Lowepost

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Course Comments posted by Lowepost

    Red Color Workflow in Redcine-X & DaVinci Resolve

    in Color Grading

    4 minutes ago, karl ellison said:

    Yes..thanks Lowepost.

    I was about to delete the post when i realises that i should have been patient and listened to the module before i commented.  States very clearly that the file is not included.

    Sorry!

    (Note to self:  be patient before posting)

    Thanks

    No worries :D

    Screen Replacement in DaVinci Resolve Fusion

    in Compositing

    On 2/21/2021 at 4:58 PM, Carl Rivera said:

    Downloaded the project files trice already but could not find the footage file for tablet and phone A, is it missing or intentionally not included in the downloadable project files? thanks

     

    Hi Carl. Thanks for letting us know. Not sure what happened but new files are uploaded. Sorry for the inconvenience. 

    • Thanks 1

    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

    9 hours ago, Kevin McCormack said:

    In Lesson 3, you do a color offset after your contrast curve.

    The offset corrections are done prior to the the contrast curve in the node chain.
     

    9 hours ago, Kevin McCormack said:

    Is it best practice to create your contrast along with your LUT or pre your LUT

    The way things are set up in this lesson, all the corrections are done prior to the curve and watched through the curve. In other words, the corrections are piped through the curve and if you re-draw the curve (or change the LUT) the results of your color corrections will change.

    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

     

    4 hours ago, NF Harvey said:

    I to want to work behind a more aggressive film LUT (such as a film curve), do I adjust and balance my RGB once it has passed through this curve? 

    You should balance prior to the LUT (or custom curve) and watch the result through the LUT (or custom curve).
     

    4 hours ago, NF Harvey said:

    Or - do I do something like you've done in lesson 6 - where I would first add a contrast node, find the pivot and add adjust brightness > balance > delete contrast node and then feed this now 'balanced' signal into my film curve LUT

    No. You should balance prior to the curve and judge the balance by watching the corrections through the curve.

    • Thanks 1

    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

    On 3/16/2020 at 3:22 PM, Tom Early said:

    Lesson 15 at 1:05 - the entirety of the 0-100 luminance range is actually mapped between the values of 50 and 75 in the luminance qualifier

    That's true and the reason we put the line up at about 60 IRE and not higher. The other explanation was to point out that the luminance ranges from black on the left side to white on the right side.

    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

    1 hour ago, MichaelTiemann said:

    Lesson 16 glosses over the fact that you turned the woman's blonde hair to ginger.

    It can be hard to see small differences in compressed files, so most of the corrections in all the lessons are overdone a bit to the make the result more noticeable for the viewer. That's something we mention several times in the course and we do encourage the viewers to be much more careful with the values than we are when judging the final result on the grading monitor. With this technique you should be able to even out the differences and get a great looking result without affecting the hair. Even on very complex shots with a lot of neighbouring tones.

    Also note that in this example we demonstrate how to play the two hues against each other to affect imbalance in the entire shot, but you can isolate the effect to affect only the skin tones  if you create more separation between skin and hair in the balance node and pick more specific hue ranges.

    You can even apply the techniques inside of a key to isolate it even further, but in most cases you will be perfectly fine by playing the curves against each other. It will give a much cleaner result, and if you discover that some hues are affected negatively you can counter balance the shot after the hue shift with the offset. 

    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

    On 2/25/2020 at 9:56 AM, Virgil Edward said:

    Quick question though, what's the point of changing your timeline color space in Lesson 13, to Alexa? Is there a benefit for it? For the longest time I haven't touched the timeline color space in DaVinci YRGB color science. 

    The input color space should be set to the camera color space which in this case is Alexa Log C because Alexa footage is used in the example. When it comes to the timeline color space in general, it only affects the "feel" of the controls, so it's purely a matter of taste. From our understanding Alexa Log C is definitely the most common timeline color space used in the professional world and especially among Baselight users.

    • Like 1

    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

    4 hours ago, James Lakey said:

    In "Color channel mixing to create unique looks" you seem to know what numbers you want to put in the outputs of the various channels in the RGB mixer already. Where did those numbers come from? Is that often a combination you use? As someone that never uses the RGB mixer, I was a bit baffled at how you chose the numbers, even though I could see the overall effect.

    Overall, I love how concise the lessons are. Thank you.

    Thanks @James Lakey.

    We have seen this particular setup a couple of times, but you will quite different results by playing around in the same area, shifting hue angles and adjusting the strengths. The combination of dialing in extreme colors and mapping them to the tonal range by adjusting the strength is an extremely powerful technique that allows numerous of looks, but it can take some time to get used to.  This is just an example.

    When it comes to hitting the numbers in general in all the lessons it's because we have walked through the lessons several times prior to recording and don't want to waste your time "experimenting on screen".

     

    • Like 2
    • Thanks 1

    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

    8 minutes ago, MichaelTiemann said:

    In lesson 8 at 4:09 you say "Normally you'd want to dial in exposure first, as explained in earlier lessons".  Because of Resolve's Order of Operations (in Chapter 109, Node Editing Basics), the Offset operation takes place before the 3D LUT, so you are, in fact, demonstrating the same approach as explained in the earlier lessons.  I don't disagree that exposure correction before the LUT gives a very natural and intentional look.  I'm just quibbling with the explanation.

    We are not referring to order of operations inside of nodes at 04:09 in lesson 08.

    Th difference is that we are dialing in exposure AFTER the color adjustments and not the other way around as seen in all the other lessons. This is because we want to demonstrate the impact brightness and contrast adjustments has on color and the reason why we encourage you to do it the other way around. 

    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

    31 minutes ago, Tomas Pettersson said:

    Quick question:
    When "piping the key downstream", why create a new input instead of just pulling another pipe from the existing input?

    The first node will be optimized for the key operation only, and you don't necessarily want to build your grade on that. That's why you want to keep it separate from the main stream and leave it as a constant source to pull keys from.

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    Professional Color Grading Techniques in DaVinci Resolve

    in The Art of Color Grading

    2 hours ago, Josh Petok said:

    In lesson 7 at about 4:04, Kevin is grading before the Arri LUT. I noticed as he moves the blue offset back and forth, the red and green channels are effected as well. Is this an exposure compensation?

    Hi Josh,

    Thanks for your kind words!

    @Jussi Rovanperä is right, it's the LUT that causes the shift in the other channels.

    When you watch any correction through any LUT,  the relationship between the different color channels that the curve is made up by will influence the result. That means, by pushing one of the color channels through a LUT, the other two will be altered. The more aggressive the LUT is, the more of your correction will be altered. 

    When you do a correction prior to a Film Emulation LUT, the result will be altered differently than in a pure Technical LUT because the relationship between the color channels that the curve is made up by is different. This is even true when adjusting the exposure only.  Some LUTs will push more cold colors into the blacks when you lower the brightness, while others will push more warm colors into the highlights when you do the same thing. This is what we in the course refer to when we say that your corrections will expand and compress based on the shape of the curve.

    It's important to understand the relationship between the correction you do and the LUT you work under, also when it comes to exposure alone. This is the way color timers worked back in the days as the signal would be altered depending on what film stock (LUT in a digital world) it was watched through. This workflow is adapted in the high-end post facilities and is considered the purest and most natural way to correct an image.

    • Like 8