Marc Wielage

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About Marc Wielage

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    Los Angeles
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  1. Yes, Dan Moran is very good. (He's also of normal height, which I like.) I don't often get into "beauty grading," but most of what I know came from Dan's lessons, and they helped me immensely on a couple of projects. Dan also had some great ideas on how to mask and track complex objects, which boiled down to multiple shapes -- and that was a good lesson to learn. MixingLight is a terrific resource.
  2. Marc Wielage

    Fix node structure

    Naw, we go with just the 2-up Display at the moment. It's been fine. It's rare I ever go beyond 25 nodes. 18 is more normal for the way I work. There are always exceptions: a few weeks ago, I did a 90-minute documentary in 12 hours in 5 nodes, whole thing, maybe 900 shots. It's more a time/budget exercise, not "how many nodes can I make?" The wide displays give me a headache because I'm breaking my neck on the keyframe window. I also like breaking out the external scopes to a 3rd display.
  3. Marc Wielage

    Loop grain clip in DaVinci Resolve?

    You could also paste the clip on a dedicated timeline on the edit page and just repeat it over and over and over, with a fixed Composite Level and setting. There are pros and cons to either approach. Note you can also color-correct the grain to intensify it or reduce it.
  4. Marc Wielage

    Fix node structure

    Walter is a very bright guy. I also use a fixed node tree and (because great minds think alike) I also have preset Left / Center / Right masks when needed plus a vignette. One thing I got out of this was I've always had a TRIM node at the end for client trimming, but at Walter's level, he needs a DP Trim mode, an Exec Trim mode, and a Director Trim mode, which I had never thought of. That's a clever idea. Walter has said many times (so this is no secret) that it's very important to get a solid "balanced" image early in the image chain, and that's all part of the Node Order of Operations. As an alternate approach, look at the similarity of this technique to Mark Todd Osborne, who is also a very fine colorist here in LA: I do a variation of this with some parallel nodes early on right after normalizing the image with a node for Offset/Printer Lights and a second node for a Custom Curve and/or individual YRGB pots (with Lum Mix at 0), followed by 16 more preset nodes. Most of them are turned off 90% of the time and I only activate them when they're actually used. But then there's days when this happens... (That would be a joke. I do not actually use this many nodes.)
  5. Marc Wielage

    Resolve windows bug

    What hardware (CPU, RAM, GPU, disk i/o)? What OS? What kind of source material (codec, bit-depth)? What timeline resolution?
  6. Marc Wielage

    Grading Red footage and Black Magic Braw in one session?

    If you're delivering in Rec709, you could also just decode the clip and adjust the Raw files as needed and do it all manually. Store one correction for one type of camera as a Gallery still, and store another correction for the other type of camera as another Gallery still. Then as they go back and forth, grab whatever you need and go for it. As an alternative, you could create a temp grade for (say) the Red files, sort them in C-mode so that all those camera files come up at once, and then apply that temp grade to all of them. And then locate all the BMD files, highlight those, and apply the temp grade there. Go back to A-mode (record) sorting, and fine-tune every clip. It's not that hard.
  7. The International Colorist Academy ( provides training in classroom situations, all the way from basic to fairly advanced. Be advised they're not cheap, but their teachers are top-notch and do a very good job. They provide classes all over the world, so it's possible one will take place in the next few months in your area.
  8. Some good additional reading: VES: Cinematic Color (free 52-page white paper) Color & Mastering for Digital Cinema by Glenn Kennel Digital Cinematography: Fundamentals, Techniques, & Workflows by David Stump Color Reproduction in Electronic Imaging Systems by Michael Tooms Digital Video and HD: Algorithms and Interfaces by Charles Poynton The Art and Technique of Digital Color Correction by Steve Hullfish Modern Post: Workflows and Techniques for Digital Filmmakers by Scott Arundale: I would also point to the free manuals available from Blackmagic Design for Resolve and from Filmlight on Baselight. Even if you aren't using these particular platforms, there's some great information there on color, workflow, signal processing, and other factors important to colorists. I also think having a good basic grasp of cinematography, lighting, and lenses is crucial, though that's an entirely separate (but related) subject. Being able to anticipate and solve the DP's problems in the color room is very helpful, even when sometimes all you can do is commiserate and try to reduce the problem.
  9. Marc Wielage

    Noir Shadows with Resolve

    Tiffen abandoned their partnership with DFT and allowed DFT to take it over completely. They're the same filters, just without the Tiffen name on them. And the "Light" patterns are part of it.
  10. Marc Wielage

    Noir Shadows with Resolve

    The Video/Film tab takes you to a different page, which says: Gobo library for lighting effects includes 751 gobos categorized into Abstract, Doors, Elements, Foliage, Snowflakes, Textures and Windows groups and: The DFT video/film plug-in is licensed on a per host basis. You can choose from: Adobe After Effects/Premiere Pro, Apple Final Cut Pro X/Motion, Avid Editing Systems, OFX hosts or a Multi-Host license which will run all video/film and OFX hosts on the same machine.
  11. Marc Wielage

    Noir Shadows with Resolve

    New link for the Tiffen "Light" plug-in, which is now run separately from Tiffen by DFT directly:
  12. Marc Wielage

    Grain as external matte or timeline overlay

    Remember that you can color correct the composited grain, and that will affect the intensity... all the way from almost invisible to very harsh. Just a slight gamma adjustment or a custom curve can do it. I tend to use one of the middle Cinegrain selections when I want to do something subtle. One interesting tip I heard in LA: I know of a colorist who uses 16mm grain on the outside edge of a circular mask, and 35mm grain on the inside. I think that's a little extreme, but if it works for him, I'm not going to tell him he's wrong. You can make an argument for composited grain with a vignette in some cases.
  13. Marc Wielage

    Filmic image possible just by grading?

    I do so much with windows, masks, filtration, and keys, that LUTs are not part of what I do for the look 99% of the time. On the rare occasions when people bring in a LUT, I'll make a stag at telling them we'll match it "or their money back." As I said elsewhere in another thread, it's possible to completely duplicate a LUT with the controls you already have in Resolve (or any other good color-correction system). A "filmic image" really boils down to great lighting, great art direction, great exposure, and great lenses, and that happens long before the project arrives to the colorist. A lot of it just entails experience, hard work, having an open mind, and being willing to experiment. I stumble over little tricks and techniques all the time, and I've been enmeshed in color and post for almost 40 years now. Try new things, read the manuals, watch the tutorials out there, and find ways to solve the cinematographer's problems.
  14. Marc Wielage

    Film Stock LUTS

    You can also see Juan Melara's tutorial on how to duplicate certain film-based LUTs as Resolve PowerGrades here:
  15. Marc Wielage

    HDR Grading - Colour Reproduction on monitors

    Some good reference material here: "Dolby Vision Color Grading Best Practices Guide 2018" I also have collated a few HDR/Rec 2020/Rec 2100 documents relating to post-production which are at this download link: