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  1. Provide your colorist with RAW files guys! Simona Cristea has colored hundreds of major international campaigns and works as Head of Creative Color in Deluxe's Rushes. She is hugely talented and shares some of her experience and insight in this article by Lowepost. All the articles are full of tips and are highly relevant for Cinematographers.
  2. Provide your colorist with RAW files guys! Simona Cristea has colored hundreds of major international campaigns and works as Head of Creative Color in Deluxe's Rushes. She is hugely talented and shares some of her experience and insight in this article by Lowepost. All the articles are full of tips and are highly relevant for Cinematographers.
  3. Hello all, I am in my final year of studying film production and I am currently doing research about cinematography and color grading. I am trying to find out more about the collaboration/ workflow between the DP and the Colorist and the issues regarding the authority over the look. I am also looking into whether new, aspiring cinematographers should be their own colorists. I was wondering if you could please share your opinions about this from your experiences so far. As a Cinematographer, how were your collaborations with Colorists ? (and vice-versa). What can DPs/Colorists do to ensure they can work together successfully? If you are working both as a Cinematographer and a Colorist, why did you choose to have both roles and how difficult was the transition from cinematography to color grading? Your help would be much appreciated!
  4. Hi guys! I would like to invite you to check my YouTube video : https://www.youtube.com/watch?v=Q6tDyRBv4Zk In this video you can see how my color grading presets looks on a 4K video. If you like it and want to have this preset you can download it from this link : http://land.make-your-media.com/WEB-C... Tell me what you think about the preset! Enjoy :)
  5. So I'm on a project that is based around multirotor helicopters. Needless to say I have a lot of gopro footage coming my way. I was wondering if anyone had any advice or leads to good resources on matching gopro footage and cinema log footage in the grade I would be much appreciated! Here is what I've been capable of so far. Ignore the last 18 minutes it's black video there was an encoding error. http://youtu.be/Isge70aoLtE
  6. Right in this tutorial I show how easy it is to do tracking in Davinci Resolve. Very handy if you want to add some exposure to a moving object or actorā€™s face! Thanks for watching! R
  7. Hi To preface this post: I apologise if this is not the place to be posting my work. I had a brief hunt on this forum for a set of dos-and-don'ts, but couldn't find one (further apologies if I'm just being dense). I have spent the last few months (on-and-off) colour grading my latest short film - shot on 4K with a RED Epic camera - to be ready for festivals. I would really appreciate feedback from any sets of better-trained eyes as to how I've done, and if I could do better before sending it out. I use Magic Bullet Looks because it's cheap and accessible for a first-time grader like myself. I don't actually use the 'look' presets. First, I went through each clip in the timeline, correcting the levels and adjusted the midtones so the skin tones matched the memory colours, then I stared grading in earnest. Here's the link - it's an unlisted Youtube link, so PLEASE do not share it: https://www.youtube.com/watch?v=1SStHFzc2ww To be more specific about feedback: I'd like to know if you think the colouring looks appropriate throughout the film, if there are any moments where you notice a mistake or problem, especially if it detracts from your enjoyment/immersion in the story. And for those who wonder why I didn't just hire a skilled colourist - I wish! This was a student project for my Masters dissertation. No money to hire a decent colourist, and whilst I know there are talented individuals out there willing to work for free, there are also plenty of amateurs. As an amateur myself, at least I have the creative control to go back and start again if it's no good the first time. Many, many thanks to anyone who can spare the time to help me out.
  8. Here's my color grading reel: https://vimeo.com/88596271 Feedback is always appreciated. :)
  9. Hello, I'm posting a new video I shot for some friends. They are getting married and I suggested something different.. Everything was shot with the BMCC using an OLD Tokina 35mm 2.8 lens. It's the only lens I own at the moment :P Nothing was lit except for the interior christmas light scenes, only lit by the practical lights themselves. Sadly, I'm not a color grade artist so please be kind with the grade.. I wish it was better too :) I've been playing around shooting different test footages with the camera to try to get a better idea of how to expose properly in different lighting situations. Shooting RAW is great, huge files but worth their size in post. (That can be debatable) Again like the other one, http://www.cinematography.com/index.php?showtopic=60653 I don't have a rig for this camera either sooo sadly some stuff is pretty shaky and given the crop factor my 35mm turned into some 60mm or something around that making every little movement very noticeable. Let me know what you think? Here is what I used: BMCC 2.5k Tokina 35mm Lens Genus Matte Box Hand Held, no Rig
  10. Canon's 30-Inch 10-Bit IPS LCD Display Features a 16:10 Aspect Ratio, 4096 x 2560 Resolution Full RGB-Array Scanning, and a Backlit Panel to Deliver Precision Color and DCI Standards Compatibility MELVILLE, N.Y., November 6, 2013 ā€“ As motion picture, television and commercial production continues to transition to ever-higher resolution digital video and CGI (computer graphic imaging) formats, color-grading and postproduction professionals increasingly rely on reference displays with exceptional detail, color and gradation accuracy. Developed in response to this trend is the new DP-V3010 4K Reference Display from Canon U.S.A., Inc., a leader in digital imaging solutions. The Canon DP-V3010 4K Reference Display measures 30 inches wide diagonally by 7.4 inches deep to help minimize space requirements and provides a 2000:1 DCI-compliant contrast ratio, uniform brightness, very wide viewing angles in all four directions, internal color calibration and additional advanced features. Designed for use in color-grading, digital intermediate (DI), CGI/animation/visual effects (VFX), and editing/finishing suites, as well as digital imaging technician (DIT) workstations on production stages and on-location "video villages," the Canon DP-V3010 4K Reference Display provides full-screen 