Stig Olsen

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About Stig Olsen

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  • Country
    Norway
  • City
    Oslo
  • Gender
    Male
  • Website
    www.lowepost.com

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  1. Stig Olsen

    Conforming in DaVinci Resolve

    This is the ultimate course for editors and conform artists who want to learn everything about conforming inside of DaVinci Resolve! With 21 lessons and almost 5 hours of in-depth DaVinci Resolve training, Kevin McAuliffe will take you through every step and technical detail of the process from conforming media to mastering the final picture. About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures. Who is this course designed for? Editors Conform Artists Colorists Lessons overview (subject to change) Lesson 01: Setting up a database and project Lesson 02: Sending a Media Composer timeline to DaVinci Resolve Lesson 03: Sending a Premiere Pro timeline to DaVinci Resolve Lesson 04: Sending a Final Cut X timeline to DaVinci Resolve Resolve Lesson 05: Creating Dailies in DaVinci Resolve Lesson 06: Linking proxies to high resolution material Lesson 07: Working with different timeline aspect ratios Lesson 08: Working with anamorphic footage Lesson 09: Importing flattened video and pre-conformed timelines Lesson 10: Technical LUTs basics Lesson 11: Conforming Tips and Tricks Lesson 12: Dealing with common conform issues Lesson 13: Understanding alpha channel workflows in NLE's. Lesson 14: Understanding matte workflows Lesson 15: Sending a DaVinci Resolve timeline back to Avid Lesson 16: Sending a DaVinci Resolve timeline back to Premiere Lesson 17: Sending a DaVinci Resolve timeline back to Final Cut X Lesson 18: Understanding codecs Lesson 19: Outputting the timeline for delivery Lesson 20: Moving projects from one computer to another Lesson 21: Project archive Software required A free version of DaVinci Resolve or DaVinci Resolve Studio. Avid. Premiere and Final Cut X are used in some of the lessons. First lesson available 1. February!
  2. Stig Olsen

    Printer Lights

    Printer points were mechanical adjustments that affected the color balance and brightness of film before the digital age, and the technical process was done by a color timer. The systems used a series of dichroic filters that split the light into red, green, and blue, and each color then passed through 'light valves'. These were metal vanes that opened and closed in precise increments to allow the exact amount of light through to replicate the exact value for each light point. The three colors were then recombined back into full spectrum light and output to the film. In digital grading, printer points are still very popular and common corrections for setting the primary balance, but also for creating looks. One of the reasons for its popularity is that printer points move the signal in its entirety and alter the entire tonal range in the image. This way, we stay true to the way the original image was shot, and the result can be very clean and cinematic. To illustrate this we can look at the waveform when we add red and subtract green to a grey-scale image. The relationship between the shadows, midtones and highlights stays consistent, and the contrast never changes. By using controls that separate tonal ranges such as lift, gamma and gain, we betray the natural relationship between the shadows, midtones and highlights. This is illustrated with a gain adjustment in the example below. Other reasons for its popularity are that printer points are extremely accurate corrections that can be measured, and they are easier to communicate than wheel values. Printer points in DaVinci Resolve Printer points are equivalent to the Offset Controls that can be found underneath the 'primaries bar' menu inside of DaVinci Resolve. By default, the exposure of each color channel is set to 25 as a starting point, which refers to the center of the scale in most standard printer setups. By moving the sliders of the individual color channels up and down, the color balance will be altered. The combination of red, green and blue and the opposites cyan, magenta and yellow in varying degrees of intensities can create a variety of different colors. When working with the color channels we also need to take the brightness into account. By moving all the three color channels ganged together the brightness of the image changes. Moving all the color channels ganged together one time will change the brightness equal to about 1/12th of a full camera stop, and by moving them together twelve times the brightness will change equal to a full camera stop. Adjusting the individual channels also affects brightness, but at different levels. Changes in the red channel affects brightness more than the two others, and green slightly more than blue. However, to say how the eye would perceive these differences would be difficult as we have our greatest sensitivity in the green spectrum and our eye is more sensitive to changes in brightness than color. The combination of brightness and color can be used creatively, and in the example below we get dark yellow by subtracting blue and green. Some other interesting combinations are to remove blue and green to get red, remove red and green to get blue and to remove red and blue to get green. In the next example, we add red and green to get to yellow instead but this time the brightness increases. Other examples are to combine red and blue to get magenta and green and blue to get cyan. Corrections through the curve of a LUT The Offset Controls are calibrated to work on the narrow range of log encoded images only, and the results of the corrections are designed to be viewed through the curve of a LUT. This way the offset controls will act more like a traditional exposure control, as the image will expand and compress based on the shape of the curve. We can apply our corrections on a node prior to the LUT to keep the node structure clean, but the result will be the same if they are applied on the node with the LUT itself because corrections will take effect prior to the LUT. Creatively we can choose to apply the offset corrections in video gamma space after having normalized the image, but the controls will act differently than what it's designed for and the result will be different. Adding a point of red to the exposure in video gamma space gives you lifted red shadows, which isn’t the way exposure should work When we look at the corrections through the curve of the LUT, we will see more changes in the straight line portion of the curve rather than in the ends. It means that we can push color into the image without affecting the blacks and highlights as much as the midtones. Just the way different film stocks would act in the past when film was color timed chemically. The color balance of the image may also be altered depending on the color variables in the LUT. Some LUTs are also designed to push cooler tones into the shadows and yellow into the highlights even though we only adjust the brightness. The more aggressive the curve is, the more changes happens when working under the LUT. In this representation of the popular Fujifilm 3513DI D55 LUT (that can be found in the DaVinci Resolve 3D LUT list), we can see how the color channels interact with one another. Even though the exposure vary and color shifts happens, the contrast don't change. We can view the offset corrections through any curve, but the only way to keep the relationship between the tonal ranges and stay true to the way the original image was shot, is to use the exact same LUT that the DOP exposed for on set. If the DOP shot on Alexa with the Alexa K1S1 LUT in the camera, that is the one we should grade under and watch the corrections through. Balancing with Offset Controls With different light sources and color temperatures, it's sometimes necessary to balance an image to remove a color cast. Usually the color cast is apparent in the entire image and can for that reason effectively be removed with simple offset adjustments. Sometimes it's sufficient to only adjust one of the color channels, but in the example below we need to adjust two channels to bring the image into balance. To reduce blue, we can add yellow by lowering the numerical value of the blue channel, and then we can add red by raising the numerical value of the red channel. By pivoting the red and blue channel around the green channel that is placed in the middle, we don't change the exposure to much from how it was orignally exposed. In addition to color temperature, images can also have a tint issue. While color temperatures ranges within the orange/blue spectrum, tint ranges within the green/magenta spectrum. If the color cast is magenta, we can add green to correct the color balance, and vice-versa. Davinci Resolve has a Tint Control to deal with these situations but it's calibrated to work in video gamma space. That means the range can be a bit narrow on log-encoded images if the cast is too strong. Offset corrections can therefore be a better choice in those situations too. Balance the image or not Remember, white balancing usually means adjusting the colors so the image looks more natural -not necessarily «correct» on a scope. If a blue color cast works for us, there’s no rule that says we must neutralize the white balance. Sometimes we also deliberately ignore the balance for artistic reasons. This particular image is supposed to be blue and it’s perfectly natural. Just as a sunset needs to stay nice and warm. It's up to us to adjust the white balance, or to adjust it at all. Balance or not, it's essential to apply the LUT before judging how to approach the image. Full, half and quarter increments The offset controls can be available on the numerical keypad section of the keyboard by activating the hotkeys in the color drop-down manu. They are also available in half and quarter increments. A more sophisticated way to work with the offset controls in DaVinci Resolve could be to map the keys to a Keypad. By Lowepost Thanks to John Daro, Douglas Delaney, Florian 'Utsi' Martin, Tyler Roth, David Cole, Walter Volpatto, Adam Inglis, and Paul Ensby for contributing to this article.
  3. Stig Olsen

