Stig Olsen

Hi James. The tools are distributed under the same type of model as Dolby distributes "Dolby Digital"; they sell licenses directly to the studios and networks. It's only available to certified post production facilites, and consists of both a software and a hardware part.

You can add a TimeSpeed tool from the Miscellaneous menu and set the speed value to zero.

Fusion doesn't recognize layer stacking in the edit module so it will not automatically fill the transparent area with the bottom layer clip. Instead, you can mark both clips in the edit module, right click and create a "Fusion clip" to bring both of them in.

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!

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

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.

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. 

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

Inspector attributes can be copied by selecting and copying (ctrl+c) the main clip and then right-clicking the target clip choosing paste attributes. 

HBO's Band of Brothers has inspired colorists for years and the look has been copied numerous times since it was released in 2001. DI colorist @Stuart Fyvie worked on the team with Luke Rainey (RIP) coloring this award-winning show, and two years ago (!) he wrote a story for us that we want to share with you today. This story is big, never told before, full of insight and tech-talk. It's really a must-read.

Thank you Stuart!

Hi everyone! We are setting up a virtual feed from C3 to our suites for an upcoming set look session. This feed is received through the Streambox Media Player on Windows and it works perfectly. But we want to extend the display monitor view to a HDMI monitor connected to a Q M2000 card, is that possible? It's not possible to run the signal through any external output devices such as a Decklink on Windows.

Lowepost is looking for tech experts that would like to write product reviews in exchange for products. 

PM or cm@lowepost.com

Thanks,

Stig 

Hi Everyone!

We have finally managed to build the review system, and first out is the list of color books!

Please feel free to write a review and rate books you have read. If you're logged in, you can also suggest books you think others will enjoy.

The list can be found in the resource section or by clicking this link https://lowepost.com/list/books/

Feel free to share the news!

Disable "automatically import source clips into media pool" and enable "link to source camera files" when loading the AAF into the Media Pool.

Lowepost members got 20% discount on the 
ARRI Training for Advanced Color Science in August. See calendar for coupon code and link to the event.

Alter Ego (Eric Whipp's company) is looking for an enthusiastic colour assistant to join their team.

Location: Toronto

Position: Full Time

Salary: TBD

DESCRIPTION

Alter Ego is looking for a full-time Colour Assistant to join our team. As a Colour Assistant you will gain valuable hands on knowledge of the commercial industry at Canada’s largest commercial colour and visual effects studio. The Colour Assistant’s primary responsibility is to manage all ancillary aspects of the current and upcoming sessions, enabling the artist to focus solely on the operation of the Colour Suite. This includes preparing the suite for client attended sessions, coordinating meals and ensuring the suite is always presentable.

REQUIREMENTS

• 1-3 years of experience working in a post-production environment. 
• Knowledge of Photoshop and various editing software. 
• Understanding of various file and camera formats i.e., R3D, Alexa, Sony, Canon & Phantom.
• Understanding of Baselight would be considered an asset. 

ROLES

• Working knowledge and understanding of the post production workflow.
• Detail oriented and highly organized. You are responsible for the accuracy, quality and technical standards of all deliverables. 
• Have the ability to remain flexible and adaptable. Must be proactive and able to anticipate the needs of the Colourist. 
• Strong ability to multi-task and meet deadlines while working under tight schedules. 
• Exceptional interpersonal and communication skills; excellent email and phone etiquette.
• Willingness to take direction and to collaborate with others. 
• Enjoy working in a team-based environment.
• Passionate about the work and willingness to learn. 

colourjobs@alteregopost.com

Molinare are recruiting for runners! Do you have hospitality or customer service experience, a passion for post production and an excellent work ethic? If this is you, then please send your CV and cover letter to enquiries@molinare.co.uk

We're happy to announce that we have a new article out from Steffan Perry, that leads Framestore’s grading department as Head Of Colour.

In this comprehensive article he gives you a technical breakdown of his color work on the ground-breaking commercial for Galaxy, where they brought Audrey Hepburn, the big screen beauty icon of the 50s and 60s, back to life.

The halo around subjects is often introduced by lenses and could be tricky to reduce if the front light is weak. My experience is that un-ganging the curves and changing only the y-values could help in those cases. Even thought I try to avoid keys, a luminance key with a lot of blur could also help if you use garbage mattes to focus the key. I find it especially useful when trying to retain hair details as in the example below.

Great work Margus!

4 minutes ago, Nicolas Hanson said:

So IMDB is wrong?

"The film is here in its entirety but has been carefully processed in black and white by Miller and chief colorist Eric Whipp. Max’s desolate world of the future looks even bleaker and less welcoming in two colors but, interestingly, the grays, the in-between tones actually allow you to assess characters and situations through fresh eyes. - Robert Greenberger"

I don't know who told Robert this, but it's wrong.

On 12/15/2016 at 11:59 PM, Tom Evans said:

Have you thought about running your footage through a VHS player? 

We did something similar some years ago on this spot. Remember we had to run it through the VHS machine several times to get the desired look we were after. Desaturated a little, added a green tint and cropped to 4:3.

On 12.12.2016 at 11:09 AM, Bruno Mansi said:

Does anyone know if Eric Whipp worked on the chrome edition? There's no mention of it in the case studies article.

There are some misleading information out there. The DI was done in-house at Warner Bros and not by Eric.  

Some years ago I used the technique above to emulate the bleach bypass look on this scene. The keywords were desaturation, silver retention, grain matching and blacks / highlight control. The reference image on the left side is from Band of Brothers and the shot on the right was shot on RED MX.

In the premium collection you can find an article about Saving Private Ryan by Dale E. Grahn, and we'll hopefully very soon publish a very in-depth article about Band of Brother. Like a bunch of other articles we're waiting for studio permission.