Alexander Volkov

42 minutes ago, Abby Bader said:

Timeline color space only affects how your color controls works, not the end result or anything else. I prefer to leave it set to Arri Log C when working with any type of footage. 

For Red Workflow in general, watch this course:

 

Abby, Thank you very much for your answer!

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Hi , everyone !

i grade RED footage in Resolve on a MacBookPro, and i have a question:

Is it  best  to work with  Red Raw footage in Resolve by setting  my Timeline Color Space  to REDWideGamutRGB/ RED Log3G10     ?

My Input Color Space: Bypass 

My Output Color Space: P3-D65 /sRGB (As i grade on a Apple Screen)

Thank you!

Alex.

     Hello everyone! I want to ask you, what is you look building workflow? Do you prefer to create looks with Lift, Gamma, Gain, or with Log wheels, or  maybe  Printer Lights ? 

How you add main color of the look, do you use Gamma wheel and maybe with a little help of Gain wheel or another way? How you use and mix LGG to get  looks?

 Do you work under the Film Lut or do you like building your look from scratch?

Thank you.

Alex.

Anton, thank you very much, for your in detail explanation. I'm working as a cameraman ,  but  I'm  also interested in color grading. :)

Yoav, thank you !  Sorry for my bad English, I meant skin to be not much very blue, but ofcourse  it should be colder than normal balanced skin.

So im not talking about of saving 100% of natural color of balanced skin, but about nice blending of balanced skintone with the strong blue cyan look, or with strong warm yellow- orange look. So the skin appears not very much blue (in case of the blue cyan look)or not very much yellow warm (in case of warm hot yellow look).

Anton thank you for your answer!  

But when scene take place outdoors, without set and location  design, cold overcast day, and you need to make image very cold blue , so you push blue into the image  and the skin gets also blue, too blue, or opposite when you shoot outdoors on sunny day, and you want further enhance this warmth by making a warm yellow hot sunny look, you push yellow orange into image, and skin gets too warm. So you need just control on skin to pull some coldness or warmth back.  Im  not talking about separating skin from the wall  (background), but asking how you deal with strong color casts looks (very green look, or very blue, or very yellow look), but also to leave (protect)skin natural in that particular environment, cold blue environment or warm yellow environment, without being skin too blue or too orangy-yellow? But also not too overprotect it, so it looks natural in cold blue environment or in warm yellow environment for example.

So by using Hue vs Sat curve in parallel and gaining saturation of just the skin color.

Thank you Tom!

Thank you.  Yes I saw this great color grading series here on Lowepost. But how you can pipe in, just the skin color in parallels without using key?  By using  hue vs sat curve in parallel node, and  gain red color and that will reveal just  the skin color ?

Thank you, Tom!

After balancing shots for skin , after matching shots in the scene, on stage where you create a look for the scene , when you want to create some strong look  , for example warm yellow saturated look or cold blue desaturated look,  when you push for example blue into the shot , the skin will be too blue, or when you push yellow-orange into the shot the skin will be too warm, so to bring back natural skin color I use parallel node  or use  layer node with 50-60% opacity.

 But what can be made, to maybe  further and better blend the skin with the look, so maybe when creating a cold blue look, add a touch of coolness into the skin with highlights log wheel,  or when creating a hot warm yellow look, add a touch of warmth into the highlights of the skin?  What is your approach to skin , when you need get a not normal neutral look,  but need look with some strong color cast?

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Hi, everyone!

How many of you are keying and adjusting skin separately from the background (look), in parallels or layer nodes, when creating a look? Do you key and control skin separately from the background every time you creating a look?

What is your approach to adjusting  skintone color to match the color of the environment, the color of the look?

 How you adjust your skintones  when you create for example a cold look, or a  warm look?

Do you  push colours  separately into  particular tonal range of the skin like shadows, mids, and highs with log wheels,  or do you make just a broader adjustments with primaries wheels?   

Thank you,

Alex

Abby, thank you very much!

Thank you Abby and Dan! I meant, for example doing  skintone correction is best, when your whole scene is already balanced and all shots are matched? Or you doing balance (primary color correction) of  individual shots of the scene, then make secondary on a hero shot, and then try to match other shots to the hero shot (with corrected skin)?

Hello, everyone!

Do you do your secondary color correction before, or after matching the shots?

Thanks.

Alex