Jan Klier

Fantastic masterclass. Focused on the thinking and technique that applies everywhere. About the craft not the tools. Thank you.

Fantastic course. The show cased workflows rely on one key element though - corrections prior to the Log to display LUT. Easy enough when you rely on LUTs to do that. However, increasingly we're using either ACES or TrueColor in Baselight which create a different setup and already make some major changes to the footage before we even get to do grading operations. So, are there different techniques when working under those conditions? Or would we have to force work around by bypassing the IDT and then applying it later in the node tree? Or in Baselight, not selecting the camera color space in layer 0 but then later in the stack identifying the layer color space to trigger the conversion and allowing us to have a go at the footage first? I prefer the flexibility and quality of the IDT and TrueColor transformations over using LUTs. So it would be nice to reconcile this.

This was a very helpful overview. Even if one knew most of it, seeing it all put together is a good reminder if nothing else. There is branch in this workflow that interests me that wasn't covered. And that has to do with color management of the gallery stills. What color space are they in, do they retain it from when they were taken, do they live in timeline color space and gamma. Also how does that work if a gallery still is imported. Specific use case: I created a Rec709/2.4 color chip of a specific Pantone color I had to match. The easiest I know to do that is to use Photoshop and it's built-in color libraries and then save it as a Rec709 TIFF image. But when I'm working in a scene referred project that is based in RED IPP2 settings with a LUT at the end of the workflow to convert to Rec709, how can I import a gallery still with known color space and map it. Since importing a gallery still is the best way to create a reference wipe.