Anton Meleshkevich

  • Content Count

  • Joined

  • Last visited

Community Reputation

59 Good


About Anton Meleshkevich

  • Rank
  • Birthday 07/22/1989

Personal Information

  • Gender

Recent Profile Visitors

1,082 profile views
  1. You should work in linear gamma for compositing. In Resolve in camera raw tab of r3d files set color science to IPP2, gamma curve to REDlog3G10, color space to REDWideGamutRGB. Then export dpx sequence / prores / dnxhr. Then, in compositing app, you should to transform these files from REDlog3G10 to Linear gamma. Then you do your compositing, looking at it through 'linear gamma to redlog3g10 transform + IPP2 LUT + rec709 gamma to linear gamma transform'*. When you finished, turn off transformations and a LUT, you've used for preview, add linear gamma to redlog3g10 transform and export it back to resolve. Don't forget to do all the necessary transforms for any additional footage. For example , if you import srgb image, you should transform it from rec709 gamma (if you choose srgb gamma instead, you often get darker shadows) to linear gamma AND from srgb primaries to redwidegamutRGB primaries. *Not sure how it works in AE. But it works this way in nuke. Compositing app adds automatic transform from linear gamma to rec709 gamma (usually to srgb, but never use srgb gamma for video at all). So we need to transform our rec709-ish image after the LUT from rec709 gamma to linear, to compensate this.
  2. Less CPU / storage bandwidth intensive and no need to switch between color and edit rooms for transition timing adjustments. Also it can be useful to keep the same edit list from begining to finish for edit or vfx roundtrips. Actually I'm talking about long clips with exposure / color balance changes. If I would have to grade 15 min one-take film, I'd definitely use crossfades as well as keyframes.
  3. When (or 'if') blackmagic finally fix a bug with node colorspace and node gamma in ACES, this will be possible to do just using one node and node colorspace/gamma settings.
  4. I prefer to use keyframes instead of crossfades.
  5. Isn't infinite contrast of OLED (compared to 700-1200:1 for ips) better than more uniform panel? I'm not saying it is, I just want to understand, why uniform ips with low contrast ratio is better than not so uniform OLED with infinite contrast.
  6. In addition to Marc advice you can also slightly desaturate highlights. Or apply gamut mapping only to highlights using qualifier.
  7. I found changing viewing position helps a lot. For example sit on client sofa, turn off interface and grading monitors and watch from there, playing your program on the client TV.
  8. Usually you create a LUT for a monitor, not for a camera. LUT should be a 'log-to-video + grade' size17 LUT. Basically you don't want to bake any cdl to a LUT, but your DP may want you to do that. So you probably should tell your DP to adjust temperature AND TINT in a creative way instead of just set and forget 5600 for daylight and 3200 for tungsten. Or you will have to bake cdl-like corrections (or more accurate color balance in linear gamma) to LUTs for each scene to make LUTs work properly (especially extreme teal-orange LUTs). Of course you can create cdl on-set. But I like to avoid this as much as possible. Just my personal preference. Also test your LUT with all kinds of neon lighting.
  9. As far as I know, RED debayering goes only on CPU. But my knowledge can be outdated.
  10. Changing timeline color space has no influence on how tools work until you change node color space (or gamma). So node color space and gamma will be converted from timeline color space to selected, then all the tools of the selected node, then back from selected node color space to timeline color space. I use this all the time. Go from log(C) to node linear for exposure, go to node rec709 gamma for saturation, go to node color space HSV for different saturation and so on. When you add saturation in linear gamma, you get colors darker. When you add saturation in log gamma, you get colors brighter. When you change RGB gain in linear gamma, you can change exposure in a natural way. As well as color balance (not as natural as in some kind of LMS color space though). Don't forget to set lum mix to 0.
  11. 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
  12. 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.
  13. @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
  14. @Marc Wielage I meant exactly the same. There are no secret LUTs. Just great colorists working with great footage.