Peter

Cinegrain Pipeline is quite expensive for LUTs that don’t offer a demo or even side by side pictures on the site. Normally $999! How accurate are they to the actual film stocks?

Hi John I have already done that and FC said its Resolves fault. Resolve said its FC fault. I have a decent machine. Up until a week or 2 ago, it was the fastest iMac you could get (not the iMac Pro) with 40GB Ram and 8GB Video Card.

Thats only for Premiere though. Hopefully there's a Resolve version coming. BTW I used FC in resolve for a short project and couldn't get real time playback. I can play RED footage in realtime on my system and this project was only Prores 422. Has anyone else had this issue? I like the image FC gives but its unusable unless I can actually play the footage.

I finally got around to trying out FilmConvert. It seems to work well. My question is, because it works as an OFX plugin, I would think that using it over an entire film could slow things down. My thought would be to create a 3D LUT from FC and work with that. Anyone had any experience with this?

Where I had RGB, that was supposed to be Rec709! I guess you could add a color space node to the whole timeline instead of individual clips?

I'd be interested to hear from anyone at the larger companies who grade for Cinema and Digital. Do you do separate grades for each medium or do you grade in one color space (P3) and switch to another (RGB) for outputting? Would like to hear people workflows.

Thanks for the info. I'll check them out

Hi John, since you work for them, I would love to know how they're created. As in, do you physically have the film stocks there that, through some process, you're able to accurately reproduce the way they work or is it more a guess work to get them to have similar characteristics of the stock? Does that make sense or am I being confusing? :)

Do the Koji LUTS work in Resolve? The website seems to only mention PPro, FCPX and AE. I've been using Impulz LUTS and find they do a reasonable job.

There's a lot of LUTS available, both free and paid. Many claim to be accurate but does anyone know which are the closest to emulating actual film stocks? Resolve has it's 'film look' LUTS for Kodak and Fuji. When shooting with film, there is both the camera negative stock itself and then print stock to consider. I'd love to hear any thoughts people have.

Perfect. Thats exactly what I was wanting. Thanks so much!

Thanks Abby. Thats what I thought.

I'm trying to make it so that the client doesn't have to upload full takes to me to color grade. Ideally it would be good to have just the 10 seconds of interview footage used in the edit instead of the full 10-20 min that was shot.

Does anyone know if it's possible in Premiere to Media Manage RED footage so that you retain the quality of the RED but only have clips with handles? Obviously you could transcode to ProRes but its not the same. I work with Remote clients and sometimes there isn't the time to ship a Hard Drive.

https://www.fxphd.com has some high end tutorials. Mixinglight.com is also good and https://www.rippletraining.com has some good ones from Alexis Van Hurkman (he wrote the Resolve manual).

I always tell the client to view the videos in VLC.

Makes sense. Thanks for the info.

When I create an mp4 using Squeeze (12000 mbps) and I open that file in both VLC and Qucktime, they look so different. VLC looks close to what it should but QT is washed out and lighter. Any idea why? I've attached a screen shot from each player.

I'd be interested to know that too. If you take the attached reference clip and look at it on the vector scope, he get a very narrow scope which seems desaturated because the colours seem to compressed but image feels so rich. Is he desaturating the image first then saturating specific narrow Hues? Am I making sense in what I'm trying to say? Also, when you say he keeps it simple with few nodes, is he doing multiple corrections within a node? Eg, log tools, hue vs hue, hue vs sat etc. Has Stefan or any of the other guys at CO3 (like you Tom) considered making a Masterclass on grading?

Yes I believe that the old color timing ways have a lot to teach us. People think because theres so many features in the software the they must use everything. The most valuable technique I've learnt is to use printer lights.

Does anyone know if there is anything around that shows the techniques that Stefan Sonnenfeld uses? He always seems to get looks that other don't seem to be able create. yes they get close but its never quite the same. I've seen tutorials that show you how to create the 'blockbuster look' etc (teal and orange) but I remember reading a quote from Stefan saying that he sees these tutorials and says that they use too many nodes. He says he keeps it as simple as possible. Has anyone here actually seen him work and have an insight into his techniques?