Creative Grading Strategies with Dylan Hopkin

Dylan R. Hopkin

xap18.118.163.255

 

Dylan R. Hopkin is a renowned senior colorist working at one of Europes's leading post-production facilities - Nordisk Film Shortcut Oslo. He brings a wealth of color grading expertise to the table from numerous features films and TV dramas.

In this masterclass he will focus on the "why's" of color grading, and discuss the artistic decisions behind shots and scenes. It will answer questions like where to place the highlight levels, how to avoid "fake" skin tones, decisions behind hues of elements in the scenes and how saturated images should be.
 

About the instructor

The instructor is Dylan R. Hopkin, is one of Scandinavias most sought after colorists and has colored an impressive list of European feature films and TV dramas. Additionally, he brings extensive experience as a color grading instructors as he has taught grading in several prestigious international film schoold and is a certified DaVinci Resolve trainer.

Who is this course designed for?

  • Colorists at all levels
     

 

The Gradelab plugin mentioned (but not used) in the courses can be purchased at Ravengrade.com.

 

 

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Vicent Acosta
16 hours ago, Dylan R. Hopkin said:

Hi Vicent, glad to hear you liked the masterclass.

You can still use LGG for cinema grading, even though they are primarily designed for REC709 / G2.4.
Many Colourists do, however I would always recommend using the offset or HDR grade tool Global first for exposure / wb.
Then use Lift to tweak your black level / Gain for your white level. I seldom use gamma, since the math behind it "bends" the image
in an non-linear fashion. These days I find myself using HDR grade tool Global / Temp / Tint for a lot of the heavy "lifting" (not lift as in black level).
When set up correctly the HDR grade tool is colour space aware, meaning that it manipulates the image with the source colour space / gamma in mind. Which again yields cleaner grades. Custom Curves are also color space aware when set up correctly in a Color Managed project.
However a never use Custom Curves for shot by shot balancing, but I do use them during more scene based look-design such as split-toning and contrast curve adjustments that span an entire scene or movie. Hope this helps.

Cheers 

Dylan

Thank you so much Dylan!

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sunnanhai

What type of LUT are you using in this class? Is it made by your company itself? If so, can I use LUTs like the 2383 built-in by Leonardo da Vinci instead of your LUT to practice your course?

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Dylan R. Hopkin
22 minutes ago, sunnanhai said:

What type of LUT are you using in this class? Is it made by your company itself? If so, can I use LUTs like the 2383 built-in by Leonardo da Vinci instead of your LUT to practice your course?

Hi there, the LUTs I used were modified versions of the Film Looks LUTs that come with Resolve. I changed the contrast curve and selectively modified the saturation curves somewhat. But the main part of a normal Kodak 2383 D55 LUT will be good. Just remember to feed it with the correct input gamma and primaries (cineon / REC709). 

cheers Dylan

 

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