    DaVinci Resolve Conform Training

    This is the ultimate course for assistant colorists who want to learn everything about conforming inside of DaVinci Resolve. With 5 hours and 20 lessons of in-depth DaVinci Resolve training with instructor Kevin McAuliffe you will gain the knowledge you need. The course is also useful for editors who want to master how to prepare and send back projects to the three major NLE's. About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures. Who is this course designed for? Editors, conform artists and assistant colorists Overview of the lessons Lesson 1: Setting up a database and project settings Lesson 2: Sending a Media Composer timeline to DaVinci Resolve Lesson 3: Sending a Premiere Pro timeline to DaVinci Resolve Lesson 4: Sending a Final Cut X timeline to DaVinci Resolve Resolve Lesson 5: Creating Dailies in DaVinci Resolve Lesson 6: Relinking proxies to high resolution material Lesson 7: Working with different timeline aspect ratios Lesson 8: Working with anamorphic footage Lesson 9: Importing flattened video and pre-conformed timelines Lesson 10: Conforming Tips and Tricks Lesson 11: Working with mattes Lesson 12: Working with offline reference files Lesson 13: Surprise Lesson 14: Understanding alpha channel workflows in NLE's. Lesson 15: Sending a DaVinci Resolve timeline back to Avid Lesson 16: Sending a DaVinci Resolve timeline back to Premiere Lesson 17: Sending a DaVinci Resolve timeline back to Final Cut X Lesson 18: Understanding codecs Software required A free version of DaVinci Resolve or DaVinci Resolve Studio First lesson available 1. February!
  4. Stig Olsen

    DaVinci Resolve Beauty Retouching

    In the DaVinci Resolve Beauty Retouching series you will learn everything you need to know about digital retouching and techniques which are useful on almost every single project you are working on. Learn how to clean up blemishes around areas that dramatically shifts and changes, build your own frequency separation from scratch, deal with flyaway hair, dark pupils, symmetry, teeths, dark shadows around eyes and much more. The techniques in this series will range from beginner to intermediate and advanced, but they are all easy-to-follow.. The project files and footage are available for download so that you can easily follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? DaVinci Resolve users and other finishing artists Some of the topics Clean up blemishes Build custom Frequency Separation Remove Flyaway hair Body Stretch and Symmetry Lighten pupils Teeth enhancement Remove eye circles Skin improvement Software required BlackMagic Design DaVinci Resolve New lessons will be posted every week
  5. Stig Olsen

    Background clean-up in After Effects

    In this tutorial series, our instructor Lee Lanier demonstrates creative techniques to clean up studio backgrounds in Adobe After Effects. Learn how to extend backgrounds, fix imperfections and even out uneven lighting fast and efficient using a variety of tools in After Effects The After Effects project files are included so that you can follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? After Effects users Some of the topics Set extension Averaging backgrounds Advanced keying techniques Creating shadows Masking Tracking shapes Software required Adobe After Effects Enjoy the training!
  6. We are proud to introduce a Fusion masterclass in sky replacement with instructor Lee Lanier! With 6 easy-to-follow video lessons, you will learn advanced techniques that can be used to replace a sky inside of DaVinci Resolve Fusion or with the standalone version of BlackMagic Design Fusion. The DaVinci Resolve project files and footage are available for download so that you can easily follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? Editors, Colorists, Compositors and other finishing artists Some of the topics Motion tracking Keying techniques Inserting sky in the background Adding grain Simple color correction Software required A free version of DaVinci Resolve or the free standalone version of Fusion Enjoy the course!
  7. Stig Olsen

