Masterclass in Color Grading with Mark Todd Osborne

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Mark Todd Osborne is one of the most successful colorists in Hollywood, with hundreds of feature films and TV shows on his credit list. In this masterclass you are invited into his color suite to watch how he creates great looking images and discusses workflow, techniques and strategies that will help you become a better colorist.

The course is about the art and craft of color grading and is not designed to teach the operations of a specific software.

The masterclass is 90 minutes, and includes download access to his fixed node tree.

Mark often uses print emulation in his CST node and it's available for Ravengrade users under the name "Niran". Simply add Ravengrade to the CST node and choose Niran from the drop-down menu. It's been used in several of his feature film projects, but the placement of the node can vary.

For early bird access to the Pro version of Ravengrade, send a request to support@lowepost.com.

About the instructor

Mark Todd Osborne is a world-renowned colorist based in Hollywood, with hundreds of top level movies on his credit list including Need for Speed, Satanic Panic, It Follows, The Act and Lowriders to name a few. He began his career working 12 years at Company 3, and after working closely with many of the high-end facilities in Los Angeles over the years, he founded MTO Color inc, where he works today.

Who is this course designed for?

  • Colorists
     

COURSE OVERVIEW

 

LESSON 01: PROJECT SETUP AND COLOR MANAGEMENT

Mark structures a feature film project, and demonstrates ways to set up several color management systems, settings and timeline structures. He talks about remote grading methodology, useful features and the important of knowing the box.

LESSON 02: STRUCTURING NODES

Walks through and discusses the benefits of his fixed node structure.

LESSON 03: SUMMARY BEFORE GRADING

Sums of what we have learned so far.

LESSON 04: CONTRAST MANAGEMENT AND TECHNIQUES

A deep dive into contrast management, and several ways to get the image in shape. Mark does a first pass on a scene and teaches the "if you don't go, you won't know" principle.

LESSON 05: CLIENT RELATIONSHIP

Talks about how to prepare for color grading sessions, and about establishing strong relationships with clients both in the color room and in remote sessions.

LESSON 06: BALANCING AND MATCHING

Mark balances and matches shots in a feature film sequence and discusses various techniques to keep consistency. 

LESSON 07: CHALLENGES WITH EXTERIOR SCENES

In this lesson, Mark grades and talks about challenges with exterior scenes.

LESSON 08: LOOK CREATION

Going through ways to improve the image and create looks. Discusses how to set up and organize nodes and groups in the look development process. Then, sharing his thoughts about how to treat skin.

LESSON 09: MUSCLE MEMORY AND INSTINCTUAL GRADING

Mark discusses muscle memory and instinctual grading. Grades a full scene as you watch, and discusses all the decisions that has to be made and why he does what we does.

LESSON 10: MASTER ADVICES

Mark gives tons of valuable advices to colorists about how to master the craft and stay on top of the color game.


 

The masterclass is created together with Ravengrade.com, a Plugin for DaVinci Resolve, with powerful grading tools and cinematic looks designed by some of the most successful colorists and color scientists in the industry.
 

 

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On 3/27/2022 at 11:43 AM, Abby Bader said:

People have different ways of working, I think it's about finding a workflow that you feel comfortable with. Personally I prefer to start with global exposure and balance prior to the transform and build from there if needed. Also, look into what color management (RCM/ACES) can do for you. It can take you to a nice place pretty quick.

I think I have a tendency to want to make things harder than they need to be and I just need to put more trust in my primary wheels.

Edited by William Dowling
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It's so interesting to see how MTO has the human interaction factor of coloring so baked in that even to the interviewer, he never uses negative language. When discussing how turning a noon shot into a night shot, he never says "impossible", or "can't be done", or "extremely hard". He says "that can be a great challenge", as in a nod to the director that spending their time budget on that might not be in the best interest of their project.

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