Lowepost

6 hours ago, Amada Daro said:

Any properties that can be modified in a LUT to make an image appear more gritty?

Any changes to an image that is not a point to point transform, such as a 3DLut must be done with a spacial 2D filter to add speckle or any other image degradation effects.

These can usually be done with a matrix kernel. Look up (web search) image transform matrices etc. to get an idea. If a more random effect is desired, by some code you might take each pixel and randomly change the RGB values by some amount, or another approach is to take the pixel and then some of the surrounding pixels along with some random function to change the pixel.

Cheers Mitch

On 1.1.2018 at 2:10 PM, cameronrad said:

Do you have any books or resources you recommend? Or any GUI friendly applications other than Lattice/3DLUTCreator that let you manipulate and apply some of these transformations.

Modeling of Motion picture type of 3DLuts is not well documented or taught in the literature. Many post production houses rely upon their either in-house or contracted color scientists for their "secret sauce" Luts. 

However, their is an open source 3DLut/ICC profile software package that it targeted towards displays and printers that is excellent and can be adapted to the types of 3DLuts we use with a bit of effort. It is ARGYLL CMS ( https://www.argyllcms.com/ ). On the website it has source code, tutorials etc. and explains a lot, primarily directed to ICC profiles, but the theory is sound. On the web, some users will talk about film emulation too using Argyll CMS.

Most all of the transforms I do are calculated from my proprietary code that I have developed over the years. Also, many of the specific Luts for clients are proprietary to the specific post facilities and unfortunately Ican not share them.

Another place to look for good info is the website for the Munsell Color Science Laboratory (https://www.rit.edu/cos/colorscience/rc_useful_data.php ) and(  https://www.rit.edu/cos/colorscience ). It is associated with RIT (Rochester Institute of Technology) in Rochester NY, where Eastman Kodak is located. There are a few people at Munsell that were in my group when I was in the Color Science and Engineering Lab at Kodak. One person that is very knowledgeable is David Long.

Cheers Mitch Bogdanowicz

LUT creation is discussed here, and it might answer your questions. 

13 minutes ago, Nicolas Hanson said:

Is possible to build a LUT that is based on the print data only, not both print and negative?

The film based LUTs that I create incorporate a negative AND a print emulation.

It is interesting but not with reality to only emulate a negative or only a print stock.

The negative imparts some color consequence and some tone scale but the main tone scale is from the print and also the dyes and other parameters limit the print color space. Also, the print softens the highlights to a graceful transition to max brightness of whites (also the color of whites).

Have a pleasant Holiday season.

Cheers Mitch Bogdanowicz

Need some help on small forum tasks. PM if interested.

NEW PREMIUM ARTICLE OUT!

Florian 'Utsi' Martin was the supervising digital colorist on Independence Day: Resurgence.

In this highly technical article Utsi talks about how skin tones are rendered, print stocks, color management, LUT blending, preferable grading techniques and about grading dark scenes. We have also added a little downloadable gift.

Keep Me Posted (KMP), a FotoKem company has an opportunity for a top level Colorist. As KMP is a leading provider of post services to Television, the person must have a scripted television background, with a minimum of 5 years of color experience/background with a creditable post house. Candidate must have proven track record of success and be able to work in a collaborative relationship with some of the top Producers and Cinematographers in Television. Must be adept at creating and maintaining looks for scripted drama and comedy programming. Looking for team player, effective communicator who looks forward to daily challenges.

Nucoda color systems proficiency strongly preferred.

If interested, please call Andrew Hanges at (818) 738-7000

New premium article out from veteran colorist Maxine Gervais, Technicolor Hollywood! Some of the topics Maxine talks about are color management, preferable grading techniques and IMAX delivery.

New premium article out from Senior colorist Paul Ensby, Company 3!

In the article about his work on The Man From U.N.C.L.E, he talks about maintaining a film white at the top end of the curve, how to not break the relationship between the different values in film emulations and about keeping things as simple as possible. Enjoy!

