Abby Bader

I agree in @Tom Poole's statement in one of the other threads. 

"My advice to my assists and people coming up is always the same "Immerse yourself in all things visual - photography, film, art, whatever it is". These are the things that will make you a good colorist, and also allow you to hold conversations with other creatives.

https://www.dezeen.com/2016/01/06/super-8-camera-kodak-relaunch-yves-behar/

Great, miss old Tri-x film!

3 hours ago, neila said:

Just so I'm understanding it correctly, do you think that means adding 1 point to all 3 colors increases brightness by 1/12 of a stop when the density increment for each color is set to 1?

Correct. Add +1 in each color channel in the offset controls (+r +g +b) for one global density point. One global density point is 1/12 of a stop. 36 increments (+12r +12g + 12b) is a full stop. 

Hi Neila,

Nice to see you here!

In this article by Dan Muscarella you can read that "A combination of one printer point on all the three primary colors is equal to a full 1/12 of a stop, also known as a full point of global density. " It means that if you add one point of red, one point of green and one point of green you have increased the brightness with 1/12 of a stop. If you instead add 12 point of red, 12 point of green, and 12 point of blue you have increased the brightness with 1 full stop.

Abby

Master Study in DaVinci Resolve Printer Lights - Insights - Lowepost

It's too dark!!

Sure Mark, that would not be a problem at all and is an approved workflow. Maybe @Daniele Siragusano can elaborate more on that?

9 hours ago, Anthony Raffaele said:

Plus is aces color science and implementation blows the rest out of the water.

Great to see you here Anthony! Can you elaborate more on how Aces in Baselight is better than in the other correctors?

Personally, I like to push, pull and rotate the second screen. I feel more relaxed with a distance to my scopes but that's my issue 

If the model got light skin you would like to hide the blue / magenta beneath the surface, especially around the eyes. Just like girls do in real life to make the skin look more healthy and to make the eyes pop. Adding some warmth to knock out those colors will often result in some more "life" to the model even if you want to keep the overall skin tones natural. 

Interesting Frank! 

On 12/7/2016 at 0:08 AM, Shane Taylor said:

On the other hand, I was also thinking that the cold skin tone added to the desperate feel of the character being chased through the woods at night, especially later when she impales herself in a fall. Would that play OK, or would it still just come off like a 'bad color job'?

Cold skin tone is perfectly fine, I just ment you need to be careful with texture and facial details. One of the shots was lit very flat, and it's rarely flattering with completely white and washed out skin tones in that context. 

Hi Pepijn. Sorry, should have linked to the article 

When working with night exteriors you need to evaluate the top level light and at the same time consider how much you want to stretch the black values to preserve a rich image with enough details.

The overall color cast is magenta and that's a pretty bold choice, but that could definitely work. Sometimes I throw in different reference images with different color palettes to see what works best on my footage. I often end up in a more blue direction for day-for-dusk.

When de-saturating the image so much that the flesh tones almost turns white you need to be careful not to loose too much facial details and texture.

Good luck!

Welcome Leo, great reel!

I would also add that you could play around with the luma curves both before and after the monochrome node to get more interesting behavours.

Using the luminance curves to clip the highlights will introduce silver, as mentioned in Damiens article, and that could also be powerful to the B/W look. 

Tom, happy to see you here! I love the great texture in your images and I think that 'Ride' is a great example along with a lot of the work you have done for Anthony Mandler. It would be great to hear how you typically would approach an image to create such a bold contrast and 'gritty' feeling.

Great insight, thank you guys!

I don't have any first hand experience with their live classes, but they have a great reputation and are trusted instructors.

On 26.11.2016 at 1:06 AM, Serge Kosevtsov said:

Hi Abby. Thanks for topic. I'll follow this with interest!

I wonder what lenses and filter were used on shooting? And what colour palette  used? Of course I'd prefer to talk to DOP first and also discover the material used as inspiration.

Hi Serge. The production rented some old Russian Kowa lenses. Great texture and soft spots. The project is not released but I will post some images when I get permission.

Great to see you here @Rainer Bueltertand thank you for your great, detailed and insightful explanation! Personally, I prefer Baselight because I feel more comfortable with the toolset and I feel that it lets me get to a more pleasing result faster.

9 hours ago, Marc Wielage said:

I asked the doctor how my eyes were, and he said, "just about perfect... but you need to blink more.

Guys... start flirting more

Marc, great to see you here!

Great! Mumbai is a bit far but would love to participate if you are visiting Germany in the future!

Great insight Daniele, and nice to see you here!

Reviewing the final grade in a proper grading theater is important, and especially today when delivering specialized versions like for IMAX etc. And don't forget, there are many other reasons to run the movie through a large screen as well.