Abby Bader

Outstanding Color Grading – Feature Film “Carol” John Dowdell // Goldcrest Post Productions Ltd “The Revenant” Steven J. Scott // Technicolor Production Services “Brooklyn” Asa Shoul // Molinare “The Martian” Stephen Nakamura // Company 3 “The Jungle Book”| Steven J. Scott // Technicolor Production Services Outstanding Color Grading – Television “Vinyl – E.A.B” Steven Bodner // Deluxe/Encore NY “Fargo – The Myth of Sysiphus” Mark Kueper // Technicolor “Outlander – Faith” Steven Porter // MTI Film “Gotham – By Fire” Paul Westerbeck // Encore Hollywood “Show Me A Hero – Part 1” Sam Daley // Technicolor PostWorks NY Outstanding Color Grading – Commercial Fallout 4 – “The Wanderer” Siggy Ferstl / Company 3 Toyota Prius – “Poncho” Sofie Borup // Company 3 Nascar – “Team” Lez Rudge // Nice Shoes Audi R8 – “Commander” Stefan Sonnenfeld // Company 3 Apple Music – “History of Sound” Gregory Reese // The Mill Pennzoil – “Joyride Circuit” Dave Hussey // Company 3 Hennessy – “Odyssey” Tom Poole // Company 3

Interesting. I will try to blend some layer nodes together and see if the look can be recreated somehow.

Ok, I can see that ACES is unique in its way. But what is the main differences between the color management tools mentioned above?

But colour spaces is a creative choice as well isn't it?

Second that. There are lots of free softwares but quality can be limited, bitrate low and some can't break the copy restriction.

Hello all. Isn't this something all the color managements take care of? Any differences between them?

Thank you Tom. I will read the article :-)

I love this sensual and beautiful spot, and the colors are stunning. What a masterpiece delivered by mr. Van Der Cruyssen.

Adding DNxHD and not DNxHR doesn't make sense to me. DNxHD(HR) is a beautiful format and I believe that it is the future.

One of my clients have a project coming up and wants me to look into the 1900s Photochrome look. I would love some inputs on how to achieve the distinct and painterly look? The film is shot on Alexa 65.

When the first Resolve was put on the market you had to buy a separate DNxHD license. Avid don't change for it anymore and it's my impression that it slowly takes the position that ProRes have had the last years.

Peaky Blinders is one of the best looking shows I've seen, and you are definitely one of the greatest colorists out there. Thank you for sharing your knowledge Simone!

I have never thought about sharpening the grain layer. Thank you for sharing Tyler!

Thank you Chris, I love the show. It would be great hear about the new direction as well.

Thank you Chris, I love the show. It would be great hear about the new direction as well.

You are the greatest, thank you! When you say that the DRT is needed for conversions from HDR (e.g. Log) to SDR (e.g. Rec1886), you mean all cameras that produce logarithmic images like Alexa, RED etc? Or only needed when those cameras are set up for HDR shooting? If that is a camera setting...

Ok great, thank you! So the normalization process going from a a logarithmic file to linear is done in the color space conversion, while the DRT's offer some chroma and contrast adjustments?

Thank you so much for your detailed explanation. If the normalization (Log --> 709) already is done by setting the working color space to Log ( Arri LogC WideGamut) and viewing space to Red 709, I don't understand why the Photometric DRT should be applied to do the exact same thing? By doing the exact same thing I mean normalizing the Log image like an official ARRI LUT would have done.

Hi! I need to normalize log material and I wonder if that can be done by transforming the material from one color space to another inside of Baselight or if I need / should apply a DRT. Any thoughts? Abby

Interesting story about the eye movement, thanks for sharing Matt!

Great article Mark, I love your work!

Great article Mark, I love your work!

Nice to see that such good looking shows are colored in Mistika!

What a great story. Thank you for sharing @Peter Bernaers!

I read in the Oblivion article that @Mike Sowa looks at the trailer as a mini version of the movie. That's quite an interesting thought. I know colorists who like to hang the master shots on the wall to see how everything match. A more digital friendy way to do this is to create a timeline with the master shots and use a lightbox feature.