Hi Everyone!

Sorry about the newsletter spam! It was supposed to be sent one time only, and we will look into what happened!

Best,
The Lowepost team

Molinare is currently recruiting for a DI Operator - the successful candidate will join their busy grading support team, conforming and prepping material for their colourists & producing deliverables.

For more information or to apply, please send your CV and covering letter to hr@molinare.co.uk.

Closing date for applications is Friday 25th November - good luck!

Supervising colorist Scott Klein and his team moved from Technicolor to Warner Bros earlier this year and in a new premium article he talks in detail about his technical and creative work on the Fox megahit “Empire”. Enjoy!

Daniele has also written an insightful article about CDL for the color theory section of Lowepost. You can read it here.

Color workshop in LA with FilmLight!

Daniele Siragusano discusses grading techniques, workflow, challenges faced with modern digital image acquisition and digital colour reproduction etc.

Thu, Oct 27, 2016, 3:00 PM PDT

Register here!

Luke Morrison is the Head of Color at The Mill Chicago office. We just posted a new premium article where Luke gives very detailed technical explanations on how he created the stunning look of the spot for Hoss Intropia.

Deluxe's Company 3 is seeking Full-time Staff Resolve Engineers to join its team in Santa Monica. Experience in deploying and maintaining the DaVinci Resolve platform is required.

Howard.Lin@bydeluxe.com

Senior colorist Damien Van Der Cruyssen is incredible talented, and in this article he talks about his work on a fragrance spot. Damien is specialized in setting distinctive looks for luxury brands, and well versed in long-form grading.

We are a leading NYC post-production company with an award-winning veteran team.  Our facility includes: 4k/2k Color Grading and Finishing with: DaVinci Resolve, Symphony Nitris, Final Cut Pro, and Adobe Premiere Pro, for numerous tape and file deliverables.

In addition to our color grading and finishing division, our parent company owns three buildings where we host in-house post-production projects, complimented by an offering of several hundred edit stations and shared storage solutions for field-based projects.

Seeking a Senior Colorist/Online Editor

• We are looking for a team player, chameleon that clients love and request, and is adaptable to the fast-paced environment of the post-production industry.
• Conform/Colorist/Online Editor for network and cable television series, programs, promos, and documentaries.
• Colorist/Online Editor with a tool belt of DaVinci Resolve, Symphony Nitris, Adobe Premiere Pro, and Final Cut Pro expertise.
• Workflow specialist with the ability to handle any of the above systems, codecs, frame rates, in veritably every file, media, and tape based formats.
• Comfortable and proficient with edit systems, decks, scopes, legalizers, drive arrays, etc.
• Basic troubleshooting with our technical staff to keep online systems operating.

Requirements:

• GREAT personality and attitude.
• MUST be a team player.
• Minimum 5 years Senior Colorist/Online Editor Broadcast Experience.
• Proficient with DaVinci Resolve, Avid Symphony, Premiere Pro, and Final Cut Pro 7.

Bonus Points:

• After Effects, Photoshop.
• Willingness and eager to learn new technologies.

Perks:

• We offer full pay, paid vacations, medical benefits and profit sharing. 
• Action-packed working environment

Full time

http://staffmeup.com/jobs/Colorist-New-York-NY-Reality-Doc-(TV)-175312/apply

Full time colorist needed in Chicago. Email Justin.jackola@jjackpro.com and he will get you connected with the company. 

Senior colorist Matt Osborne is a member of the renowned international color team at The Mill. Check out his new article in our premium collection. A must-read!

With offices all over the globe, MPC is one of the world's leading visual effects (VFX) studios, creating award winning, high-end VFX for the advertising industries.

