» Posts Tagged ‘colorgrading’

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DaVinci ResolveIn the process of narrative filmmaking, a talented cinematographer can achieve the desired aesthetic through closely controlling the characteristics of light, color, and composition. In these cases, color correction shouldn’t really be needed (although a creative grade can certainly take the image to another level). In documentary filmmaking, however, where many of the images are captured sporadically as the action unfolds (which can very easily lead to mismatched footage), the process of creating a unified aesthetic is usually left to the colorist. Luckily, John Ryan Seaman of GranolaTech has some excellent tips for grading your documentary-style footage that should help get you up to speed on the core concepts and techniques for color correction. More »

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kendricken_celluloid_film_fuji_fujifilm_production_manufacture_cancelWith modern digital cinema cameras, it is often preferable to achieve a look that is more “cinematic” than “digital.” No one factor creates a filmic feel, but the precedent is simple enough — film itself. The emulation of emulsion may depend on anything from lens choice and lighting to grading and grain plug-ins, but there is one sure-fire way to get a true film look: using film. Celluloid acquisition may be beyond the budget of your shoot, but using a “film intermediate” process — that is, transferring color corrected digital footage out to film, then scanning back to digital — could be one technique for splitting the difference. A webinar with VFX artist & colorist Jerome Thelia details just such a process, regarding the Oscar-winning short film Curfew. Read on for details. More »

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Seedgrade CCColor grading is one of those practices where an in-depth knowledge of your software is absolutely essential to get the job done right. While DaVinci Resolve is quickly becoming the gold standard for grading applications, Adobe users have an extremely powerful alternative in Speedgrade CC, which now has the ability to roundtrip with Premiere much in the same way that other Adobe programs do. One of our readers, Dave Andrade, sent me an excellent tutorial that walks us through the entire process of grading inside of Speedgrade, from small exposure adjustments to output and everything in between. More »

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SpeedgradeLast month, Adobe released a major update for their creative video applications, which added, among other new features, the long-requested ability for a direct link between Premiere Pro and SpeedGrade. Before this update, there wasn’t much reason to choose SpeedGrade over other grading applications such as DaVinci Resolve. However, now that the direct link between the two programs is in place, editors and colorists have plenty of incentive to learn SpeedGrade and incorporate it into their workflow. With that said, here’s everything you need to know to get started with Adobe SpeedGrade. More »

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Video thumbnail for vimeo video 'Ender's Game' Color Pipeline is Even More Epic Than the Movie - No Film SchoolFile-based acquisition affords filmmakers endless flexibility all the way through post production. Given the many possible workflows, it becomes important to tightly manage everything for efficiency, quality-control, and sanity. Or, as post company Light Iron puts it below, “Not All Post is Created Equal” — especially when the task is to maintain a consistent color pipeline across 900 VFX shots and the remaining non-VFX material, not to mention managing 75 TB of camera RAW data. Now, the company offers a fascinating (and exhaustive) look at the DI job it performed on the sci-fi epic, Ender’s Game — one which demanded exactly such a process. Check out the 20-minute case study video below. More »

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DaVinci Resolve 10 Now ShippingBlackmagic’s DaVinci Resolve 10 finally entered public Beta back in September, and many of you have already begun using it for new projects. You can take version 9 projects into 10, but not the other way around, so starting something in 10 until today meant you were pushing forward with software that wasn’t quite complete yet (though stable for most uses). There is also some information that has been overlooked, and that’s related to the Lite version of the DaVinci Resolve color grading suite. 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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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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Blackmagic DaVinci Resolve 10 Public BetaBlackmagic announced DaVinci Resolve 10 at NAB 2013 just a year after introducing DaVinci Resolve 9, which has become one of the more popular color grading suites out there (with Resolve Lite being the best — and possibly only — free grading program). Resolve has become the go-to grading application for many productions, especially since Lite gives you almost all of the the features of the $1,000 version (Noise Reduction being one of the main differences). Resolve 9 still comes with the now $2,000 Blackmagic Cinema Camera 2.5K, but the company is giving all current and future owners a free upgrade to Resolve 10, which was officially released today during the IBC show. Check out some of the new features below. 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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Sareesh Sudhakaran workflow software dit ingest dailies grading adobe premiere apple final cut pro fcp x blackmagic davinci resolve red cine chartYour on-set digital workflow can vary wildly depending on your camera, budget, and schedule with each variable uniquely affecting the others. But, is there a flexible, multi-purpose software package that can truly cover all the bases, and at a better price than all the rest? Wolfcrow has sought to answer this question in a recent, very detailed, post. Click through for a few more details, and to see if you agree with its findings. Could Premiere & Adobe CC have the overall best value? 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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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 »

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Blackmagic’s DaVinci Resolve 9 has seen a number of updates since its release over the summer, and even though many have been waiting for the full version that comes with their Blackmagic Cinema Camera, the free version, DaVinci Resolve Lite, is almost exactly the same , with just a few limitations in terms of nodes and resolutions. We’ve featured a few tutorials on the software so far, so if you’re unfamiliar with it, be sure to check them out. Click through for all of the additions in the new Resolve version 9.1. More »

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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 »

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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 »

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With the Blackmagic Cinema Camera just on the horizon (sooner rather than later, hopefully), one of the big hurdles for many people is trying to understand the new RAW workflow with Cinema DNG files. Since the camera includes Blackmagic’s color grading suite, DaVinci Resolve 9, the RAW files can be brought into that program and then converted into something with a more manageable bitrate and color space for editing purposes. Colorist Dan Moran over at Philip Bloom’s blog takes a look at DaVinci, and gives a nice and simple tutorial to get you started working with and color grading RAW files. More »