» Posts Tagged ‘colorcorrection’
Blackmagic Design’s DaVinci Resolve is a high-end color correction suite replete with an elaborate control surface designed for professional colorists. It costs $30,000. There’s also a $1,000 software-only version that runs on Mac and Linux. And now there’s a free Mac version that retains many of the key features of its paid brethren. Here’s a demo of the color correction and impressive tracking features of Resolve in action: More »
Free 15-part Training on Color Grading in Final Cut Pro X
Denver Riddle from Color Grading Central has released a free 15-part tutorial on color correction in Final Cut Pro X. Apple’s controversial NLE reboot introduces a number of new features and interface elements, chief of which is the Color Board, seen in the following tutorial. Hit the full link below for all 15 parts, which in addition to streaming for free are available as downloads for $49. More »
Regular readers know I’m a fan of Red Giant Software’s post-production plugins, as they offer a lot of value for the money (and that’s when they’re at full price). Because their tools are such a good match for DIY and indie filmmakers, this week I’ve got a special deal from the Red Giant folks: the color grading plugin Magic Bullet Quick Looks, normally $99, for only $25. 75% off. No catch. Quick Looks is a great way to get really dramatic results with just a click of the mouse. I can show you better than I can tell you: More »
Gamma & Density make high-end tools for DIT (Digital Imaging Technicians) such as their complex 3cP data management system. However, as more and more productions go digital, it seems to me there will be a need for a more budget-friendly DIT solution. Utilizing the iPad seems like a perfect way to allow cinematographers and directors to communicate their aesthetic intentions on-set. However, G&D’s $400 pricing seems a bit high for the indie crowd; anyone know of any alternatives? Here’s the promo video: More »
This is a guest post by producer/colorist Jay Friesen.
There are a lot of great tools out for grading and finishing. Cineform’s First Light has been out for a while now and Red Giant’s LUT Buddy was just released. Technicolor also released their CineStyle profile for Canon DSLRs and their documentation talks about using the included Look Up Table (LUT) in the post processing of your footage. The new Sony F3 will soon have a firmware upgrade that enables an uncompressed 4:4:4 S-LOG mode that utilizes LUTs. So, what exactly is a LUT? More »
Red Giant Software has released two free plugins that work in Final Cut Pro, Premiere Pro, and After Effects: a limited version of their great Colorista color-correction plugin, as well as a new plugin named LUT Buddy. More »
How to Use The Foundry's Storm to Color Correct RED Footage (Free This Week)
The Foundry is best known for high-end compositing tools like Nuke, but they’re set to release their latest application, Storm, on March 1st. Storm is a much-needed low-cost “RED Production Hub,” which will retail for the very reasonable price of $375 — reasonable considering it’s not only designed to help log and process the .R3D camera originals, but it’s also meant to be a post-production solution that will take RED-based edits all the way through final color correction to delivery. If you’re interested in the RAW workflow and want to play around with some .R3D files in Storm, here’s your chance — it’s in free public beta until March 1. And if you don’t have any .R3D files to work with, I’ve got you covered there as well: More »
Hot on the heels of releasing Colorista II, post-production plugin repository Red Giant Software has announced Magic Bullet Suite 10, which updates all previous Magic Bullet plugins to 64-bit and Adobe CS5 compatibility, now includes Colorista II, and throws in Grinder, PhotoLooks, and Denoiser. Grinder is their recent DSLR-specific transcoding application, PhotoLooks is their still version of Looks, and Denoiser is a brand new product that looks to be a valuable addition to the indie filmmaker’s toolkit. More »
Stu Maschwitz’s tutorial on color correction is one of the most-clicked links on this site, month after month. His very helpful tutorial was recorded for the cross-platform plugin Magic Bullet Colorista I, but the techniques he demonstrated applied to color correction in general. Now, however, Colorista II is available, and the amount of control the $299 plugin gives you is staggering. When it comes to software, however, a lot of people will sell you a product and then try to sell you training for that product — but here’s over an hour of free color correction tutorials from Stu. This is great stuff for an unbeatable price. More »
Magic Bullet Colorista is one of the more indispensable post-production plugins in my toolbox, as it is a very high-quality primary color corrector. I like Colorista because it’s powerful, it’s easy to use, and it’s cross-platform, which means you can use the same plugin on Macs and PCs, and within Final Cut, Premiere Pro, and After Effects. However, to date Colorista hasn’t offered secondary color correction, which allows for more precise adjustments; with the release of Colorista II, Red Giant has added this missing feature — and many more. More »
As part of today’s free Adobe workshop on HDSLR feature film workflows (I’ll update that post with a link to the archived presentation), one of the commenters brought to my attention a promising DSLR post-production plugin called 5DtoRGB.1 I’ve called DSLR color-correction on a Mac a clustercuss, not just because of the 4:2:0 color space, but because of Quicktime gamma inconsistencies (often related to YUV to RGB conversion). Rarevision’s 5DtoRGB plugin, currently in beta, just might be the solution to these problems. More »
- Sorry, whoever it was who commented about 5DtoRGB — I lost the chat thread when my Flash plugin crashed for the dozenth time. [↩]
In Zacuto‘s most recent DSLR/film comparison, one of the commenters noted that upconverting to ProRes gave much better results (than editing native h.264 footage) in post. While ProRes is definitely a better codec (in terms of color space and compression), the clip showed as a reference seemed to exhibit a perpetually-annoying gamma shift bug that applies to a lot of DSLR shooters — more specifically, anyone editing h.264 video on a Mac. When I shot some stuff on my 5D for Focus Features, I noticed that the clips looked desaturated and flat in Quicktime 7, and supersaturated and contrasty in Quicktime X (Quicktime X ships with Snow Leopard, and Quicktime 7 is an optional install). Jerome Stern at MotionLife corroborates this experience, decrying the lack of consistency when it comes to viewing and editing h.264 footage on a Mac: More »
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