We are constantly looking for the best talent in the world, enthusiastic people that come in everyday to be a part of some of the best work in the industry.  Our team in Los Angeles, and throughout our global network of studios, produce creative, visually stunning and technically challenging VFX and digital projects of the highest quality, and we are looking for candidates with a desire to be involved in the success of these projects.

The Color Producer will assist the Executive Color Producer in NY to provide superior client service, increase profitability for MPC and provide additional support to the Sr. Colorists and Baselight Assistants.

Primary Responsibilities:

• CETA Project Management (includes working independently and collaboratively with scheduling, bid creation, actuals and costing).
• Data Management (wrangling producer requests, obtaining prep for sessions, managing client deliverables), Knowledge of offline editorial process also an advantage.
• Client Communications (managing confirmations & challenges directly with Clients, handling session supervision, managing post-session follow up & invoicing),
• Coordinating Remote Viewings & T-Vips Facilitation, and Organising Reels Customization for specific projects.
• Liaison with global MPC Color departments - (coordinate shared or remote projects with other MPC sites, ensure most recent reels available to all sites)

Experience and Skills:

• Solid understand of Baselight workflows
• Desire to continue to develop knowledge of processes and technology for Color and how it relates to the larger VFX pipelines. 
• 2-4 years experience in a Producer role required.
• Excellent communication, people skills, and team working skills.
• Capacity to manage a busy workload with high productivity.

If you are interested, please email your resume and reel to newyork-jobs@moving-picture.com

Mark Todd Osborne got his start at Company 3 two months after it first opened, and quickly became Stefan Sonnenfeld’s protege. He stayed there for 11 years and is now working from several post facilities in Los Angeles, doing high-end work for U.S. & international clients.

In this article, Mark shares details of his color grading work with the movie It Follows.

What's new in DaVinci Resolve 12.5.2?

New Features

• Added support for new URSA mini camera metadata in RAW files
• Added support for Color Space tags on QuickTime export
• Added support for Fusion Connect on Linux
• Added ability to filter timeline on Color Page based on clips that have OFX applied
• Added support for up to 24 audio channels on the Edit and Deliver Page
• Added support for manually enabling and disabling GPUs in Preferences
• Added support for Display Name on ALE export
• Added support for Apply Grade and Append Node Graph in the main menu
• Added the ability to clear tracking data for the current Power Window
• Added support for OpenCL on NVIDIA cards on Microsoft Windows
• Added ability to copy local grades to remote
• Added additional utility functions in DCTLs
• Added support for Date Created and Data Modified for timelines when using Smart Bins

General Improvements

• Improved 3D LUT generation to ignore any spatial and temporal corrections like Power Windows and OFX etc.
• Improved accuracy for color conversion when outputting with ST.2084 gamma
• Improved accuracy of rendering Rec.2020 to ProRes/DNxHR
• Improved highlight control in ACES and HDR workflows
• Improved performance of ResolveFX Scanlines
• Improved reliability when loading projects with audio plugins
• Improved deliver preset switching to preserve the render location
• Opacity is now retained when converting a circular window to a Power Curve
• Addressed an issue with the 3D keyer on OS X 10.11.6
• Addressed an issue with Resolve displaying GPU Memory Full messages on AMD card on Microsoft Windows
• Addressed an issue incorrect UI indication for ProRes render cache, optimised media and remote rendering on Microsoft Windows
• Addressed an issue where importing a project into Resolve could cause a crash if there were unsaved render jobs
• Addressed an issue with applying stills and memories on a stereo timeline
• Addressed an issue with decoding some MXF XDCAM MPEG2 clips
• Addressed an issue with Favourite transitions not being remembered
• Addressed an issue where printer lights keyboard shortcut did not work on Linux
• Addressed a file permissions issue when rendering EXR files
• General performance and stability improvements

Deluxe has a new opening for a Jr Resolve Engineer at its Efilm facility. With foundational experience and knowledge in Resolve deployment/maintenance Linux networking or any programming knowledge for automation).

Howard.Lin@bydeluxe.com