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I moved to DNxHR for anything over 5 minutes in length. Except for when the original is R3d. Then I'll keep the camera originals. Anything under 5 minutes, I still use dpx. My workstation just eats through those sequences even faster than DNx. Verstuurd vanaf mijn SM-T805 met Tapatalk
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Hi Tom, I've been using post haste for about 5 years now. It really is set and forget. I love the consistency and the simplicity. I've created one folder structure. Every project I start, starts by entering 3 fields in post haste. I have an autonumbering field create a project number.I use this number when creating my Resolve project and basically any other asset I create. Also, because all the folders are created immediately, I never have to think about where to put anything. It's just routine. Verstuurd vanaf mijn SM-T805 met Tapatalk
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@Tom Evans Thanks Tom! Everyone can learn a lot just from compiling all those job postings. Can’t say I haven’t done that already but it’s good to get people’s personal opinions too. @Tom Poole Keep doing you! The assistant/mentor relationship is actually one of my favorite things about post. I feel like you don’t really get that in other areas of filmmaking, but maybe thats just me. Also, this is probably a good quote to think about for people who hire- “Don’t hire anyone you wouldn’t want to run into the hallway at three in the morning.” - Lorne Michaels @Orash Rahnema It’s a great practice. It kindof reminds me of really traditional Italian shoemakers and their apprentices. If anything it seems the main deal is just to work hard and learn as much as you can so you’re ready when it’s time to move up. @cameronrad If you have the eye for it you're already doing well! Also Resolve is free so you can learn the interface.
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I'd love to assist/apprentice for you. Unfortunately all my experience is in stills retouching/color. You've been my fave colorist for a while. Actually are the main reason I even know what a colorist is.
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Thanks @Tom Poole it's nice to hear that! In my mind it's really important to maintain the reletationship and the customs of mentor and assistant, in every field. And it's nice to hear that it's possibile to step up once in position to do and show more.
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My last two assistants (last 5 years) are now colorists at Company 3 and doing great. They both started in the machine room and moved up. I would rather have someone with a great personality and street smarts,than somebody who is techy. Unfortunately, the apprentice approach to Assists is dying out - but not on my watch.
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Color Grading Two Cameras To Match
cameronrad replied to Cody Board's topic in Color Grading and Editing
Here's where I got with a quick go in Photoshop. PSD here: https://we.tl/VAGFqgRyTh - Last week
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Color Grading Two Cameras To Match
Nicolas Hanson replied to Cody Board's topic in Color Grading and Editing
Start with matching the contrast levels and balance the shots to see how different they are. Then, come back with updated images, and I will help you. -
Hey! I am currently editing and coloring a Christmas commercial for an e commerce business. During our shoot we used a Sony a7rii, and a Canon 5D Mark ii. Im currently trying to match the footage the best I can so I can begin to color properly. I used the sony's slog profile on the a7rii, and a neutral profile on the 5Dii. I have attached some stills of the two different cameras and their look straight out of camera. If anyone has suggestions, resources, or would like the files to mess with to try and help that'd be awesome! I should also mention I am editing everything in adobe premiere. Canon on top, Sony on bottom Thanks!
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Thank you so much! This is very helpful!
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Read about the different versions in this thread:
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Which version of DNxHD/HR do you use? Thanks!
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For production and archival purposes I use any flavor of DNxHD/HR and have abandoned everything else. It can be read natively by most apps and the compression is great.
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Hi! I would like to know what codecs and file format you use for your projects? Thank you so much!
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Sorry on the delay, I've been working away from my bay, dropped an image below if anyone else machine has had this before.
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Note: this doesn't want to be a polemic. I have reached out to people working as assistant or junior colorist in big companies (in london)I wanted to know whats the real deal in those position and how's the market. The thing that hit me the most was:"you get in as an assistant you will die as an assistant. " I have been told that to become a colourist you need to have a client portfolio to bring with you (this was about the feature film industries, not commercial) that was basically impossibile to become a colourist starting as an assistant. In the commercial field it was more, if you are an assistant you are one of the many, the only chance you have to step up the ladder is that the colourist goes away and leave a position open, that a new colorist doesn't get hired and that you between the many are asked to get the position. Practically a bet that could last tens of years and could bring to nowhere. Now I'm asking to you, is this true? I'd be happy to hear a different opinion
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Hi Monica. Just read one of the many color assistant requirements in the job section to get an overview of what is expected. Basically you should be able to conform and deal with all kinds of technical issues at a high level to make sure the colorist can focus on the job. And, It's not uncommon that the colorist set the look and leave the rest to the assistants.
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Hi everyone! I'm wondering what you'd like to see in the Assistant Colorist of your dreams. What makes a good candidate for those often highly coveted color assist positions? Not asking for a friend, ha. -Monica
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Hi Julien, I completely understand how you feel, that is something I'm struggling with as well, feeling the need to relocate but to start again as a freelance it's a daunting task and a shot in the dark. The difference for me is that I still freelance going to post houses or with "clients" wanting to be presents. So reading your story I'm asking, since most of the time you get the drives and do the job completely independent, would not be possible to do it from ovreseas keeping your clients, at least you will have a base while rebuilding the network in France. What you need to do is to set up some kind of server storage to upload and download the footage. I'm sure you thought about it as well, so I'd be interested to know your thoughts about it.
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I usually try to play what please the client more. Even if sometimes it's something I don't really like. Having them relaxed and easy going is more important then me listening to what i like. When they leave the choice to me I play this playlist, growing day by day, it is a mix of classics. With this playlist it's almost sure that at one point something they like is played. https://open.spotify.com/user/1174081029/playlist/6DVtKMiXIrpVBB1uBpWek4
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Need some help on small forum tasks. PM if interested.
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Many well established colorists in France, and lot of high-end work in all genres. Have you decided to move?
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If you put 2 corrections parallel in Resolve, and change node sizing of the corrections, you can see the parallel operation break
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I'm not aware of other software that have parallel operations like Resolve, I think that mixing of corrections is a unique feature. But with many layer-based grading apps, keyers can key from the previous layer, source or a designated layer, and cc layers can also grab the original source again on top of graded layers, so you can do similar routings that you could do with the layer mixer and nodes.
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Hi. I wonder if it is possible to say to layers to behave as parallel in nodes with some other apps. What i'm after is that i could manipulate layers but without affecting the other ones. Why i seek this is if you can have parallel and do adjustments like this you do not alter other layers with keys and such. Maybe there is another logic to it but i just started to wonder. Thanks.
