Virgil Edward

Yes, would it be possible to retain the transform only? If we make the main look 0, it reverts back to LOG-C for Cinelook 709

2 hours ago, Luca Leocádio Soares said:

I had the same "problem", and the way I found was to work in YRGB and use the ACES Transform OFX to get the best of both worlds. However this might not be ideal if you have multiple deliveries, especially in HDR, in that case I also believe that log tools can give you the blacks you want.

As for the workflow with the ACES Transform OFX, you could try this:

Node 1 - IDT to ACEScct

Node 2 -  Primary balance

Node 3 - ODT to Rec709

Node 4 - Adjust the blacks

 

Thanks for this one, Luca. I will give this one a try, it also works for the highlights right? It's okay since we don't do HDRs yet here in the Philippines.

With log tools, does it normally saturate the highlights/shadows? Yes, I like how it does it organically, but sometimes I just want to drop blacks or increase highlights without affecting most of the image.

Good day to all, I'm wondering if what most of you use as your workflow. Whenever I use ACES, it's quicker for me to primary balance shots, but my problem is that I can't have the blacks that I want from DaVinci YRGB. The blacks clips to the S-Curve of ACES same with the whites. 

My problem with DaVinci YRGB is that ACES' color is more natural and 'correct' when balancing, skin tones looks nice as well. I'm torn apart by the pros and cons of each color science. 

Is there a significant advantage or disadvantage in leaving the check-box on for S-Curve for Contrast? Would love to know your thoughts, thanks!

Hi! Fusion noobie here, I'm wondering if it's possible to replicate Nuke's merge operations such as from, and plus in Fusion. I would really appreciate if someone can help me. Thanks!

Here's my take for this, I made it a high-key image using the contrast controls, and focused on the triadic color scheme that is present in the image. 

How do I get references or sponsors from CSI members? I'm willing to pay for the annual membership fee, but there are no CSI members here in the Philippines. I have a three years experience of working with TVC and Digital projects, worked with a DaVinci Advanced Panel, also a DaVinci Resolve Certified User. It's really hard to find mentors here, and websites such as this, and Mixing Light are a big help. I want to improve and learn more from the seasoned professionals and veterans in the field.
 

Thanks!

What are your thoughts about davinci color management, is it a feasible workflow, is it better than rec709 luts? Thanks!

Hey guys, I don't know if this makes sense, but I've come up with a workflow that I think is plausible in matching A7S with Alexa footage. I used color space transform ofx to convert slog to to log-c and matched the color of the a7s with the log-c of the alexa footage then applied the same settings that I used on the Alexa to the a7s.

What do you think about this?

6 minutes ago, Sam Gilling said:

You're trying to do too much, don't force a bleach bypass into what looks like a food/beauty spot. 

Maybe the heavy-yellow was part of the creative direction but it's pretty strong and you don't have any colour separation in the image, especially with skin tones blending into the wood panelling (which is partly down to the location). 

This is just a curves layer under the Arri LUT in Photoshop, you'd probably want to go in with a secondary to fix the colour of the clay pots (like you did with your grade) but focus on getting a correct balance first. The films nominated at the Oscars may have had much bigger budgets than whatever was allocated to this spot, but if your primary initial is off then none of your grades are going to get too far, no matter how many nodes you throw at them. 

You are right, I actually tried the same thing and it looks a lot better. Thank you so much

1 minute ago, Sam Gilling said:

You're trying to do too much, don't force a bleach bypass into what looks like a food/beauty spot. 

Maybe the heavy-yellow was part of the creative direction but it's pretty strong and you don't have any colour separation in the image, especially with skin tones blending into the wood panelling (which is partly down to the location). 

This is just a curves layer under the Arri LUT in Photoshop, you'd probably want to go in with a secondary to fix the colour of the clay pots (like you did with your grade) but focus on getting a correct balance first. The films nominated at the Oscars may have had much bigger budgets than whatever was allocated to this spot, but if your primary initial is off then none of your grades are going to get too far, no matter how many nodes you throw at them. 

Wow! This looks so nice, this was all done using primaries under a LOG-C to Rec709 lut? 

Is it just me or is LAB gives a cleaner saturation than the saturation control? I've noticed that I had less artifact and the image is more balanced compared to the saturation control. Thanks!

Hi! I'm a junior colorist working here in the Philippines, working for almost 2 years. I would love to know how you guys color grade your alexa footage. Looking at the Oscar's nominated films, most of it were shot using Alexa Mini, XT, and 65, and it looks damn amazing. My grades with the alexa looks subpar compared to these films, is it the contrast, the lighting, the workflow, the production design, etc. 

Here is my workflow:

I balance out the image first,then grade it, and lastly client's and director's nitpicks. Still, I feel like it looks video-y, compared to what I see in foreign films and commercials. Thanks! 

Hi! Do you guys use the Tint/Temp controls in white balancing or LGG for the most of it? Is there a backlash in using Tint/Temp controls? Thanks!

Hi guys! This is a compilation of my works from August 2016 - 2017. I've been working as a colorist for almost 2 years now, I would love to know your thoughts about my reel. Thanks! Have a great year everybody! 

How does using it not introduce tints in either the shadow or highlights when you either increase or decrease a channel?

Thanks!

How do you balance/grade using printer lights, and how do you do it in Resolve? 

This kind of workflow is very new to me, what my mentors taught me is to use LGG for balancing the image, but from the case studies I'm reading here, the authors almost always states that they balance the image by means of using the printer lights and log controls. I would very much love to learn from the experts here, I've been grading for almost 2 years and I know that there is so much to learn. 

Thanks!

Hi here's my take on this:

I fixed the contrast first, added saturation, fixed the hues, windowed their faces to fix color inconsistencies, brought back details in the highlights, and fixed red saturation.

Just now, Abby Bader said:

Read about the different versions in this thread: 

 

Thank you so much! This is very helpful!

Which version of DNxHD/HR do you use? Thanks!

Hi! I would like to know what codecs and file format you use for your projects?

Thank you so much!

Hey guys, would love to know what tips and tricks you use in grading a car commercial, particularly an SUV. This is my first time grading one, so it would really help if I know a thing or two about it. Thanks!

Great! Thank you for sharing your experience Margus, that made me more thrilled to use ACES in a project. It's good to know that a fellow colorist used it as well without using the exr workflow. 

18 minutes ago, Margus Voll said:

I would say print like feel is another thing to keep in mind not just colorspace.
How whites do not clip ever but go white as over exposed film for example.

I use ACES in commercials and i really like it there.

See here:

 

Lovely colors you got here Margus! Did you use the ACES workflow (with the EXR output etc) or only in Resolve?