» Posts Tagged ‘colorgrading’

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Resolve 11 EditingAt NAB 2014, Blackmagic Design announced DaVinci Resolve 11, and it not only contained a handful of fantastic new color correction and organization features, but also upwards of 70 new editing features that brought Resolve’s timeline trimming functionality into line with many of today’s popular NLEs. After a month and a half in public beta testing, the final release version of DaVinci Resolve 11 was made available today. More »

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Learn Color GradingThere are many factors that go into making a film look cinematic, like lighting, blocking, and camera settings, but creating a good color grade is certainly somewhere near the top. If you’re completely new to color grading, but are looking for an opportunity to really get a firm grasp of it (or even if you just want to learn a few new techniques), this intensive DaVinci Resolve class, which will teach you everything from the basics of the interface to advanced color control, is now 75% off  ($49) on the online learning platform Udemy. More »

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Resolve BMPCCChances are that, unless you live under a rock, you know that the already-reasonable price of the Blackmagic Pocket  Cinema Camera dropped dramatically earlier this month. As such, I think that it is pretty safe to assume that there are quite a few new owners of the bite-sized camera. For some, the post processing of the BMPCC footage will be similar to what they’ve experienced with many of the other cinema cameras that shoot log footage and RAW. However, for people who are just starting to work with the flat images from the Blackmagic Film Gamma, getting an appropriately colored and aesthetically pleasing image can seem like a daunting task. Luckily, Casey Faris uploaded a fantastic tutorial that will show you how to get snappy color from both your BMPCC ProRes and RAW files inside of DaVinci Resolve. More »

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SpeedGrade CCLast week, Adobe released the much-anticipated update to their Creative Cloud video applications. We’ve already taken a look at one of the most exciting new features inside of Premiere/After Effects, Live Text Templates, which allows multi-faceted After Effects text compositions to be manipulated directly inside of Premiere, eliminating the need for excessive round-tripping. However, Live Text Templates are just the tip of the iceberg when it comes to new features in this update. SpeedGrade CC, Adobe’s color grading application, also received a few welcome new features, features that one of our readers, Dave Andrade, shows off in a new video. More »

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Arri Amira Color ToolWhen ARRI released information about their ENG-style, “documentary” camera, AMIRA, there were several reasons for filmmakers to get excited, like its lower price point and the promise of ALEXA-level image quality. Another great feature is the ability to import custom 3D LUTs, and now, ARRI has sweetened that deal by offering a free grading program called the AMIRA Color Tool, which lets users “create, extract, and organize” AMIRA Look files, and then export them for in-camera use. More »

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Lumetri Looks SpeedGradeOf the countless post-production blogs on the web, Oliver Peters’ blog Digital Films is one of the absolute best. Not only does Peters cover a vast array of digital post-production tools and softwares in great detail, but on occasion, he also shares some of his custom-made color presets for various platforms. Because of the popularity of his FCPX Color Board presets, Peters also made a set of Lumetri Looks that can be used directly inside of both Adobe SpeedGrade and Premiere Pro. In a recent blog post, Peters not only shared these free looks, but also everything you need to know in order to use them in your projects. Check it out! More »

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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 »