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- Yesterday
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You're welcome!
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Hi Marcelo, Some years ago, Juan Melera exposed a way of working on his blog there : http://juanmelara.com.au/blog/basic-resolve-node-structure-and-order-of-operations but for sure there are as many ways of doing as colorists. Best, Christophe
- Last week
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Thanks Emily... I know it's a very personal matter.
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B/W Rgb values in film stocks
Marcelo Cosme replied to Abby Bader's topic in Color Grading and editing
Hi Abby. I did not understand your numbering .. I use the Davinci in RGB mixer I have only -2 up to 2 ... -
Abby just answered your question, it's totally up to you. Colorists do what they prefer.
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Thank you Abby. I have my workflow, and it works ... But I wonder if there is a common sense among colorists or if each follows their own instinct (laughs) ... Many colorists came from the days of the film, and of course there was a pattern of work. Today with so much tool, so many cams and so many codecs, there are a thousand ways of doing the same thing.
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This forum & site are awesome!
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I suggest that you read the case studies on this site as those will enlighten you on the use of printer lights and how common it is. There are many ways to set up nodes. Balancing and exposure adjustments first followed by looks is the most common. If you prefer to use printer points or primaries is totally up to you.
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It's similar to After Effects in some respects, where you right-click and select Modify/Interpret Footage. There's no settings in here for choosing levels or colour space - it's something I asked the Adobe demonstrators at various trade shows and never got a satisfactory answer. There are colour management settings in AE, but the last time I used PP I couldn't find a similar menu.
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Hello. I have some questions and would like your help. 1 - Do you frequently use Printer Lights? 2 - Do the classifications via LOG Wheels or PRIMARY Wheels? 3 - Do you use any base structure of nodes? Example: Node 1: NR, Node 2: Primary, Node 3: Saturation, etc ... 4 - Noise Reduction use at what stage of the process? I always use it as the first node, but I already got good results putting NR after the primaries ... I'm creating a workflow for a series that I start coloring now in June. At first I think of working in this format: Node 1: General Printer Lights (I have many scenes pulling into the green) Node 2: Log Wheel Expo (Blacks + Contrast + Pivot) Node 3: Log Wheel WB (Correction in Shadows, Mids, Highlights) "if necessary" Node 4 or more: Start Creative Look ... I know color correction has no recipe, but I would like to have a rational workflow to work with my assistants and other colorists remotely.
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For those of you interested in Fusion, the author of this course for Nuke mentioned in a youtube comment that he has a re-touching course for Fusion as well. Not sure if it's in the works or finished but if I find out anymore, I will report back. https://www.fxphd.com/details/462/
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I'm a long time Avid user but are learning Premiere. I'm trying to figure out how to get more control over the imported clips. I can't find any global import settings or detailed settings in the interpret option of each clip. To be specific; In Avid I can choose the source levels such as RGB or rec709 so that I can make sure that the clips will be interpreted as rec709 if that is what I want. Do I have this control in Premiere? I also want to decide to import my clips "untouched". In Avid I can choose to not touch an image when importing or scale it to fit. How does it treat Alpha channel import? Can I choose to invert or ignore alpha? Tom
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Mad Max: Fury Road - Recreating the look
Stig Olsen replied to Gioacchino Gargiulo's topic in Color Grading and editing
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- reverse engineering
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A recent project that I cut and contributed motion graphics to. Color grade was done by Shinya Sato at Cosmo Street. This project really resonated with me and hope some others will enjoy it as well.
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Mad Max: Fury Road - Recreating the look
Misha Denisov replied to Gioacchino Gargiulo's topic in Color Grading and editing
Tom, could you please provide a link? Can't find it. -
Mocha Pro => Clean Plate => Photoshop
- Earlier
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stylize a grade, how and when
Thomas Singh replied to Orash Rahnema's topic in Color Grading and editing
When I started out I always wanted to impress the directors and took the first opportunity to go in extreme directions. I soon started to realize that it was shot the way it was for a reason, and most directors were more happy when I presented a well balanced copy of their images. Lesson learned. It is always room to enhance the images in the second pass but getting the most out of what is shot without any extreme tweeking is always what I'm aming for.- 1 reply
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Hi all! in the colour lounge facebook group a pretty interesting topic was recently diccessed. Something that cought my eye was this post from Walter Volpatto. I'm not sure if he's part of this forum, here it is: Of course I could have asked him but I thought it could be useful to discuss it here. I'd love to know what's your thought and experience on this. When I see movies that have a very define style, other then art direction, styling and lighting, grading wise are there look created specifically for the show? this looks are created by whom? colour scientist + colourist and dops prior the shooting or at the first grading sessions? This looks do they come to the grading room in a LUT form or luts are generally avoided in order to preserve the whole signal and avoid artefacts? Well, as usual way too many questions thanks, Orash
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Very useful Marina, thank you for sharing!
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Thank You, Tom!
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Sim International is a great studio, looks like they are attracting many of the top colorists in the city and around.
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Hello, brothers and sisters! 😃 Any freelancers from LA? What is Your fav studio in town, where You can rent a room with Resolve? Can You recommend a few? Will appreciate any advice / info! Thanks, Aleks
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Great response @Ross Shain. Thanks a lot!
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To be clear, Mocha tracking and masking is embedded in most Continuum and Sapphire filters. Mocha can drive the BCC Remover filter (found in Image Restoration group) which is essentially a clone based on Mocha tracking. Mocha Pro (standalone or plug-in) has the Remove Module which has a more advanced Remove Module that uses temporal frame access to remove objects, wires and create clean plates. More info found here: https://borisfx.com/videos/mocha-pro-remove-module-quick-look/ Last note: Mocha Pro OFX is supported in Nuke, Fusion, Vegas & HitFIlm. For Resolve, the Remove Module is not supported in Resolve yet due to Resolves OFX implementation.
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Boris FX is giving away 5 free OFX plug-ins for 360 video post for the month of May. Details found here: https://borisfx.com/products/continuum-units/continuum-vr/ Enables a workflow to reorient, add titles and sharpen on equirectangular mono & stereo footage.
