» Posts Tagged ‘colorcorrection’

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Filmmaker IQ Digital ColorColor is one of the most important and powerful visual tools through which filmmakers can convey ideas and emotion. Choices in the color palette begin with the production designer and the art department, continue through the work of the cinematographer, and end with the colorist. Through gaining an in-depth and holistic understanding of the process through which color is embedded in the films that we watch, we can begin to make the same informed color choices in our own films. Even though learning the ins and outs of color can be a life-long process, it doesn’t have to be intimidating. John Hess of Filmmaker IQ has put together yet another excellent lesson, this time explaining the intricacies of color in the digital age. More »

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Premiere Pro CC 7.1 UpdateAlthough many people still aren’t thrilled with the subscription model of Adobe’s Creative Cloud, it’s difficult not to be happy with the regularity with which they are now able to roll out major updates to the software. Last month, Adobe released a comprehensive list of new features that would be added in the 7.1 update of Premiere Pro CC, new features like native support for CinemaDNG and RED DRAGON footage, and a legitimate roundtrip process between Premiere and SpeedGrade. This evening, Adobe released the update, and it is available and ready for download. Before you start playing with the upgraded software, however, check out reTooled.net’s awesome video overview of these new features: More »

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Video thumbnail for youtube video AbelCine Lays Out The ARRI ALEXA XT - nofilmschoolThere has been some significant news on the Arri front over the past few months — namely, that the growing Alexa family is forking out ‘budget’ HD-specific and Doc-friendly body implementations. All the while, AbelCine has been a great resource on keeping us all up to date on the family’s tech specs & specifics. This trend continues as AbelCine’s Andy Shipsides walks us through Arri’s Alexa XT system. Briefly, the XT series upgrades Alexa to Codex-powered internal ARRIRAW recording. Andy’s videos go through the ins and outs of this system — detailing everything from virtual media to live-grading metadata. Read on to check out the videos. More »

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Digital Imaging Technician

This is part 2 of 3 of our Defining DIT interview series. In part 1 we discussed the biggest misconceptions surrounding the work of the contemporary Digital Imaging Technician. This week we’re talking about getting hired, the DIT’s working relationship with the DP and other insights into the trade. Hit the jump to hear it directly from some of the country’s leading professionals in this field from both L.A. and New York. More »

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Ben Cain Defining DIT

Ben Cain performing an iris pull during a take.

It’s easy to put an idea in someone’s mind — yet incredibly difficult to bore it out. Somewhere along the line, perhaps in the film industry’s switch from analog to digital, major misconceptions about the Digital Imaging Technician‘s place on set have arisen. We’re here to set the record straight. A DIT is an agent of the cinematographer, and is served by a video engineering background for image quality control, troubleshooting, on-set color correction, and managing the workflow of a production. Some of the industry’s top working DITs from both New York and L.A. took time out of their schedules to talk with nofilmschool about the state of the DIT and to help clarify the effect they can have on any production — large or small. Read on for part 1 of this 3-part series. More »

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Hawaiki ColorApple threw us a major league curveball when they introduced FCPX a couple of summers ago. Not only did they re-conceptualize the notion of the timeline, they also completely changed the way we apply color changes to our footage. Although the new interface offers an interesting new take on color correction, for many people it doesn’t beat the simplicity of traditional color wheels. Luckily, plugin creator Hawaiki has introduced their new Color plugin which restores traditional color correction functionality to FCPX in a sleek and easy to use interface. More »

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magic lantern raw davinci resolve 006_DR09Not too long ago, I posted about my post process for Magic Lantern RAW video, which relies heavily on Blackmagic Design’s DaVinci Resolve. This is in contrast to some Ginger HDR processes that allow you to stay completely in the Adobe realm, no proxies needed. Many would still like to employ Resolve in their color correction, however, since it’s a very powerful industry standard tool. One significant problem with the Magic Lantern/Resolve proposition was a type of ‘pink fringing’ artifacting that occurred in areas of high contrast. Now Magic Lantern-shooting Resolve users may rejoice: from the looks of things, the newly released(-ish) Davinci Resolve 10 fixes these fringing problems outright. More »

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Assimilate Scratch PlayDeveloper of the digital cinema engine SCRATCH, Assimilate made an announcement this morning about their free new massively inclusive, cross-platform media player SCRATCH Play, which supports a wide array of video formats, including cinematic and DSLR RAW files and VFX formats, while at the same time offering color-correction capabilities, as well as metadata control. Continue reading to find out more about what this powerful player can do. More »

