Anton Meleshkevich

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About Anton Meleshkevich

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  • Birthday 07/22/1989

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  1. 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.
  2. 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.
  3. Still no groups? I mean like grading groups in Resolve
  4. 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.
  5. @Alex Winker Another interesting thing you can try is to add just one point to HUE vs LUM curve and drag it down a little. So the whole curve (a straight line) just move down. This won't make what you mentioned but it has interesting effect about sat/luma things. It will make saturated pixels darker. I like how it looks on skin. 'Make awesome' magic button as for my eyes. But unfortunately increase noise. So it can't be applied every time. This time node color space shouldn't be HSL or HSV of course. No node color space and node gamma settings needed if your material is kind of gamma 2.4 and some rgb colorspace
  6. I know That's why I wrote about setting Luma Mix to 0 in my post. I wrote about exactly the same thing you are talking
  7. @Cary Knoop As I mentioned it Or you talking about something different?
  8. @Alex Winker You can try to set node color space to HSL or to HSV. Then bypass channels 1 and 3 in that node and set Luma Mix to 0. Now you can adjust saturation using Custom Curve. Add default points to fix Custom Curve position in lower level (at lower saturation level since color space is HSL (HSV). And then set the curve to something like highlights soft roll-off. This will compress highly saturated colors, because custom curve now act like SAT vs SAT curve. Now you can switch HSL and HSV color spaces and see that one makes saturation compressed color brighter. while another makes it darker. I don't remember, which color space exactly you should to use, so try both.
  9. Thank you! How to add a glow (like a backlight) to woman's face? She is standing against a light source (sky). So I'd like to add some inner glow.
  10. Awesome lessons! I have a question How to fix the shadows? I'm talking about 21:02 timing in the lesson about masks. I understand, why is it happening, but is there any quick way to fix this? I mean, I want the shadows not to disappear when I make them soft.
  11. Seems like things, I described in this post earlier, were fixed for almost all R3D footage with color charts, I have access to. May be something was fixed in debayering. I don't know. Anyway, I decided to edit this post and erase, what I was writing here, as it makes no sense at this moment.
  12. My fault. I mentioned ANSI contrast to exclude measurements of many TV panels where is impossible to turn off auto dimming even in service menu. ON OFF contrast can be about 3000:1 there because of auto dimming full screen black patch. I was talking about usual contact probes. So neighbor white squares can't affect that much to black squares as it happens with non-contact colourimeters. So I meant just a usual contrast ratio measurement. Saying about ANSI was just to make sure, we are not talking about auto dimming.
  13. I think, you should try to grade some real project. When you have to grade over 100 shots in a day, your color grading approach changes a lot. When you learn color grading at one shot, you have time to create a lot of masks, roto, finetune everything. But when you can't spend more then a minute on a shot, you start to look at the whole image balance and how is it interacting with neighbor shots. So, you just choose a couple of shots of a scene. Fix their WB and exposure problems. Then create a look at this scene's group using these shots. And then just go through all the shots, quickly adjusting their WB and exposure. And when you did it to all the scenes and shots, if you still have enough time, you can spend it on masks, fine tuning, tracking, etc. Also full screen and color grading panel changes a lot of things too. Of course this is just a one way of grading approach, and may be too obvious for you, but hope someone will find this useful.