Tom Evans

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  • Birthday 04/18/1981

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  1. Lee demo this workflow in several of his classes here on Lowepost. You simply bring the log shot into Fusion or whatever compositing app you are using and key under a LUT. Apply the LUT, key the shot and remove the LUT when you're done and ready to render. It's nothing else you need to know really.
  2. That's not your problem, they will apply whatever transform is necessary before they do their keywork and remove the transform when sending the file back to you.
  3. Deliver the log image, original file or flat pass render.
  4. Watch Jason Bowdachs color grading training on Lowepost, it covers it quite well.
  5. Always try to get your skin tones where they should be with your overall global grade. Balancing an image with the skin tones in mind often gets the rest of the image where it should be. When doing secondary work on skin tones, try the broadest brushes first. Personally I try to reach for the hue vs. sat and hue vs. hue curves. If that does not work, I will key.
  6. Arri Log C to Rec 709 and then create an offset node with some global adjustments for better matching?
  7. So you have two files right, one with the background and one with the foreground? And the foreground video file has alpha channels? if that's so, just bring both the files in and stack the foreground shot on top of the background in your timeline. Or did they provide you with the final comp shot and an external matte? More info please.
  8. I just want to say I got the Mira PowerGrade Collection today and they are amazing, this takes my grading to the next level. Thank you Lowepost and Ravengrade for always backing our work with insight and great tools.
  9. The color space and gamma should be set to match your camera, so if you work with Alexa it should be set to Arri Alexa + Arri Log C. If your timeline is set to Alexa you don't have to change, but if your project is set up to something else you need to change.
  10. I actually got mine today!
  11. I usually works with HQ files from ARRI / RED and that works perfectly fine on my setup. However, there are files such as those from Venice that lags without transcoding but that is also true on the much more expensive Mac Pro.
  12. My take on this is to grade the documentary on your X300, and do the theatrical pass in the same suite. You know the audience will watch the documentary in a dark room so that might allow you to go deeper and darker on some scenes and earn you a few more dollars.
  13. I do recommend the Professional Color Grading Course by Kevin. You need the very basics there as well, but it takes you through how to best approach exposure and balance and that's what you need to get started. If you have no clue about how to ingest footage, what the different wheels does etc, you should go see the basic training videos released by BlackMagic Design.