into the three way color correctors and this is where I like to get a little bit more creative with the contrast and the colors basically just adding to the color grade or tweaking it a little bit and for the most part I like what’s going on I’m just gonna drop the shadows a little bit to get a little bit more of that moody look and then we’re gonna raise the mid-tone so we’re not losing detail there and then one thing I think we’re missing here is a little bit of color contrast the sky was this nice orange so we’re gonna add a little bit of orange to the highlights so we can get some color contrast going on in this image between the blue and the sky being a little bit more Orange so take the highlights wheel and drag it towards the orange area be really subtle about this but you can really see how it makes the sky pop now in contrast to the rest of the image now that looks really cool already but again it’s the subtle little things and for me the skin tones could be a little bit better in this image I feel like they’re a little bit too dark a little bit green and maybe a little bit too saturated but I don’t want to affect the whole image I just want to be touching up the skin tones so we can go into the HSL secondary and here we can choose just the color of the skin tones we can use this eyedropper to actually select only a part of the image and here we’re going by color so we’re gonna choose the color of the skin tones and you can check this little box here to see what’s being selected and if it didn’t work out properly you can adjust the hue saturation and also the luminance of your selection to really refine it then I like to denoise that selection around 15 works well here and also blur it a little bit so it just blends in better I’m gonna choose around 5 here this is really important so it’s not super obvious that you’re just changing the colors and the skin tones if you have no blur or no denoising you can get some really funny looking stuff and it just looks really weird alright so first off we’re gonna get rid of some of this green in the skin tones we’re gonna go into the three way color corrector and we’re gonna move the mid-tones to the opposite direction of green to get rid of that green which is the magenta area now remember stay subtle don’t go too far with it otherwise you’re going to end up with magenta skin tones we’re gonna bring up the exposure a little bit just to brighten up the skintone so they pop a little bit more so you can just bring up the shadows the mid-tones and highlights and just play around to see what works best for you then we’re gonna sharpen a little bit just to make that face really pop around 20 is good here and then we’re gonna desaturate take it down to around 80 an oversaturated face can be really distracting and now I don’t really know exactly how these colors are gonna turn out in YouTube but this is a great way to tweak exactly what you need more specifically especially with skin tones all right we’re all done so here’s the before and here’s the after so you can see there’s definitely a big change but it’s a really subtle look it’s not over-the-top it’s nice and subtle nice and cinematic and that is the biggest key with getting a really cinematic look do not go over the top with it alright I hope you guys enjoyed seeing a little bit of my workflow and how I would do things and if you like this kind of video make sure to comment down below and I’m gonna try to think of different ways that I can bring more color grading onto the channel because I feel like it’s a really important thing that we can all do it’s super accessible and completely free unless you need some sort of plugins but everybody can be doing this alright that’s it for this tutorial I hope you guys enjoyed it hit that like button subscribe the channel I love having guys here alright see ya you
CINEMATIC Color Grading BEGINNERS GUIDE
– This video is your beginner’s guide to doing some awesome cinematic color grading. wanted to put everything into one kind of beginner’s guide, or like foundational video, to get you up and running with color grading and to get you comfortable color grading. One of the things that I’ve always found an issue for myself is that color grading can seem kind of daunting. If you’re shooting all this footage in, say, log and you have to turn around videos fast, putting a good color grade on your footage takes time, so if you’re spending a lot of time color grading, you’re not gonna spend as much time shooting and producing more content.
So the idea behind this video is basically to give you guys the idea of the different tools you have in your arsenal, and this is with any editing software, and then from there, what it comes down to is just playing with these tools and coming up with the looks that you like. Now, one thing to note before we get into the basics of color grading, there is a software that I started using recently called Cinema Grade and it’s basically like the Lightroom for video creators and it’s incredible.
So I’m gonna talk about the different tools that you can use for color grading in this video, however if you’re interested in Cinema Grade, I’m gonna talk about that at the end of the video and I’m gonna show you how this is a much more powerful way to color grade than just using the tools in your editing software. So, guys, if you wanna check out cinema grade, this is the time I’m gonna start talking about it. I’ll also put a link down in the description so you guys can check it out. This is a much more powerful color grading software that’s an add-on to any of your other softwares and it makes it so much easier.
It’s what I’ve been using to color grade all of my content recently. So let’s just get started with the basics. So when you’re shooting, there are two ways that you’re gonna be shooting. You’re either gonna be shooting a flat log profile or you’re gonna be shooting something with a look already burnt in. Now, for me, I do both and it depends on what it is that I’m shooting. If you’re shooting log, the reason that you wanna shoot log is because you’re trying to preserve your highlights and not crush your blacks.
