Marc Wielage

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About Marc Wielage

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  • Birthday 10/14/1954

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  1. One thing you can do: highlight the clips, then right-click and select "Bypass Color Management." Then, using a Color Space Transform OFX plug-in, you can drop it into the first node and tell it what kind of camera made the ProRes file. I can't guarantee this will work every time, since it's possible when the ProRes was made, some kind of change or adjustment will happen, but it can work. Experiment with different settings and see if this gets you to a closer starting point. I should acknowledge Joey D'Anna of MixingLight for coming up with this "Roll Your Own" color management idea, whic
  2. We have a tutorial on Fixed Node Trees now being worked on (literally as we speak), and I hope to have it done within the month. No promises, but it will give you about a dozen examples of different node trees you can use, explains the thought process behind each one, and also will explain how to build a Fixed Node Tree from scratch. One key is to understand the Image Processing Order of Operations. This is such an important topic, it's given its own chapter in the Resolve manual, Chapter 141, starting on p. 2806. The point is to understand how one node will affect the nodes coming after
  3. Chapter 8 of the v17 manual, "Data Levels, Color Management, and ACES" (starting on p. 181), does at least mention OOTF. There's a course here on Lowepost that covers Resolve Color management in detail:
  4. My suggestion is to try to keep things simple. I don't necessarily think working in a wide-gamut world will help you unless you plan some serious HDR deliveries. Having said that, Alexis Van Hurkman has an excellent 3-hour tutorial on Resolve Color Management, and it specifically covers wide gamut as well as the advantages and disadvantages of ACES vs. RCM: One thing I think is helpful is that he shows how to take a project completely corrected in SDR and then do a trim pass for HDR. I thi
  5. Beautifully said, Bruno. I always say, "the beauty of Resolve is that there's often at least 4 or 5 different ways to get good results. The key is to use the one with which you're comfortable, and the one that works the fastest (for you). I never tell another colorist how to work, because if they get good results, if the client is happy, and if the check clears... then there is no problem. It is possible to NOT work in ACES, but still deliver an ACES-compatible archival file at the end of the process if the client wants one. That's covered in the manual.
  6. "Most" movies is in the eye of the beholder. There's lots and lots of different ways to work nowadays. I think even Netflix will allow facilities to use other kinds of color management as long as you deliver ACES in the end. And you can deliver ACES-compatible files with Red Color Management 2. I do a lot of stuff manually, but much of what I do is just for Rec709. We are using RCM2, so I have the ability to change the pipeline if we wind up in HDR/Dolby Vision, but that still requires a trim pass. We've proven it works, so I'm confident it's a good way for us to handle sessions. I o
  7. Purely my opinion: I'm not a fan of ACES because I don't like the feel of the controls. I feel like the tone-mapping is fighting me too much. I think RCM2 can work to a point, but there's also value in using CST nodes to "normalize" the camera source material instead, basically doing it all manually. (And I credit Joey D'Anna from MixingLight for this idea.) I'm the "NO LUTS" guy who would prefer to come up with a look with PowerGrades, since it gives you more control over any image problems. Of course, a Technical LUT or a Show LUT can work, and if the client insists on it, we'll u
  8. I'm actually OK with Neat Video, but I generally only use it as a "second pass" technique. I'll render a timeline to a mezzanine format like ProRes 444 (or XQ), then take the flattened file apply Neat Video on a scene-by scene basis, and then render it again. For our purposes, 444 is what I'd call "visually lossless" and nothing is lost going down one more generation. We do make sure the Neat settings are optimized per sequence, and I'm not afraid to bypass it when it looks OK without any NR. We also optimize Neat for our specific GPUs, and it's actually reasonable, I think somewhere around 5-
  9. Hey, Stefan. I agree with you to a point, but from my point of view (and Kodak's), Halation and vibration are actually flaws, not always a positive creative look. The halation is a conditional thing: I've been using Glow, Scatter, and sometimes BorisFX tools to add selective diffusion when the scene needs it. But it's not something I'd want all the time, and sometimes I only want it over a specific part of the frame, and I need to eliminate it from some shots entirely. I concede it's a creative choice. 90% of my work these days is color-correcting 1980s/1990s films for reissue, and becaus
  10. BTW, for yet another approach to film print emulation, check out Stefan Ringelschwandtner's blog and link here: He's giving away a Resolve correction (4 or 5 nodes) that are actually pretty effective from what I see. (You can tip him a coffee if you like it.) His approach is fairly complicated, but it's certainly cheaper than buying a film emulation plug-in, and there's a lot of good thought behind it. Having said that, if I had to do film emulation, I'd just use Filmbox and call it a day: it's one node and actually looks pretty good. Bu
  11. Well, Resolve is not Baselight, but there are always workarounds. One method: used a Fixed Node Structure so that every single shot in the entire show has the same number of nodes. Make one of the nodes this specific adjustment -- say, Node #7. Now, deselect this node, then highlight all clips and choose Color -> Ripple Node Changes to Selected Clips, and just that one node will be turned off. If you need to turn it back on, do the opposite. Another method: used a Shared Node for all clips. Place that specific correction in the Shared Node. Then, bypass the node or delete the corr
  12. Yes to both. Dado Valentic is a real character, but he's passionate about what he does, and I'm actually pressed with the ideas and interface of Look Designer and GrainLab. ColourLab isn't compatible with the way I work -- I'm not a fan of the idea of having one different LUT and a CDL (or whatever it is) per shot for 1500-2000 shots per feature reel, created in a different program, and then bring it over to Resolve with a script -- and as far as I'm concerned, I match perfectly quickly on my own with Gallery stills, Memories, and scopes. But Look Designer has some fascinating ideas. I would s
  13. Yes, a friend of mine (formerly from CO3/Santa Monica) bristles when I say "Orange & Teal," because he insists it's "Flesh Tone & Teal." Eh, either way, it's two opposites on a straight line on the vectorscope, which provides huge color contrast. I just do the overall grade as a normalizing grade, then a teal-ish node at the end, then add a layer node and take the flesh tone from the original grade before the teal. Absolutely normal flesh in a teal "world" looks too weird, so generally you need to back it off like with a Key Mixer Output adjustment down to 50% or 60%. It's very s
  14. Yeah, I'd say the reason I'd go with a layer node is that it works better for me. Use what makes the most sense to you. I always say, "only the results matter." (Well, that plus whether the check clears.)
  15. If it's overall cold, but you're trying to preserve somewhat natural fleshtones, the classic solution (in the last 10 years) has been a layer mixer pulling the skin as a key from an earlier source node. Usually the trick is to lower opacity so it's not quite perfect normal skin, but at least halfway there. That way, you don't wind up with blue people. One thing you often have to consider is the music video you're using as a reference may have been lit that way on set. The problem with trying to create that look is you may be forcing a look that's never quite going to be equalled. It'll b