    Fusion Background Replacement

    We are proud to introduce a Fusion masterclass in background replacements with instructor Lee Lanier! With 7 easy-to-follow video lessons, you will learn advanced techniques that can be used to create complex and stunning effects inside of DaVinci Resolve Fusion or with the standalone version of BlackMagic Design Fusion. The project files and footage are available for download so that you can easily follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? Editors, Colorists, Compositors and other finishing artists Some of the topics Motion tracking Stabilization Rotoscoping building-elements and face Fine-tuning roto shapes Inserting sky in the background Adding grain Simple color correction Software required A free version of DaVinci Resolve or the free standalone version of Fusion Enjoy the course!
  8. T he Avid DNxHR and Apple Prores codec families are designed to meet the needs of modern, streamlined post-production workflows. These days we capture source material on a variety of cameras- action cams, smart phones, drones and high-resolution cameras, and codecs makes it easy to work with any formats. With the growing demand for 4K deliveries, we need fast and reliable codecs that ensure reel-time playback while maintaining superior image quality. Both the DNxHR and ProRes families offer a variety of codecs for different compressions, data rates and file sizes. Some with just enough image information needed for editing, others for high-quality color grading and finishing, and lossless ones for mastering and archiving. Below are the full list of codecs from both families. #customers { border-collapse: collapse; width: 100%; font-family: Nunito; } #customers td, #customers th { border: 1px solid #ddd; padding: 8px; font-family: Nunito; } #customers tr:nth-child(even){background-color: #f2f2f2;} #customers tr:hover {background-color: #ddd;} #customers th { padding-top: 12px; padding-bottom: 12px; text-align: left; background-color: #ad00ff; font-family: Nunito; color: white; } Codec Color sampling Usage DNxHR 444 4:4:4 Finishing DNxHR HQX 4:2:2 Finishing DNxHR HQ 4:2:2 Mezzanine* DNxHR SQ 4:2:2 SQ Editorial DNxHR LB 4:2:2 LQ Editorial ProRes 4444 XQ 4:4:4 Finishing ProRes 4444 4:4:4 Finishing ProRes 422 HQ 4:2:2 Mezzanine* ProRes 422 4:2:2 Mezzanine* ProRes 422 LT 4:2:2 SQ Editorial ProRes 422 Proxy 4:2:2 LQ Editorial * In this case, Mezzanine means a compressed file that can be used to produce additional compressed files, but it is not necessarily useful for finishing work. Codec facts: DNxHR 444, ProRes 4444 and ProRes 4444 QC are the only codecs with embedded alpha channels. DNxHR 444 and ProRes 4444 XQ are the only codecs that fully preserve the details needed in HDR- (high-dynamic-range) imagery. Both codec families are resolution independent, but bitrate will vary depending on if you output a proxy file or a higher resolution file. Both codec families can be wrapped inside MXF or MOV containers. For more detailed specifications: Full DNxHR codec list Full ProRes codec list Codec differences DNxHR and ProRes was optimized to be visually lossless through many generations of decoding and re-encoding. Some claim to have noticed performance differences, but studies have shown that the quality and speed differences are negligible. An important difference, however, is that most of the major editing and finishing systems available lacks support for ProRes encoding for Windows. This means Windows users can read a ProRes encoded file, but cannot export one. For this reason, many post-production facilites have abandoned ProRes and implemented a full DNxHR workflow. There are systems that Apple fully supports such as Nuke and Scratch, but DNxHR is accessible universally. Another important reason for the success of DNxHR is that Avid can read the files natively from its own MXF file structure. This eliminates the need to import clips and timeline rendering. Lowepost
  9. Stig Olsen

    New video tutorial out!

    Hi Everyone! After having used the last years to discuss color grading with the best colorists in the world, seen many different approaches, techniques and ways to build grades, we thought it was a good idea to create a video tutorial series and share some of the techniques and insight we have learned. We landed on doing scripted (pre-written) tutorials. That means we can concentrate the content, be far more to-the-point, make them shorter and avoid wasting your time with distractions. The first one is about silver retention (bleach bypass) and is available for our premium members in the insight sectiom right now! I hope you like it!
  10. Stig Olsen

    Color Grading Lounge - Facebook group

    Hi Everyone! I'm just checking in to invite you all to the Color Grading Lounge group on Facebook. The group grows fast with many lively discussions. See you there, Stig
  11. Stig Olsen

    O BROTHER WHERE ART THOU?

