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  1. Hi everyone, 🙂 I am currently working on a edit and a grade for an important Australian institute, and they have asked me a few questions about automation and shot balance for a photogrammetry job. I can't disclose too many details at this point, but they are looking for someone who can write code to assist them with their specific automation process. They aim to optimize their pipeline. The ideal candidate should have a good understanding of color science and a solid knowledge of Python. Do you happen to know anyone who might be up for the task? Here is my email address if you'd like to contact me directly. postprod.clementbouchet@gmail.com Regards,
  2. Hello Guys! Dehancer https://www.dehancer.com/ is a film emulation plugin for Davinci Resolve, currently available for Mac users only. Works with: DaVinci Resolve 15 and later Mac OS Mojave 10.14 and later Metal-enabled GPU For many years we are running a film laboratory in Moscow https://sreda.photo, where we sell, develop and print film, both for photo and movie. Last 4 years we spent developing a plugin that emulates the processes and behaviour of a real film. It's not the LUT, it's a much more complex set of tools based on precisely measured analogue processes. Pro version includes Input camera profiles 52 Film profiles Expand tool Print options CMY Color Head Film Grain Bloom Halation v2 Defringe Vignette False Colors LUT Generator ACES support For our friends from Lowepost, we offer a 10% discount promo code DEHANCERIT10 for any product in our store. You can download a full version with watermark of our plugin on the website without registration. If you are a professional colorist and would like to receive a two weeks full trial to check on a real-life project, send us a private message here with your email and we will send you a license key shortly. Or reach us by email marketing@dehancer.com You can find more detailed information about the plugin in our blog https://blog.dehancer.com/articles/ Subscribe to our Instagram and youtube page https://www.instagram.com/dehancer.film/ https://www.youtube.com/channel/UCsvgRJwcWFYNNMuhXkxR3Gw If you have any questions please feel free to ask!
  3. FilmLight has finalised the 2023 FilmLight Colour Awards jury and appointed renowned cinematographer, Lawrence Sher, ASC, as this year’s president. “I’m very excited to be president of the FilmLight Colour Awards,” comments Sher. “Colouring and colourists are as fundamental to modern filmmaking as any lighting or camera tool. As someone who started their career colour timing movies the‘old fashioned’ way, I was an early adopter and champion of the Digital Intermediate as I could see its potential." Due to popular demand, the awards deadline has also been extended, with submissions now closing to the global colourist community on 7 August 2023. Read more, here 👇 https://www.filmlightcolourawards.com/colour-awards-2023/lawrence-sher-asc-named-as-filmlight-colour-awards-jury-president-for-2023/
  4. I do not often deal with the color correction of other people's projects, but I almost always paint my own, now I have a slight bewilderment, I can not pick up color for these frames. It's a short meter, a comedy genre! If you have the opportunity to help me please check with the color! Alex camera, ProRes material 444 Raw file here: https://fex.net/635068188718
  5. I haven't been able to find an answer for the discrepancy between the Scopes Histogram and the HDR Zones Histogram. I've attached 2 pictures below showing the Histogram for a Gray Scale ramp and the settings I'm using(I know they're not HDR. I was just trying to understand what the HDR Histogram is actually showing). I understand the x-axis represents the tonal range(in stops rather than the typical tones in the primaries curve) and I understand why it ends at a 100 nits (The limitation of SDR being a 100 nits) but why is the histogram an exponential curve on the HDR Zones whereas it's a straight bar in scopes as it's supposed to be (all of this is at default settings). On top when I change the Output Color Space to Rec709 2.4 it's still an exponential curve and ends at a 100nits but the Y-axis is only like 1/4th way up. Basically, what does Y-axis actually represent both for the Histogram and Blue Curve/Line in HDR Zones? Thanks P.S: I'm not a pro colorist or anything. Just someone who is genuinely interested Output Space sRGB, Timeline Working Luminance: SDR 100 Output Space Rec709 2.4, Timeline Working Luminance: SDR 100 Output Space sRGB/Timeline Working Luminance 4000 HDR(Just another example) Scopes Histogram(Always stays the same)
  6. Hi everyone, Anyone selling a Tangent panel BUNDLE in Australia? I'm living in Sydney but I could buy it from anywhere in Australia. I have one at work but I would like to get one to work from home too. I have a Blackmagic micro panel but I can't use printer points with it. My email: postprod.clementbouchet@gmail.com https://www.clementbouchet.com/grade-reel Thank you.