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CropperCapture[9]Color correction can be a real drag, especially if a good portion of your shots are improperly exposed or color balanced poorly. Trying to correct them by eye, while not entirely impossible, is not only an incredibly tedious and time-consuming process, but it’s easily the most impractical way to go about the task of color correction. On the other hand, through learning to quickly decipher the luminance and chrominance information in your shots with a quick glance at your scopes, you can take your color correction skills to the next level. Here’s an in-depth video from Larry Jordan in which he discusses what scopes are and how to read them: More »

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VFX Color GradingColor correction can be a frustrating ordeal when you have to sacrifice over or under-exposing one section of your shot in order to make the rest look good. But, in this relatively simple color grading tutorial, we learn how to use masks to isolate parts of the frame that need different adjustments. Using this technique will help you grade your image to where you won’t have to settle for muddy, over-saturated, or poorly exposed areas. Hit the jump to watch the tutorial. More »

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Video thumbnail for vimeo video The Summer Blockbuster Colour Grading Tutorial - nofilmschoolIf you’ve seen a big tentpole movie release in the last 5 years, there’s a good chance the color grading has skewed heavily towards teal and orange. Countless movies have used this grading scheme for one simple reason: it works. The fact that only a handful of post houses handle final color correction and grading for most of the big Hollywood films probably factors into its popularity, but if you’d like to give your movie a bigger budget feel, check out this tutorial from Juan Melara below: More »

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Video thumbnail for vimeo video Meet the Hunter-LUT, a Beautiful Alexa-Like Look for 5D Mk III CinemaDNGs (Plus RAW Workflow Tutorial!) - nofilmschoolSuffice it to say some lucky, happy campers here at NFS have recently (finally) gotten their hands on a refurbished Canon 5D Mark III. Substances will surely flow in the not-too-distant future — and by substances I think I mean “footage.” We recently came across an overall-helpful 5D3 RAW DaVinci Resolve workflow tutorial from DP Hunter Hampton Richards, which we have found very helpful in our early experiences. Hunter has devised his own custom LUT to Alexa-ify your 5D CinemaDNG RAW footage, emulating that camera’s Rec. 709 output. Hunter also digs Purity Ring, so you’ll definitely want to check this out. More »

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waveform monitor histogram after effects adobeDepending on the acquisition system, waveform monitors and vectorscopes can guide quality control of your imagery from shooting all the way down the pipeline to grading, mastering, and compression for delivery. Scopes can seem a little intimidating and esoteric to the new user, but getting the basics down can really help in owning your image. Recently, Alexis Van Hurkman over at ProVideo Coalition has answered some key questions about scopes: find out which ones he considers the most indispensable below, plus when it may be a good idea to trust your own pair of eyes in making adjustments — even when your scopes are reading ‘A-Okay.’ More »

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Sin CityWe’ve been talking quite a bit about Adobe over the past few months, as they’ve announced new versions of all their major desktop applications and ended the Creative Suite as we know it. Even though some folks are none too thrilled with Adobe right now due to the complete switch to the Creative Cloud, they still make what many consider to be the rising star of NLEs with Premiere Pro, and it’s more packed than ever with features to make filmmaker’s lives easier. Today we’re going to explore two of the lesser known color effects that come with Premiere Pro, the Leave Color and Change to Color effects. While these might not be something you will use day-to-day, they’re an excellent option when you need to create some highly stylized shots at a moment’s notice. So without any further ado, here are the tutorials, straight from Creative COW: More »

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As most post-production folks know, Avid Media Composer is not the most intuitive piece of software. Even the simplest of tasks can take far too much time if you’re unfamiliar with the Avid interface and workflow. However, once you’ve grown accustomed to the program, it becomes one of quickest and most powerful editorial tools at your disposal. Because Avid is such a prominent tool within the industry, yet one that is shied away from by many younger filmmakers, I will be starting the “Avid Tutorial” series (and a Premiere version as well). Each post will be an aggregation of the best topical video tutorials from around the web in order help people become better oriented with the key concepts and functions within the software. So without any further ado, let’s take a peak at some of the basic color correction functionality built into Avid Media Composer, and see how you can take your shots from bland to vibrant in a few easy steps. More »

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Here’s more for editors and post-production professionals from Avid, talking about the new Media Composer 7, the Symphony upgrade, AMA linking, working with 4K footage in the HD timeline with Frame Flex. FreshDV also talks with EditShare about Lightworks and their new price-point to compete with the other NLE giants: More »

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FreshDV has a chat with Baselight about their color correction offering, attempting to bring their powerful grading tools inside the NLE via their new Plugin. Plus, Rampant Design showcases their ‘drag and drop’ overlay style elements for video with low rendering times: More »

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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 »

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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 »

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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 »