chris jacobson

Thank you for your comments. I understand where you are coming from. Mostly a pure mathematical fundamental. However, "Color management is nothing more than the process during which your image goes from recording state to display state" I disagree, the "process" changes depending on who wrote the code. It is the mapping that is open to interpretation. Just like every AI or social media has an algorithm so does color science. How one mathematical equation will interpret ...let's say for example red mapping bit depth, this can make a huge difference in the output of the delayering and hence would change everything. For example how I could use a curve and key combination to achieve the desired look for skin tone. The biggest discrepancies become apparent in red and blue Bit mapping. Bit mapping is the biggest interpretations in color science. A process I prefer to leave to the colorist working in RAW, in this particular case, me.

The media is LOG but the Resolve controls are in LINEAR. You have the option to work in LINEAR or LOG on the resolve. Most of the time I work in LINEAR but switch to LOG when I need to make subtle adjusts in the "blacks" without affecting other parts of the image. Thanks! Chris

Yes, that's correct. I do not use LUT's or ACES or IDT, etc. I have played with all types but in the end I felt they handcuffed me and didn't allow me to push in places I like to go.

Yes, that's correct. Exposure is all done in the Color tab unless its something very tricky, then I get into camera metadata settings and will adjust exposure and color temperature there and then move into the color tab. I have played with LUT's ACE's and IDT, etc. but I have found these handcuff my ability to push the image in particular directions. I will on occasion apply the LUT to see what direction the image is heading, grab a still, and then remove the LUT and start from the beginning. LUT's can be helpful when they are good and you don't have a lot of time, but ultimately I found these to be generic short cuts that tend to be missing or clipping information from the BIT depth. Thanks, Chris

Yes Justinian - Time management is very crucial to every color session. 700 shots is an estimate, for action shows cuts can run up to 1200 events

Remco- Thank you for the kind words and its great to know I have inspired some colorist to push the boundaries of their creativity. Its funny how some of the most basic seeming looks are actually the most complicated to build. The show aesthetic is very clean so adding any noise reduction or softening will infect the viewers sub conscience. We have occasionally introduced filters in camera but ultimately did away with them for the same reasons. about the no NR---One trick I use is to compress the raw negative before I start my primary base grade, this allows me to still stretch and pop the image without degradation and introduction of noise. You would be surprised at how much the codecs and networks compress the final image, which ultimately help to reduce the inherent grain. There is some trial and error here to see what you can get away with...but i still get surprised as I use the distribution pipeline as one of my tools. I usually work backwards from where and how will the image be displayed and reverse engineer the workflow and tool set from there.

Remco- Thank you for the kind words and its great to know I have inspired some colorist to push the boundaries of their creativity. Its funny how some of the most basic seeming looks are actually the most complicated to build. The show aesthetic is very clean so adding any noise reduction or softening will infect the viewers sub conscience. We have occasionally introduced filters in camera but ultimately did away with them for the same reasons. about the no NR---One trick I use is to compress the raw negative before I start my primary base grade, this allows me to still stretch and pop the image without degradation and introduction of noise. You would be surprised at how much the codecs and networks compress the final image, which ultimately help to reduce the inherent grain. There is some trial and error here to see what you can get away with...but i still get surprised as I use the distribution pipeline as one of my tools. I usually work backwards from where and how will the image be displayed and reverse engineer the workflow and tool set from there.

Abby- sorry for the late reply. I rarely check in here. The new direction in season 6 was basically...we went darker and had created a new look for the prison and went back to the Alexa.

Abby- sorry for the late reply. I rarely check in here. The new direction in season 6 was basically...we went darker and had created a new look for the prison and went back to the Alexa.