Jamie Neale

Can you release a version of the Kharma Luts to return a log state? like LogC. Be nice to use them in HDR workflows.

Great, thanks for clarifying Tom, much appreciated. What would be the case use for the P3 Soft Clip etc versions? would that be if you're already in the P3 space and want the 2383 look with gamut remapping?

So the Cineon version is expecting R709/Cineon to output P3D65 G2.6?

Hey, What colour space each of the Mitch Bogdanowiscz LUTs are expecting? Also, can you let us know what the different versions of the 2383 LUT are intended for? Cheers Jamie

Great, works well for me. Using Nobe along with sending stills works really well. Looking forward to the update!

Brilliant mix of insights/stories and just enough 'how to'. Great work MTO and LP, very much appreciated.

Brilliant mix of insights/stories and just enough 'how to'. Great work MTO and LP, very much appreciated.

You're obviously right about the hidden complexities of LUT but my comment was more about getting someone excited to dive into the look creation rather than making it sound impossible. I'm not sure you do need to know the math to be a great colourist. But that's the beauty of being a colourist. You can be both a scientist and an artist or one or the other. There's plenty of room (dark ones) for us all

Really solid advice that, becoming a jedi of the LGG and extended tools will make for a much more versatile colourist. A good exercise is take your favourite LUTs deconstruct them and try emulating them using primaries. When I started I definitely went plug in/LUT heavy but now I find most of what needs to be done can be achieved with mostly primaries. LUTs/Plug ins still play a part for me but they end being for something very specific. That said, Raven Grade is a great addition to the toolbox and well worth checking out even if it's just to understand what the different sliders do to your image.

Good shout. I'm really enjoying Raven Grade, the volumetric highlight/shadow adjustment is a really nice feature too.

Lots of ways to achieve the look but does also depend on where you're placing the look (locally or globally). Working globally then think broader strokes working with less aggressive tools (avoid keys etc). Working locally then follow Marc's advice or as Stefan mentioned creating a 2 strip look works well. The 2 strip look limits the colours based on an old subtractive print process, it's biased towards blue/green vs red/orange. That bias is what gets us the beloved teal/orange look but if neither of those colours are present in the frame then you will get mixed results that probably won't look like the C3 example. A really quick and dirty way to test the look on your Morocco shots would be to key the red hat in a layer mixer then on the bottom node (which is the top node) put Lum mix to 0 and then add cyan by lowering the red channel in Offset. Then use Curves to dial in the orange/red for the hat. I'm not saying that's the way to do it but at least you'll get close enough to see if the look is a good fit for your project. Some techniques that will help and worth looking into are split toning, 2 strip process and subtractive colour. It will help you build a more usable look/power grade that you could use again and again

Great work pulling this list of folks together. Great listen.

Thanks Mikey, really appreciate the help it's exactly what I was after. I did come across the davinci plug in so thats good to hear you're suggesting that too. I'll check out Qscan as well. We do mostly social/online but clients are starting to want TVC versioning so this is a massive help, thanks. Jamie

Hi Looking into delivering a few online commercials I graded for TV and wondered if anyone could help with the AS-11 workflow? How do you create the right files and how do I need to add a clock/bars to the render? Any help would be much appreciated. Cheers Jamie

Thanks Nicolas, I'll give those a try. Thanks for taking the time to check out my post.