  7. Hi everyone! I am selling my micro panel (Blackmagic Micro panel) because I have bought another panel. I have barely used it because I have been using the panel we have in the office. It is in excellent condition. 😊 Price is $1000 AUS (selling in Australia ONLY/Postage cost is not included) Original price was $1373 I still have the receipt. Contact: I am living in Sydney. postprod.clementbouchet@gmail.com https://www.clementbouchet.com/
  8. Hi, As far as I knew, a good calibrated laser projector (like a NC1201L) was absolutely fine for colour grading a film with cinema distribution. Maybe some limitation about pure blacks (more of difference from what I got), but longer calibration consistency over time and frame so more reliable. Other than that I wasn't aware of major problem with those. But just today a person that installs and sets up grading rooms told me he never been able to find a suitable laser projector, good enough for the requirements of a grading room. Despite me pushing for further info he didn't provide details about what was wrong with them. so: 1) What am I missing? 2) If there are any actual major difference, does it really matter with the shift of more and more cinemas to laser projectors?
  9. Hi everyone, I'm using the Davinci Resolve for many years and I noticed it's missing a major "feature" that was in previous versions. (since version 14) When working in projects with a MASTER TIMELINE, I often grade within an AAF/XML timeline and render the master timeline. What's happening now is that when I'm in the AAF timeline, and I need to see the current clip in the MASTER timeline, I used to be able to just switch to it via the drop down over the record monitor. However, when I switch to the master timeline now, it just goes to the head of the master timeline instead of the selected clip. No sync between the playhead of the timeline I'm working in and the master timeline anymore. I have already ticked the box "Sync master timeline to current frame" in the user preferences (I've also tried to restart resolve or build a new project) It is happening since version 14. I have tried this on PC, mac and many computers. I really don't know what I'm missing. Thank you for your time and sorry for the grammar. Cheers,
  10. Great news for you! On June 20, 2020, the official resource of the Colorist Awards 2020 became available to apply for participation in the Awards. This is a great opportunity to be the first in this big event for the colorists world. Apply for registration today, and start preparing your work to become a winner in the nominations! Acceptance of payments, as a registration fee for participation in the Colorist Awards 2020, from bank cards registered in the USA, and PayPal service will be available after June 27, 2020. This feature is caused by a number of technical difficulties in organizing the correct Internet acquiring in this direction. official website: www.coloristawards.com Team of the Colorist Awards
  11. Hey guys and gals, New to this forum, quick background of myself. Did Audio since 2006 and two years ago gave up audio to do video. Now i am 2 years into video and do everything for my company. I still am having a lot fo trouble learning color correcting and color grading. Im not sure if its my camera, my eyes lol or just not sure what Im doing wrong. I know Ive been filming in AUTO ISO but lately I actuall manually ISO my enviorement. ANy how long does it take to be a good colorist. I am based out of Los angeles if anyone knows anyone who can help !!!
  12. Here is my colour grading reel and the link for my website! 😊 https://www.clementbouchet.com/grade-reel I've been working in France, New-Caledonia and Australia. (editing, colour grading and a bit of VFX) Have a look!
  13. Here's a tutorial I posted a while back, but it's still very useful today: Creating areas of light and shadow are no problem with DaVinci Resolve. PowerWindows, polygons, or curves can be a colorist's best friend when controlling where you want areas of contrast. The only thing that limits you is the simplicity of the shapes. When shooting on set, a pattern or "gobo" can be placed in front of a light source to create shapes. We can use the same technique in Resolve by using external mattes. In this tutorial I will show how to create more intricate shadows or highlights that can make your images more moody or suggest location. LINKS: Directory of Gam Patterns: bit.ly/gampatterns Images used in this tutorial: bit.ly/noirpatterns image courtesy of Marta Colpani: flickr.com/photos/martacolpani/4934952722/ Noir Shadows and Highlights with DaVinci Resolve-HD.mp4
  14. Hello everybody. I have long wanted to ask, but could not. Why DaVinci? Because - Price? Quality tools? Flexibility? Accuracy in color? Capabilities? Support? After all, once the company BM lowered the prices of their program (Davinci), then immediately appeared thousands of "colorists" in the world who "can" create "wonderful" images. Yes, of course, BM has made available to many people, the world of color correction. But BM did not create these people colorists! Now almost every other editor thinks he "colorist" and that he is able to do the work of the Colorist. It reminds me of the transition from foto-film to digital photography. When I could for a long time to build the shot and choose the composition of the shot, before you take the picture. And then I selected the frame I want to print it already. Now, I see the thoughtlessness and empty, without life pictures on the Internet. So, "Why DaVinci?" Alex.
