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- Today
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When I receive and import RAW camera footage, the clips are always log, but not this time. When I load in the files from the RED Dragon camera, the in-camera LUT is applied automatically. Any idea why?
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I really like this tutorial, would love to see some video examples
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Great article and advise. Thanks.
- Yesterday
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Video: Meet the Colourist/Editor, Mike Nuget, Freelance, New York City
Daphne FilmLight posted a topic in Baselight
Initially a member of the Technicolor-PostWorks team, Mike Nuget recently branched out on his own, and he has been applying his skills in colour grading, editorial finishing, and visual effects to film, TV and documentaries. Mike shares his recent experiences live using the new Baselight 5 for Avid tools, with a focus on Base Grade, Texture Equaliser, Boost Contrast, and other new features. -
Video: Meet the Colourist, Sylvain Canaux, St Louis, Paris
Daphne FilmLight posted a topic in Baselight
Sylvain Canaux Colourist, St Louis, Paris A native Parisian, Sylvain Canaux started his career at post house St Louis where he quickly gained recognition for his work on beauty grading for high end commercials and photographers, such as Chanel, Yves St Laurent & Dior. Using Baselight v5, Sylvain illustrates the challenges of moving between colour spaces and showed how these challenges can be met through a combination of colour science and artistic skills.-
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- Last week
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Another way to think of it; in traditional film timing, RGB controls your color/density and your LUT is your film processor and stock characteristics and you only can have ONE LUT for the entire reel...
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Looking forward to matte paintings
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Awesome! Thank you!
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@ Thomas No i had not seen that, i knew that something was in the works, but any talk of that was a long time ago, and the FCX trainwrecks keep appearing last one cost the preditor two days of edit assist time to get a timeline that was clean enough to start conforming, like i mentioned i do not even touch a FCX project anymore, instead asking for a DRP / XML / AAF from Resolve, Pp or MC, and let the preditor get that sorted before it darkens my doorstep Chapter threeeeee wheeeeeeeeee no real issues with Pp & MC projects, do not see FCp7 anymore, never seen a Lightworks projec
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good suggestions, many thanX for looking at this is this what i might send on to a FCX preditor? "simplify and Organize the timeline: flatten video to primary storyline break apart compound clips." - i mentioend i don't see how FCX software could get it so very wrong, so very often, i'm thinking it's the training or lack thereof, coupled with the entry point focused user base that's the root of the pain - so your input would be valuable if you can edit in FCX and finish to a high standard / pass QC in anything else - as to the free Resolve idea, i do often suggest that, and it's never been a workable solution, it's appears to be far to hard to figure out for a person who only knows FCX, or their machine cannot run it... - flattened timelines are not workable for me, i usualy deliver DCP for theatre and prefer to work from cam orig or VFX plates to control the quality of the image and the project's color managment, no matter the software used in editorial many / most broadcast projects are roundtripped back to Pp or MC for finishing so effects come back home cleanly, for theatrical i do the finishing, and eye match as best possiable, although i do not use Resolve for finishing, it's getting better every version, but the weaklinks are too weak of a link currently for my comfort, and i have options at hand that are dead reliable already
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Have you guys seen the lesson overview of the new coming conform course? Kevin is an award winning editor with extensive FCP experience, so I bet these roundtrip lessons will cover what an editor need to know to prepare a messy project for Resolve.
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@dermot.shane I have thought about your issues all weekend. I doubt that Media Composer would "get it right in the first place" since Final Cut doesn't inherently get in wrong. With some of these preditors maybe the best workflow for you is for them to render out a ProRes 422HQ video only file and then you can use scene detect if the fcpxml truly is a "trainwreck". I found that FCP generators don't translate, nor titles, but then I replace these in Resolve or do a roundtrip back to FCP after grading. I would suggest: Simplify and Organize the timeline: flatten video to primary storyline (this became easier in v 10.4), break apart compound clips. And they have to decide how to handle FX filters (again they can handle it in a roundtrip back to FCP) the export XML as well as a reference movie. Maybe suggest they get a free copy of Resolve so that they can see for themselves the issues, especially if they really don't have the budget/experience. It is easier if the editor is also a colorist and vice versa. I know how to fix things both in Resolve as well as FCP, but I really only use FCP for editing, and not effects, and I am trying to do finishing in Resolve 15+ now.
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Hi there Thanks a lot for that article 🙏 in mistika the printer lights tools can be break or gang for black point and White point. Meening that if you break the gang. You can substract or add to either blacks or white. You can use it as contrast as well if you -1 for black and +1 for white. Hope it helps Yoav.
