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Found 3 results

  1. Hi guys, I am having sleepless nights not being able to figure out how to achieve this look: (from 12 seconds onwards, but particularly the outdoors parts around 8 minutes). I'm shooting with the same camera, Sony A7SII, in CINE4. Obviously he has a few separate presets set up to be able to produce a quality video every day. The jist of the grade is cinematic, but not orange and teal, in fact I'm not seeing much colour in the shadows at all. I'm noticing lots of bloom from lights in the background, blacks are very black but the overall look doesn't seem that high contrast to me. Also, the image seems incredibly soft, completely different to the image I can make. (Maybe a purposefully dirty lens? - Vaseline on a filter?) If anyone can give me some pointers in how to get closer to this look it would be a huge help, I must be missing some really obvious things. Or even point me to some similar LUTS as a starting point if they exist. Huge thanks and I apologize if I'm using the wrong terminology.
  2. Hi guys, this is my first time in this forum. I have a workflow question about sony A7s with Resolve. I’ll be doing 10 webisodes color correction/grading. I will receive all the 10 episodes at once and I have 3 weeks to do it. Shot in 4K with Sony A7S. The footage is XAVC (I’ve never worked with this footage before). Normally I work with Raw RD3, Raw DNG files or ProRess. Destination is internet but they want to have it corrected for TV too just in case as the webisodes are for a broadcaster website. I’ll ask the editor for XMLs of each episode and footage. Romantic Drama. There are some digital speed ramps in the footage so I’ll ask for the footage without the speed ramp because it doesn’t read in the XML. I’ll ask for FX (if there’s FX) to be render prep and done. Question 1… Do I open one new project for each episode or within the same project, I’ll have timeline 1 (episode one), then import XML 2 – Timeline 2 (episode 2) etc,. I’ll save stills to apply same look to the other episodes. Of course, I must do shot matching first. 2- Broadcaster specs… I’ll send back everything to the editor so he can do the final online with sound. If the footage is 8bit, do I work in 10 bit in resolve? Because the broadcaster wants Bit rate: 10 bits I’m planning to give the editor back ProRess 422 then he can compress it for broadcaster right? 3. Still I didn’t speak with the editor yet so I’m not sure if the footage is Slog 2. Any recommendation with this codec? 4 Project settings: Finally, in the project settings/color management… what type timeline color space do you recommend for this. Thanks guys and sorry for all the dumb questions. Thanks Gabe Broadcaster specs below 4k UDH XAVC Wrapper: MXF Format profile: PO- 1a Video format: AVC Video codec: H.264 Video profile: XAVC 4k -intra Video compression Method: VBR not CBG Bit rate 200= Mb Bit rate Depth: 10 bits
  3. Hi there guys, Brand new to the forum today. Have a quick question about ACES. I have been working in Post-Production for a few years, but ACES is somewhat new to me. I am grading a Documentary film that is a mix of Sony FS5, Sony FS7, and masses of Archive footage from different sources being delivered in Rec709. The Doc is being graded in P3 in the cinema. Also there will be some exchange of shots with the VFX house. Question: Is there anything that speaks against using an ACES workflow in a situation like this. Not many of my colleagues have used ACES before so if I get in a tight spot, there wouldn't really be anyone who could give me advice. Can anyone see any potential problems? Also: In my understanding, after doing a Cinema grade in P3, to then move over to the HD Mastering, I would just need to swap out the ODT, and do some minor corrections? Am I correct in that? Does the change of ODT also take the gamma change into account? Thanks for any help, Jeffrey