    B efore beginning the shoot, Roger Deakins performed many photo chemical tests at film labs and post facilities to see if he could get the look that he and the Coen Brothers wanted. They were to shoot in lush, green Mississippi during the summer, but wanted a dusty, brown, burned out hand-tinted look that reflected the 1937 Depression era. The only place he felt could give him this was Cinesite at that time. I became involved during the testing. You have to remember that back then, in terms of color grading for film output, while not exactly the Stone Age, was more like the Bronze or Iron Age. There were no such things as real time conforming, 3D look-up-tables, 2K digital projectors, or real time playback of data files. These things are taken for granted today. It was pretty much the wild west for grading. We used Silicon Graphics CRT monitors that the engineering staff at Cinesite calibrated especially for film, which gave a reasonable contrast range approaching film, but color accuracy was another matter. We would film out test frames after every session (film recording was very slow and expensive back then) and view the print the next day if the print met LAD AIM (the film equivalent of color bars, so to speak). If not, a new print was struck until it did. Then we would see what we had. The interesting thing was that some scenes we thought would be very straightforward proved to be problematic, while others we thought would be troublesome proved to be no problem at all. A-B negative rolls We had cut A-B negative rolls to be scanned on a Spirit Datacine. For anyone who is not familiar with cut A-B neg rolls, a brief primer: the neg is cut together in a normal editing environment. When a transition is required (dissolve, wipe, etc.), enough handles to cover the duration are included in the shot, followed by black leader until the next transition is required, then the camera original shots are continued on, and so forth. This is the A-roll. Then the B-roll is created inverse to the A-roll. Using A-B cut negative required a lot of reel changes and cleaning of the transport, since the black leader normally used in cut neg left a lot of residue on the rollers and in the gate. Sometimes a C-roll is used, but I don’t recall if we had any. We may have had one or two. This continues for every film roll. Green-to-brown transform The grading was done operationally like a typical telecine session, and we used a Pandora Int's Poggle with MegaDEF system. That was the only system at that time (circa 1999 - 2000) that worked with 2K (2048 x1556) data. As in modern grading systems, we could select a color and adjust the range affected by phase, saturation, luminance, etc. Deakins and the Coen Brothers wanted to do the green-to-brown transform entirely in the grading bay, but throughout the process we didn’t want to change all the greens to a single shade of brown. That could look phony. So we would change the trees, for example, to one shade/density of brown and the grass to another. Sometimes on a shot we would change a grass field to one shade, the shrubbery on the edges of the field somewhat different, and the trees yet a little more different. The biggest issue in the grading process was that the greens we were changing to dusty, burnt brown didn’t translate well at all on the monitor. Being that this was the crux of the whole project, we had to deal with it somehow. The only way I knew to do this in any kind of timely manner was to look at the difference between the print and what we saw on the monitor, try to determine in my mind how different it was in grading terms, apply an opposite adjustment to the file, film it out, and see where we were. After a few of these, it became a bit easier to apply a mental LUT, but it still required a proper grading on the monitor so that Deakins and the Coens could determine what they wanted, film it out, view the print, and make the change. A bit cumbersome to say the least. Outside of losing the greens, it was a pretty common grading session. We made sure the RGB controls were balanced properly and that the brightness and contrast ranges were appropriate. Of course the film had an overall look, a palette, but no other individual colors were specifically isolated or treated as a whole. It wouldn’t make sense to have the environment be a burnt, dusty look and have the talent be in bright, saturated primaries. It wasn’t shot that way. Everything had to look as a whole. Secondary controls, of course, were used as necessary. The type of adjustment is varied depending on content and desired results. One example of this was a shot of the actors on a handcar. The shot pulls out and tilts up to a very wide shot. Besides tracking the foliage, the sky was almost white, so we put some windows in the sky to give it a gradated late day look. The sky gradations also had to be tracked. There was no “special” attention paid to skin tones, eyes, etc. They just had to look like they were supposed to and consistent throughout a scene and throughout the film. We used normal grading procedures, still stores, and what felt right, even if it wasn’t a technical “match”. Deakins and the Coen brothers were great to work with. Deakins was intimately involved. He was present in the bay virtually every day as far as I recall. The Coen brothers came in periodically to view film out tests, but they were very much on the same page as Deakins, so there was no need for them to be present daily. Julius Friede
  12. Stig Olsen

    Tyler Roth Company 3, TVC color grading

    Want to know how it looks like when Tyler Roth, senior colorist at Company 3 grades a TVC? We recorded a remote grading session (screen only) and made 6 short edits for you. Click here or go to our video menu.
  13. Stig Olsen

    1080p or 1080i50

    Most dramas, features and commercials are shot progressive, but transmitted in an interlaced environment at the end. The common workflow is to work progressive through the entire pipeline, but to change the project settings to 1080i50 before final output. You will not experience any field issues because they will be duplicates of each other, but as mentioned above, you can benefit from the interlacing on some animated effects like end crawls and transitions if those are added after the timeline change.
  14. Stig Olsen

    Image degrade

    On the shot below I've used "Sharpen Edges" with increased edge mask strength and decreased edge blur, combined with some customized grain.