Jamie Neale

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About Jamie Neale

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  • Birthday 07/03/1978

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  1. Thanks Nicolas, I'll give those a try. Thanks for taking the time to check out my post.
  2. Shots are similar to this, no challenges really. I'm just interested to see if there's a way to create more of a silver effect like the example above.
  3. Totally understand. Not trying to be cryptic but can't post references from the actual job . Trying to think of ways to make a black and white image look a little more like mercury (pic below). I'm thinking it's about combining softening and edge sharpening, maybe luma only sharpening and lots of selective blur. Any thoughts would be much appreciated.
  4. Mercury the chemical element e..g no pigment/shiny/reflective and liquid like.
  5. Hey, I've been asked to create a mercury like look for a black and white car promo I'm grading. Started with a red filter style BW grade then played with luma only adjustments to add silver but I wonder if there's something I'm missing. Does anyone have any tips or techniques to share for creating more of a mercury liquid like look? Any help would be much appreciated.
  6. How do you know if the numbers are plus or minus?
  7. @Stefan Ringelschwandtner Agreed, if it looks right then it's right. For film emulation these days I'm 90% of the time going to Look Designer and building on top of that. I'm also using a few DCTLs to save time in other areas too. Like you say, if we want the film look then we should shoot on film, everything else is borrowing characteristics.
  8. I think what you've done is super useful, especially for explaining the parts that make up a classic film look. Thanks for putting the time in to recreate the grade. I'd be interested to hear your thoughts on creating film density. Often this is the characteristic that clients want but never know how to ask for. I tend to use a combination of curves (hue/luma) with colour separation underneath a print style S curve. Plus there's various saturation tekkers that get thrown into the mix.
  9. Love the amount of effort he's gone into there. Great resource covering the some of the main characteristics.
  10. @Douglas Dutton some of the tools are colour space aware so switching your timeline colour space helps that feature kick in. RAW carries metadata to help resolve know how to translate to your working display colour space. If you're getting ProRes and don't have camera data/info, you could go back to the DP/Director and ask? do that all the time. The non RCM route, using CSTs and manually controlling gamut/tone mapping is great for quickly testing out colour spaces to see which works best. One big difference is when using RCM you're also getting the use of Input/Output DRTs. You can g
  11. 100% agree, I haven't really worked out a solid workflow for going back and forth yet. I tend to use ColourLab more like a sketch book, I grab my references, tweak settings and I get to see (very roughly) a decent starting point for a look. This is mad (considering all that it can do) but I really like the fact you can output a pdf with all the looks in one file that I can fire over to everyone. I know they're working on having an alternative to the LUT/CDL workflow that could see the OFX be placed into the node tree instead. Scatter is amazing, I picked up a copy last week and it's bee
  12. The greyscale ramp? it's in the edit page under generators, drag it into the timeline ctrl click and make it a compound clip to view on the colour page.
  13. Have been experimenting with Look Designer and Colour Lab more recently. Again it's not cheap ($499) like most good things but their approach is creative and scientific. I like that they're about developing looks beyond a 'film look' and encouraging us all to play and experiment abit more. I've found it's much more useful to understand the characteristics of film and why we like rather than trying to replicate film exactly. Also a big fan of Steve Yedlins approach. Definitely worth checking him out.
  14. How do you guys deal with the shift when exporting from Premiere? All my shots match across Davinci and premiere viewers/calibrated monitor but as soon as I go back into Premiere and finish the project it looks washed out. I've got a workaround but be great to hear how you guys deal with that?
  15. Hadn't noticed that when using Nobe Display but I'll double check.