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This is the ultimate course for editors and conform artists who want to learn everything about conforming inside of DaVinci Resolve! With 21 lessons and almost 5 hours of in-depth DaVinci Resolve training, Kevin McAuliffe will take you through every step and technical detail of the process from conforming media to mastering the final picture. About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures. Who is this course designed for? Editors Conform Artists Colorists Lessons overview (subject to change) Lesson 01: Setting up a database and project Lesson 02: Sending a Media Composer timeline to DaVinci Resolve Lesson 03: Sending a Premiere Pro timeline to DaVinci Resolve Lesson 04: Sending a Final Cut X timeline to DaVinci Resolve Resolve Lesson 05: Creating Dailies in DaVinci Resolve Lesson 06: Linking proxies to high resolution material Lesson 07: Working with different timeline aspect ratios Lesson 08: Working with anamorphic footage Lesson 09: Importing flattened video and pre-conformed timelines Lesson 10: Technical LUTs basics Lesson 11: Conforming Tips and Tricks Lesson 12: Dealing with common conform issues Lesson 13: Understanding alpha channel workflows in NLE's. Lesson 14: Understanding matte workflows Lesson 15: Sending a DaVinci Resolve timeline back to Avid Lesson 16: Sending a DaVinci Resolve timeline back to Premiere Lesson 17: Sending a DaVinci Resolve timeline back to Final Cut X Lesson 18: Understanding codecs Lesson 19: Outputting the timeline for delivery Lesson 20: Moving projects from one computer to another Lesson 21: Project archive Software required A free version of DaVinci Resolve or DaVinci Resolve Studio. Avid. Premiere and Final Cut X are used in some of the lessons. First lesson available 1. February!
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Mistika has keyboard shortcuts for RGB Gain, Lift and Gain+Lift (offset)
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Let's be REALLY explicit here. "Printer Points" (and Offset, which is the same thing) are just a very simple mathematical Add or Subtract to the underlying color numbers, unlike the relatively more mathematically complex Contrast, Lift, Gamma or Gain. As such, they are intended as an "Overall" correction, and a very powerful one. As the article points out, it works in its original intended fashion only with Log footage, specifically Cineon Log (Red Log Film is almost the same thing), which was a Gamma curve formulated by Kodak as the digital equivalent of film. There was no tonal range control with film, thus PPs are intended to adjust the entire image. That said, some colorists DO use printer points within tonal "keys" (darks, mids, lights) to get better control over those ranges in today's digital environment.
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Not sure about this, but I think she ment 'keep to 1/4 trims in RGB highlights, MIDTONES and shadows' Correct me if someone is more familiar to the Mistika toolset and think otherwise.
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Your comment on "the hobbit" thread helped me find the article I was referring to 😊 In that article it clearly state that printer point are used to control highlight and shadows. I was wandering what it meant and how was that achieved.
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Hi, Thanks a lot for your answer, that's a very interesting point. I have another question : when I follow your instructions concerning node structure and tracking data, my ellipse center may switch on the y position sometimes. I already encountered this several times connecting tracking data. Is this a known issue/bug, or am I doing something wrong ? I can post a screenshot to make things clear if needed. And I was working on free beta version, didn't try on my studio version... Thanks again for your work, best Julien
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Can the RBG Mixer be considered an alternative to using PPL? It, too, offers precision.
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Read the new printer point article here at Lowepost to understand how to use them in your color corrector. By trims she means small adjustments as you can make micro adjustments instead of full printer points. By consistency she probably means that printer points are numbered so that you can easily communicate how many points are adjusted with the rest of the team. Then they can apply the same amount of points on the other images to keep consistency.
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I find this article above excellent, and I have never seen a more in-depth and correct presentation of the use of printer points. The techniques explained here is best practice in the high-end facilites and I like the fact that it a long way contradicts the way I have seen printer points being demonstrated in other learning resources online where the corrections and balancing are done without being watched through a curve. Controlling the separate tonal ranges with printer lights would work against what the tool is designed for and the point of creating a clean and cinematic image that preserves the lightning on set.
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Agree! Altought I was hoping to get a little deeper insight, but I hope some more things can come up in the comments. For example I was reading in some other article (can't find it right now, I will look for it) the use of printer lights also to control with precision different tonal range like shadows, mids, hilights. How that can be achieve? By keying the 3 tonal ranges and keep them in parallel, perhaps? It's quite long time im using printer points for my base grade, and I have to say it's the best tool as far I'm concern
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This is a masterpiece, and probably the best color grading article I have read. Great work Lowepost!
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We just published a master study about printer points in DaVinci Resolve! Thanks to John Daro, Douglas Delaney, Dan Muscarella, Martin Utsi, Tyler Roth, David Cole, Walter Volpatto, Adam Inglis, and Paul Ensby for contributing to this article. https://lowepost.com/colorgrading/insights/printer-lights-r33/
