Adéyẹmi

Ladies and gentlemen, what is your take on the industries reason for not making attempt to honour and furthering the public awareness of the colourist? Doesn't it seem unusual to be credited after the "paint buyer" and "catering". In my opinion, I believe the colourists credit should be placed right after the DOP's or editor's. Any comments on this?

Lol, very true. I have worked with some very empathic individuals who don't get fussy at all, because they clearly understand how bad their footage is. The point for some is, okay.. just make it look better, and add some style to it. But for many... Yea my footage is crap, fix it!

Toxic clients eh. And the reference I was given is as golden as Mad max, but she also complains at how orangy she looks, compared to real life where she is super pale. How do I keep natural skin tones with a mad max look, and still fix bad makeup to blend in. I tell her that she has to compromise but that gets her upset. And then she says she wants the colours to pop! Lighting was extremely bad, makeup was bad, footage was shot on H.264. Cancelling her contract! And when we even do get credits, it comes after catering.

I quite often get hired to colour low budget music videos, and I also quite often come across footage that has amateurish make up done on the talent(s), where I discover patches of face powder on both the talent's hands and face, but mostly the face. What I would like to know is - is there a correct way to fix this? Is there something I need to learn or it's something that has to be accepted for what is. Thanks.

One more question Sir, what is the approach to mastering for different formats? Say, I have been asked to work on a feature thats gonna make its way to the cinema's and DVD? Thank . you.

Here is what I aspire to grade like: http://www.themill.com/portfolio Every image is completely soft on the shadows. How do they do it. I doubt their thousand of clients all shoot the same way.

Fantastic! What is your approach to it? Thanks. I know the mid-tone pays a very vital role in this approach. I spoke with Matt Osborne (The Mill) a couple of times, he said one secret is for your blacks never to reach the bottom, and he said it requires some experience as well. Here is what I aspire to grade like: http://www.themill.com/portfolio Every image is completely soft on the shadows. How do they do it. I doubt their thousand of clients all shoot the same way.

Hi fam, I have uploaded two files...Gamma 1 and Gamma 2. Gamma 1 seems to have very soft shadows or contrast, unlike gamma 2 which has deep blacks. I also realised that Gamma 1 tends to be more of an European trend, especially for commercials. (Softer blacks). What I would like to know is - is this soft contrast look achieved during the grade, or its a specific gamma setting applied on camera. In my opinion, I highly doubt it is achievable merely by colour grading. I find that some images however forced would never look right trying to achieve soft blacks like Gamma 1, and vice versa. I understand that lighting matters, but trying to push the shadows (Gamma 1) beyond 128mv for Davinci, would should be likely equivalent to 7 IRE on Baselight, starts to produce an underexposed image. Warmest regards.

Hello guys! If I happen to be grading for cinema deliver, am I correct to change both my Davinci software colour space setting and my scientific monitor viewing colour space to P3? If I am grading 4k, for TV deliverables, am I correct to make the same changes, but to Rec2020? Thanks.

Yes thanks, the BM210 or AM210. The AM210 which is a lower version to BM210 might not be a bad idea?

Flanders BM210 or EIZO CG248-4K (23.8") Which will you go for and why?

Hi once again Emily. Flanders BM210 or EIZO CG248-4K (23.8") Which will you go for and why?

Thanks

Thanks a bunch Emily.

Makes sense. Thanks. Do you have working experience on an EIZO CG248-4K (23.8") monitor? I am trying to find out if its worth purchasing.

Does any one have working experience on an EIZO CG248-4K (23.8") monitor? Is it really good for monitoring? What is your honest take on it, thanks.

Does on one have working experience on an EIZO CG248-4K (23.8") monitor? Is it really good for monitoring? What is your honest take on it, thanks.

Select the clips on the colour page and press (alt + \) to patch the clips without making a compound clip. If you need to slice up the clip later, put the cursor right on the frame you need to slice from, and press (cmd + \)

I hope he is not thinking Red - Shadow. Green - Midtone. Blue - Highlight.