If you don’t have a scene that’s super high contrast or you don’t have a ton of time to put into color grading, then I wouldn’t suggest shooting log. Personally, when I shoot the GH5, most of the time I’m shooting in the natural profile, so the standard will be a little bit more contrasty, more saturation, whereas the natural profile is a little bit flatter but it’s not a log profile, so this gives me some room to color grade, but it’s not forcing me to do an entire color grading session from the log to the look that I want. Finding a kind of muted profile in your camera will help in color grading when you wanna speed things up.
So now that you have your footage, you have to make sure, obviously, it’s exposed properly. There’s lots of tools to do that. I’ll put some links in the description below to some other videos where I talk about the tools to expose properly, but in general, this footage is just a starting point. Normally, you’re not gonna just use this footage, and if you are, you’re gonna use like a standard profile or a profile that you’ve built in your camera that you’ve made purposely to not have to do color grading. So that’s something completely different. So now that we’ve brought the footage into our editing software, there are a few things you need to do before you get into creative color grading.
Ideally what you wanna do is get your footage to Rec709 or like the base look, and so what this means is that you wanna get your contrast and your saturation up to like a baseline and Rec709 is like the baseline color across the industry, across all cameras, and there are LUTs, which is a look-up table, that basically you can apply to log footage which will bring your footage to Rec709. Now, I have a video specifically on that and I’ll link that down below so you guys could check that out, but basically your baseline is where you wanna start. So if you have a log clip, what you’re gonna wanna do is do your initial color grade, your first color grade, and that’s gonna be getting your footage to the baseline, getting the contrast looking good, getting the saturation looking good, and making sure that your footage overall has a general look to it.
Now, from there, then you do creative color grading. So there’s kind of a first pass and a second pass, and most people wanna just get right into that second pass because that’s the fun part, that’s where you create your looks, but ideally, you wanna focus more on this first pass because this is the most important part. So there are some different tools that you can work with to play with your contrast and to play with your saturation, and depending on your editing software, there will be different degrees of tools to allow you to do this.
One of them is curves. So I like using curves because you can draw points on your curve and be able to adjust exposures independently without having to adjust a wide range of your exposures, and so when you look at my curve, basically it’s a straight line to start. When you start, the top of the curve is going to be your whites and the bottom is your blacks, and what you wanna do is bring your blacks either in or your whites in and then create an S on the line, and so with a curve, you add points along, and you drag ’em up and down, and that creates your S.
So as you can see, when I created this S curve, all of a sudden now I have contrast in my footage. Now there are other tools in different editing softwares that allow you to do this. You could just play with your highs, your mids, and your lows and be able to achieve the same kind of contrast. Now, one thing that you should bring up as you’re doing these kind of edits is your Luma Waveform. So your Luma Waveform is basically a way to monitor all the exposures in your shot, and when you bring this up, you’re going to have your highs and your lows, and when you start pushing your exposure around with your curve or with your other contrast tools, you’ll see the different values in this graph move up or down, and so what you wanna do is you have your exposures hit the entire range where your blacks are hitting the bottom and your whites are hitting the top.
Now, keep in mind, the top, the whites, that is overexposure, so if you’re shooting a shot and you’re shooting it in log to preserve the highlights, make sure you don’t push your highlights past that overexposure, and the same thing with the blacks. The bottom is your complete underexposure, so that’s solid black, and so as soon as you start pushing your exposures down there, you’re gonna be getting solid black in your image. So two things to keep in mind, but basically your Luma Waveforms gives you a visual representation of all the exposures in your shot. So it makes a lot easier to do color grading when you watch this. You can see with log footage, it’s flat, it’s right in the center, and you wanna stretch it out.
To stretch it out, you’re gonna bring your blacks in, you’re gonna bring your whites in, and then you’re gonna create an S curve on your contrast, and that’s why I like using the curves because it makes it a lot easier to do this. Now, if you’re using your contrast tools, you’re gonna do the same thing by either bringing down your whites, bringing up your mids or down your mids and your blacks, and that’s gonna be how you play with this. So now that you have your contrast in your image, what you’re gonna wanna do is play with your saturation and bring your saturation levels up. If you’re using log, you’re obviously gonna bring them up higher than if you’re using, say, a natural profile, and you have tools in your editing software to bring up your saturation, and depending on your editing software, you can bring up just your saturation of your lows, your mids, and your highs, or you could just do an overall saturation, but obviously you don’t wanna push this too far and it’s just something to find the taste that works best for you.
