Anton Meleshkevich

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About Anton Meleshkevich

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  • Birthday 07/22/1989

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  1. Are blacks crushed in source footage? If they are, you can try to add a little bit of lifting blacks. Maybe blacks softclip slider. Just to match black level to other shots. Or just leave it as is. Also you can try to slightly desaturate or softclip highlights to fix this strange color on his nose and fingers
  2. Thank you for your answer and for the link, Marc! Going to listen it tomorrow while rotoscoping direct sun light on trees to get rid of it and match shots time of the day I never listen to music while grading. Either original sound of a project or some podcasts.
  3. @Marc Wielage Actually I'd really like to know how deep you (or other colorists) go into problem solving with total rotoscoping and relighting. I may be wrong, but I always thought more experienced colorists do less. For example I can't get a great look only using wheels (actually I doubt I can get it at all). But more talented guys can. I think this is also because of different quality level of footage. I mean clients, who just start to shoot films, can't afford to color grade at CO3. But they can afford to hire me. So A list colorists work mainly with A list cinematograghers. But if I'm wrong, please tell me
  4. @Marc Wielage I meant exactly the same. There are no secret LUTs. Just great colorists working with great footage.
  5. I agree with @Nico Wieseneder . The most useful information about color grading I've ever seen is here: But before reading all these awesome articles you should read about printer lights and all other basic color grading things. As well as reading all posts on color grading forums from colorists like @Walter Volpatto, @Tom Poole @Marc Wielage and many many others. This LUT is called "Great DP and art direction" 😎
  6. Here is one of my node trees. This one is for documentary films shot in rec709.
  7. Also it's probably a good idea to speak English at English speaking forum 😉
  8. Hi! AWG is ALEXA Wide Gamut. I either work using the LUT or just use HSL curves to emulate 2383 colors. Especially when I create LUTs for another colorists who's pipeline is often based on ACES in Baselight. To change brightness of high saturated colors I use this technique (video related) It works differently compared to 2383 LUT. But if it looks good who cares. Last time I created LUTs for TV series I've used RGB mixer to emulate 2383 colors. I understand that I don't get nonlinear color shifts this LUT have, but simple RGB matrix work way better in terms of noise and artifacts. I'm a big fan of RGB mixer (or matrix) as a tool for creating looks. And I actually just replicate this greenery shift in portions I need. I don't fight with it.
  9. I mean, it's not just a soft roll-off curve like highlight wheel or soft clip slider. It actually uses qualifying with some percent of blur or something like that. I'm not trying to say anything bad about your technique. Just want to add some useful info about this tool.
  10. As far as I know Highlights (HL) tool does highlights qualifying by itself.
  11. I've just recorded one more video and changed a title of the thread. This time about white balancing with a gray card (or whatever neutral) with a clear visual control of neutral colors. Hope, someone will find it useful.
  12. Just want to share a technique I like to use if I want to make more saturated colors darker without a qualifier. I recorded a short video showing it. This is not a 'look' tutorial. Just a technique. I'm sure many of you already use this in some way. But maybe someone will find it useful. I exaggerated the effect to make it more visible. Of course blending with the original is your friend.
  13. Still no groups? I mean like grading groups in Resolve
  14. Let's imagine I just finished color grading of feature film. I worked at calibrated 2.4 gamma 100 nit monitor in environment with around 5-10 nit environment lighting. Then I want to make a trailer for youtube. I've read a lot that I should to add a transform node after all the corrections and set input gamma 2.4 and output gamma 2.2. This will make an image darker to compensate gamma 2.2 screens of iPhones (they aren't sRGB gamma). So the image will look the same on monitors with different gamma. But why should I compensate it? Different screens gamma are different because of different environments they typically used in. So why should I compensate it? Same thing with cinema projection. They have 2.6 gamma because of dark environment. So why should I compensate it by transforming my image to gamma 2.6 and making it brighter? Won't it too bright for cinema theater? I thought, image should be the same. And different gamma of different screens will adopt my image to the environment. But if I transform gamma, this transformation cancels gamma of a screen. So it doesn't fit its environment anymore.