Walter Volpatto

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    Hollywood Colorist Walter (CSI) about his color grading process

    in Courses

    4 hours ago, Douglas Dutton said:

    Thank you so much for your insight Walter! That was very informative!! You said that you never have to key skin if you've done the balance and scene node right. Can you please expand a bit on this? 

    I am learning color grading and I thought when pushing a look far it's often the habit to key skin.

    Many thanks!

    When I do the balance of the shot, I look at the subject: usually teh subject is a person, hence skin tone. 

    i want the subject to be right after exposure/balance. i dont give a rat about the background shadow not being perfectly black. If I have to change the background shadow, that will be a secondary correction.

    so: balance for the skin/subject
    secondary on the “secondary” parts of the image.

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    Hollywood Colorist Walter (CSI) about his color grading process

    in Courses

    1 hour ago, Alistair Girardot said:

    Thank you so much for this Walter.
    For your trim nodes would'nt be easier to use shared nodes ? 

    Yes,  if you want,  of course. 

    It's just time and I started when there was no shared nodes,  in used to it. 

     

    1 hour ago, Mikee Carpinter said:

    Hi Walter arey ou ever using camera LUTS on Node one?

     

    Never. 

    I work in log space and my main look/lut whatever is in the timeline node

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    Hollywood Colorist Walter (CSI) about his color grading process

    in Courses

    32 minutes ago, François Dompierre said:

    Thank you so much Walter for sharing your hard-earned wisdom and experience. This is incredibly valuable.

    I think you usually work with a timeline set to Ari LogC so that the tools behave closely to how they behave with Cineon log film scans..?  Where do you do the color space transform for clips that are not in Ari LocC (other camera types, VFX shots etc)? In a pre-group node perhaps? And the final color space transform is on a timeline node probably?

    Either as DCTL on the media page (preferred) or  it depends.

    if the shot is already in a LOG like i usually put it on the first node, a OFX color transform will act before the primaries in a node (order of operations) therefore your correction will still be in LogC.

    if the shot needs some hard transform, i might put it in the second node, (repurposing) so i can color some in the original space and then transform it.

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