Now also, in your first pass of color grading, this is where you’re gonna correct your color temperature if your footage is off. So if you’re shooting at the wrong color temperature and your footage has a, you know, blue cast, a green cast, or an orange cast from different lighting, or just different situations, this is where you’re gonna wanna correct it. So you’re gonna wanna use your color correcting tools to be able to get rid of the color cast, and it might be pulling a color out of your highs, your mids, or your lows. There are tools out there that allow you to adjust the color temperature, but you gotta keep in mind when we’re shooting with most cameras, unless you’re shooting raw, and raw is a very different kind of animal because raw has so much more data, when you’re shooting in like H.264, you’re not gonna be able to push your colors too far without it breaking up. So if you shot something in daylight with tungsten color balance, there’s probably a good chance that you’re not gonna be able to recover it all the way to where you want unless you have a raw camera.
That’s where raw is really powerful. You can do much deeper color grades with a raw camera, however the higher the bitrate your camera is, the more data that you have available, the more that you’re gonna be able to do color grading in your camera. So for the first pass, we adjusted contrast, saturation, we did a color temperature correct if your footage has the wrong color temperature, and now your footage just looks good, it looks like the baseline. That’s kind of where you wanna start with your creative color grading. Now, from here, you do your second pass, and this is where you bring in a LUT or you start messing with the colors to create a cinematic look. Personally, I use LUTs. LUTs are much easier to deal with because they have a burnt-in look, and what you can do is bring a cinematic LUT, for example, here is my LUT, it’s my orange-teal LUT that I created. This is specifically just to create that cinematic orange-teal look. If you guys wanna know more about why this is a cinematic look, I’ll put a link down in the description where I talk about just that look in particular, but this orange-teal look basically is a LUT that’s added on top of my baseline, and what I can do from here is now adjust the intensity of this LUT.
So, when you put on a LUT, it might be too much of that look and it might just make your footage look crazy and way too contrasty or too much in one color, so what you wanna do is bring down your mix or bring up your mix and that allows you to add this kind of style to your footage and only put it at 20, 30%, 40%. It gives you that look but not at full 100%, and now from here, this is where you can start tweaking with your contrast, your saturation, and your colors to really mess with the footage and start playing around with it a little bit more.
This is your second pass of color grading. So ideally, when you’re color grading, you wanna think about it in these stages. You wanna think about your first stage which is getting to your baseline and then your second stage which is creating your look. Like I said earlier in this video, I’ve been using a software called Cinema Grade. So what Cinema Grade has done is basically rethought the entire process of color grading and just made it much easier to work with. So when you bring your footage into Cinema Grade, there are additional stages but it’s set up in this first pass, second pass kind of format where your first pass you go through and you can play with all your sliders as if it’s in Lightroom, so you can play with your high, mids, lows, you can play with your pivots, your contrast, your saturation, you can dive into each of your colors independently, and it feels a lot easier to use.
It’s much more usable than other color gradient softwares, and that’s why I really like it, it’s intuitive. Now, with this, you do your first pass, you get to your baseline. They have an option in the second pass which is shot matching which is amazing when you’re working with shots next to each other, but then in the final color grade, this is why this software is so powerful, not only does it give you all these sliders like a Lightroom style color grading experience, but in your second phase of color grading when you’re coming up with your looks, you can put all your LUTs in here and they also have these cinematic looks, and what happens is you can add these on, it obviously might be too intense when you add on just the single LUT or the cinematic look, but you bring up another set of color grading tools in the second pass and this allows you to change your mix and do all that but then go through all your color grading tools right here and be able to tweak this and make it look that much better.
Guys, this software is incredible. It just came out recently which is why I wanted to share this with you because I bought it as soon as it became available, I really trust this company, I worked with Color Finale for a long time, and this is their newer software. It’s something that has changed the color grading experience, and, guys, just so you’re aware, this video is not sponsored in any way by Cinema Grade, I was not paid to do this video, they didn’t even ask me to make this video, I personally just think that this software is so powerful to create these really awesome cinematic looks in a short amount of time so we can focus on creating awesome content, and we don’t wanna get bogged down, we wanna keep moving forward, and that’s something important about the industry, it’s changing, things are moving fast, and being able to get awesome looks out of your footage in a shorter amount of time makes things so much easier. Alright, guys, that’s it. I hope this gave you some ideas of places to start looking to do your color grade and a flow that makes it easier for you when you approach your footage.
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