  15. Flanders CM171 broadcast monitor for sale. In mint condition.ony been used in studio. Asking for 2800CD
  16. Hi all, this is a real quick rundown on SCRATCH color management and explains how SCRATCH deals with mixed colorspaces in one timeline and how you can output different colorspaces from one CONstruct.
  17. Hey guys, Just finished a new color reel for 2016. Includes my work on music videos, commercials, weddings, and passion projects. Would love to hear any feedback! Thanks! Evan
  18. Digital Vision is pleased to announce the release of the 2016.2 version of Nucoda grading and Phoenix Restoration software. SDK Updates Arri support for Alexa Mini ● Support for Alexa Mini MXF files - Audio and Video ● Support for new 3168 format in Alexa SXT ● New colour processing version for Alexa SXT ALF-2 Looks ● New anamorphic factor 1.33 (4:3) RED support (6.2.2) ● Rec.2020 colour space support ● Support for Helium sensors ● Weapon 8K and Raven 4K support ● New HDR GAmma options HDR-2984, BT.1886 and Log3G12 ● Support for Red Wide colour Gamut ● Imagegammalog 3G10 ● Rocket-X driver 2.1.34.0 and firmware 1.4.22.18 or later ● Rocket driver 2.1.23.0 and firmware 1.1.18.0 or later Sony SDK - Change to previous behaviour New settings: ● Video SMPTE > Rec.709 ● Full Range > Rec.709 ● Cineon Log > SLog2 ● Video Log > SLog2 ● Aces > Aces New GUI features for Nucoda and Phoenix Keyboard shortcuts added for making tracks larger and smaller ● Using Alt+Up or Down arrows will make timeline tracks larger and smaller Record time splice After selecting one or multiple clips - pressing Alt+B will splice the clips to the selected track but will splice the clips based on their in code. This way it is easy to paste VFX clips where they belong based on their start timecode. ● This mode always overwrites In and out points are respected when splicing: ● If both in and out are set and the material falls inside the range it will be spliced ● If the in or out points are shorter that the source, but in a valid timecode range, the source clip will be trimmed and pasted between the in and out points. ● If the in and out points are not in a valid range an error dialog will be shown. Progress bar for XML and AAF imports When importing AAF or XML files there will now be a progress bar while importing, import functions can also be cancelled using the cancel button on the progress bar. Improvement when moving multiple clips on the timeline Moving many clips on the timeline is now much faster. LUT exports Using the export LUT menu, users can now export both a LUT and an Inverse LUT. This is particularly useful for restoration workflows where a LUT is applied during the restoration work, but the LUT need to be removed afterwards. ● Only 1D LUT’s are supported - no colour transforms ● The Inverse LUT function will only be available if the 3D LUT option is deselected ● v2 CMS and HDR is supported for export - for V2 files the range is restricted between 0 and 1 ● No negative values are supported ● If an invalid Master Curve is used the export will report an error. ● Remember to specify the layer to be exported ACES 1.0.2 New Look Management Transform ● A new LMT has been added to the CMS/ACES 1.0.2/LMT folder ● LMT.Academy.ChromaFix.1.0.2.cms ● It is to be used as a LUT in an ACEScc project, ensure that the “Apply in Linear ACES” button is selected when using this LMT. ● It is designed to mitigate an issue with certain cameras that seem to generate colour values that are not correctly rendered in an ACES project. This can include blues and cyans, reds. ● Older ACES version LMT’s have been updated. For those of you grading in ACES regularly, we have a beta version of ACES with ACEScct colour space available.
  19. Hi. I was very closely linked to the Edit. And there is an excellent article which presents 6 myths in this. http://postperspective.com/jonathan-mosers-myths-editing/ And the question came. Are there any similar myths in relation to the color correction? Alex.
  20. Hi. Almost any software can operate with the panel. The original or universal. How Community colorists present position is that there should be a panel necessary? As far as I have information that Steve Scott (Technicolor) does not use the panel during operation. Alex.
  21. I have found interesting page showing color palletes from famous movies: http://digitalsynopsis.com/design/cinema-palettes-famous-movie-colors/