Transcription
So I've been using the Canon R5C for quite a few months and it's gone on a lot of jobs. I'd like to share how I'm color correcting the footage. So I shot this in C-log 3. You can see the highlights and the saturation, it's all there. All the colors are very well made out here. You got the pinks, the reds, the greens, yellows, it all looks pretty good here. This is what I call a starting point color correction. I'm matching this project with an Ursa Mini 12K as the main camera. Canon R5C is the B camera, and this is the way I found matches best to cameras like that.
As you can see, we're only using three nodes here. This one's a personal preference, this is just blur and sharpening, just sharpening of a tad. This is color space transform, and we got HDR color wheels to finish it all off. So I'm gonna go ahead and delete these and start over. Use Alt S, create a new serial node, and let's go for it.
So the first thing we're going to do is go down to our project settings here. We want to make sure we are working with DaVinci Y RGB color managed. Color processing mode is the wide gamut intermediate. Output color space Rec 709 gamma 2.4. And I don't want to draw this tutorial out too long, but I'm going to show why we are using color managed. So I just enabled the histogram here in the color wheels. If I go back to default settings, non-color managed. So look what happens here to the histogram. So I'm going to hold Alt so this window does not go away. Hit save. So I can see it brought the highlights to the left. On non-log footage, it would actually limit your range to 100 nits here, which we don't want to do that. We want to work with everything that we have. We bought the camera, we're going to use the whole camera. Save. Now it's just a little bit over the 100 nit mark. We know what we're doing here.
Let's go ahead and start adding our first node. This is a personal preference of mine, but I'm going to do it for this tutorial. I'm gonna add a little bit of sharpening. I like to go four eight. And then next, we're going to add color space transform. Drag it right there. Input color space is where's Canon Cinema Lot or Canon Cinema gamut C log three. Output DaVinci wide gamma 2.4. And now with tone mapping here, this is where I've noticed, this is where I've noticed makes the biggest difference of this footage. We want to go to saturation preserving. Probably didn't notice much there, but when we add back some saturation, it's a pretty big difference. And then next, we're just going to boost our saturation.
Now we're looking at this sort of low contrast deal here. I'm going to do Alt S once again. Then we're going to go to HDR color wheels. Draw that out more so we can see the histogram. And this is where we start making our image look more like a final image. So let's go ahead and enable the highlight here. And then we're going to draw our blacks back. Go to dark, find our darker points. Shadow. Go to our highlight. I'm going to show a little bit of the white stuff on the left of the frame. Then specular or make that the brightest parts of the river there. Cool.
Now let's start dialing this in. Shadow, I'm going to go down to about minus 0.27. Light, I'm gonna go to plus five two. Let's move it over here. Dark, let's move the dark down closer to the bottom. Okay. We'll move back over to highlights. Let's see if we can bring back the highlights in the river on the right. Yeah, there we go. I like doing five seven. You notice a difference there. This does a really good job. And then next, we're just going to do a global adjustment. I'm going to boost the exposure about two three. The saturation to about two eight. Eight.
And our very last thing we're going to do is we're going to adjust the tint and temperature. Add a little bit of purple back. It's looking a little, a little sickly here. There we go. Then we'll do about 100 for the temperature. There we go. I'm pretty happy with that image, but that concludes the tutorial. Thank you all for watching. Peace.