» Posts Tagged ‘colorcorrection’
Blackmagic keeps pressing forward with version 10 of Davinci Resolve and Scopes to support the evolving market for 4K and beyond. Watch the video from FreshDV‘s coverage to hear about the new features Open Effects, the Online Editor, and Resolve Live: More »
Color spaces and color models can be difficult to wrap your head around completely. There are additive and subtractive spaces, like RGB vs. CMYK, and different format/display technologies, like analog’s YUV vs. digital’s YCbCr — all of which you may have to traverse to achieve the final ‘look’ you want for your imagery. Not to mention that many color spaces are not absolute, meaning they don’t profile device-specific color representation. This can certainly induce a bit of a headache for newcomers to the color science realm. A great post by photographer Mark Meyer, featured recently on PetaPixel, explains how you can quite literally better-orient yourself to color spaces and models by, well, modeling them — in 3D open suite Blender, no less. More »
Canon’s 4K video capable DSLR, the EOS-1D C, has marked an upset for the DSLR industry — and in more ways than one. Many feel that the addition of Motion-JPEG alone is not worth the camera’s $12K price point. This is particularly the case when weighing in controversial speculation that internally it’s mostly identical to its $7K 1080p sibling, the 1D X — and the fact that Canon is likely anticipating with gritted teeth the possibility of firmware hacks 4K-ifying the 1D X. That said, it could be a near-perfect blend of features depending on your application. If this is the case for you, but you want the chance to check out or grade some full-res video footage before pulling the trigger, you’re in luck — planet5D has just posted some downloadable 1D C 4K footage for your viewing consideration (assuming of course your machine can handle it). More »
Is it possible we’re losing something through the non-destructive way in which we decide the final look of our shots? The answer, quaintly enough, is absolutely yes — but what, exactly? Simplicity. True finesse in color timing is something Dale Grahn (Saving Private Ryan, Gladiator, Munich, Apocalypse Now: Redux) knows a lot about, and in a true chemical timing sense — which says a lot about the power of bold and minimal control over imagery. Lucky for any of us looking to learn from the experience, Mr. Grahn is asking you to match his own color grades by way of a new iPad app — and in the process interact with the very essentials of color grading. More »
The colorist’s job has gotten a whole lot easier since chemical baths stepped out of the picture in many cases. Non-destructive color timing is the future in which we now live — that said, the principles at work in creating properly balanced imagery is as important as ever. Each camera we may be shooting on has its own unique implications in chromatic reproduction, and the ability to delicately correct a given color mixture (regardless of its source) is key. Ironically, or not, tools such as waveform monitors and vectorscopes — staples of the bygone analog video world — are as relevant today as ever in filmmaking, if not more so. A recent presentation by noted color correction author Steve Hullfish demonstrates precisely this point, as well as the basics in using your scopes to full advantage. More »
Even with the growing prominence of cheaper color correction systems, the craft of color grading is still mysterious to many, including those who work in post-production. I’m often asked how I approach specific projects or how I achieve particular looks so I thought it would be helpful to illustrate some of my methodologies with a music video for the rap artist Killer Mike. Beyond nerding out on Resolve, I hope the reader will start to see that there is a lot that happens outside of the software. More »
This is a guest post by Cinematographer Ryan E. Walters.
As Moore’s Law continues to make technology more accessible to the masses, it is time to start exploring what it takes to build your own grading suite at home or in your office. Before reading the rest of this post, I recommend that you check out How To Get The Most Out Of CS6, DaVinci, & Your Mac Pro, as this article continues to build on what I’ve outlined. So let’s get started shall we? More »
This is a guest post by Tristan Kneschke.
With the release of Apple Color several years ago, the once-niche field of high-end color grading trickled down to the average user. When Blackmagic released DaVinci Resolve on Mac it became more obvious that color grading was the next big wave. Having already been grading professionally with Color shortly after it was released, I quickly decided to invest in a traveling DaVinci Resolve Mac Pro tower. The client demand for color grading in particular, and a traveling station specifically, has grown my business at a rate I never thought possible. Now, with Resolve 9 nearing its official, non-beta release, Blackmagic has separated itself even more from Apple’s killed product. More »
Many argue the legitimacy of games when it comes to learning, but games can certainly exercise the mind if they challenge you to think and problem-solve. I’ve never really seen a game of any kind that could possibly help me become a better filmmaker — that is, until now. If you’re brand new to color correction, or even any sort of graphic art where color is involved, there is now a game called Color that will help you improve your skills. More »
Just because the popular color correction software DaVinci Resolve uses a Mac monitor for its press image (at left) doesn’t mean it’s Mac only — any more. Resolve, which has a free version known fittingly as Resolve Lite, now comes in a Windows version for the first time thanks a newly-released Public Beta. If you have already purchased Resolve for Mac, the Windows version comes included, so you now have a Windows license too. More »
In July DaVinci released a free version of their $1k color correction software, Resolve (also available with a $30k control panel). Now they’ve upgraded Resolve Lite, as the free version is known, to version 8.1, also removing the two node restriction and allowing for unlimited color correction nodes (nodes are similar to layers in After Effects, though they’re generally more flexible). There are a number of other updates as well (see the press release below), but to go along with the new release, there’s also a 15-minute video tutorial from Dan Kanes, who also did a recent free REDCINE-X Pro tutorial: More »
Red Giant’s Magic Bullet Looks is an aggressive color correction tool. For a more subtle approach, I recommend Colorista, but for dramatic results very quickly, it’s hard to beat Looks. Quick Looks Limited is, as you can guess from the name, a limited set of twenty presets from Looks — free for NFS readers! Anyone can sign up using the link at the bottom of this post, but this bundle was only available with certain purchases previously. Now it’s gratis for anyone to experiment with: More »
In a hypothetical future wherein I start shooting on a RED camera, one of the first things I was planning on doing was getting The Foundry’s Storm post-production (and on-set) software. The RED folks really seemed to love it, as they were quoted on the Storm product page, and at this year’s NAB I was impressed by The Foundry’s numerous demos (some of which took place in RED’s tent). But then RED released REDCINE-X PRO this week — their own version of Storm, in a lot of ways — and now The Foundry has officially killed Storm, at a nascent version 1.04. While Storm was priced very affordably, putting it well within the range of indie filmmakers — $375 — REDCINE-X is free, and you can’t beat that. Via fxguide, here’s the official word: More »
Ever since DaVinci released a free version of their $29,995 high-end Resolve color grading suite — and, more importantly, premiered a $995 software-only version — the color grading application has seen a drastic increase in accessibility. If you’re interested in learning how to use the program, which conveniently comes at a time when Apple has discontinued Color (which was itself the $25k program FinalTouch before Apple bought and then axed it), there’s a free 90-minute live webinar this Thursday September 8, 2011 at 10AM PDT (1PM EDT). Here’s a preview: More »
When Apple released Final Cut Pro X, they did so without giving third-party plugin developers access ahead of time; thus there’s been a shortage of add-ons for the controversial app. Red Giant Software has just released their first plugin to be ported to FCPX, and it’s one of their simpler apps, Magic Bullet Mojo. FCPX‘s current architecture doesn’t support some of the more complicated functionality included in Looks or Colorista, so X editors will have to make do with the simpler interface of Mojo for the time being. As a bonus, however, Red Giant has cut the price in half for this week only, bringing it down to $49 — and the coupon code works on all platforms, not just FCPX. Here’s the program in action: More »
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 »
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 »