4096 x 2560 resolution with extremely high levels of color accuracy and fidelity. "We are proud to continue the Canon tradition of providing our customers with complete solution technologies, providing them the option to work within a Canon ecosystem from input through output, and maintain the quality and reliability of our brand," noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. "These displays are the result of the enthusiastic response we received to the Canon Cinema EOS System of cameras and lenses, and we look forward to continuing to demonstrate our commitment to these markets with outstanding technology, quality and reliability to help creative professionals deliver and tell the stories as they envision them." The DP-V3010 4K Reference Display features a 16:10 aspect ratio for the display of video signal information essential to VFX creation. With a tightly packed "pixel pitch" of 157.5Ʀm, the Canon DP-V3010 4K Display provides high-accuracy tonal gradations between darkest and brightest areas, with 1024 shades in each color channel. The technology enabling such performance is a new and proprietary display engine developed by Canon that helps maximize color accuracy and brightness uniformity. The actual panel employed by the DP-V3010 4K Display is an IPS (in-plane switching) LCD with full array RGB LED scanning backlight technology that delivers excellent color accuracy, and crisp video imagery without the perception of motion blurring between frames. By featuring an IPS LCD panel with polarizing and filtering film layers to prevent changes in color and contrast, the DP-V3010 4K Reference Display enables image viewing within a wide viewing angle, top to bottom and left to right. Industry Compatibility The Canon DP-V3010 4K Reference Display is compatible with the five major color gamut standards - SMPTE-C, EBU, ITU-R BT.709, DCI, and AdobeRGB - as well as conforming to DCI standards for 4K display. These DCI standards include a 2000:1 contrast ratio, which the DP-V3010 4K Reference Display evidences in its faithful reproduction of detail in the shadows and accurate highlights. This high contrast accuracy is essential for critical assessment and mastering of high dynamic range cinematic imagery. Also supported by the Canon DP-V3010 4K Reference Display is the ASC CDL (American Society of Cinematographers Color Decision List) format. The display controller provided with the DP-V3010 4K Display includes a dedicated CDL button. Color settings made at the shooting location can be stored on a USB flash drive and imported into the user's color-grading system, which can then relay color correction parameters directly to the DP-V3010 4K Display in the ASC CDL format using slope, offset, power, and saturation parameter adjustments to the overall RGB image and/or separately to the individual R, G, and B channels. The importation of LUT (Look Up Table) data created by third-party color-grading systems is also supported by the DP-V3010 4K Reference Display. The Display allows both 1D and 3D LUTs to be easily imported by operating the menus of the unit itself. This enables accurate color matching between displays and the ability to import customized "looks" created in third-party applications. In this way, the unique colors and gradations intended by producers can be easily reproduced. Ready to support the wide dynamic range of Canon Log gamma video data recorded by the popular Canon EOS C500 and EOS C300 Cinema cameras, the Canon DP-V3010 4K Reference Display also comes pre-installed with the Cinema EOS Canon Log viewing LUT allowing those cameras to be integrated with the DP-V3010 4K Display for linear conversion and display in real time. Furthermore, using 1D/3D-LUT data, the display will be able to provide support for ACESproxy output from Canon's EOS C500 digital cinema camera. A wide variety of the full HD video production format resolutions, typically used for TV dramas, commercials and other TV content, can also easily be displayed by the new Canon DP-V3010 4K Reference Display. To accommodate HD formats, the DP-V3010 Display offers upscaling modes offering smooth and accurate rendering up to 4K resolution of DCI 4K (in up to 12 bit 4:4:4 color), 2K, 1080p, 1080i and 720p. Inputs include 3G-SDI, HD-SDI and DisplayPort connectors for compatibility within many different production, post and VFX workflow environments. Calibration and Convenience Each Canon DP-V3010 4K Reference Display undergoes high-precision calibration before shipment to help ensure high color uniformity between all units. Color accuracy is further improved by the Canon DP-V3010 4K Display's control system, which continuously monitors internal conditions of the display which might affect color, uniformity and performance accuracy, like heat or aging of internal components and make corrections to help ensure long-term image stability and exceptional color consistency. External calibration of the Canon DP-V3010 4K Reference Display can be performed without the need for a dedicated PC application through the use of a third-party spectroradiometer. Use of such an external sensor allows users of the DP-V3010 Display to maintain factory calibration settings as well as help adjustment for specific display applications or account for variations in ambient lighting. The DP-V3010 Display features an easy-to-navigate on-screen display that can be controlled using the included display controller. Built-in carrying handles allow the display to be easily transported and positioned on top of a desk or a counter, or attached to a VESA-compliant bracket for easy wall or rack mounting. The accompanying display controller is designed to be used as both a desktop control device or to be rack-mounted for easy integration into suites, control rooms or mobile vehicle applications, such as HD sports production trucks. Markers, time code display and test patterns are provided within the Canon DP-V3010 4K Reference Display. A variety of markers (aspect, safety zone, grid, and center) and test patterns (pluge, grayscale [20%], white, five-step, ramp, color bars, and black) are also built into the DP-V3010 Display. The Canon DP-V3010 4K Reference Display is scheduled to be available in the first quarter of 2014 for a suggested list price of $40,000. For more information about this update, please visit the Canon U.S.A. website at http://usa.canon.com/cusa/professional/products/reference_displays/dp_v3010.
  11. I have a shoot coming up where the director wants it to have that glow look made popular in shows like The West Wing and used recently in the Coen Brothers' Inside Llewyn Davis. The look in question has blown out, glowing highlights and a generally diffused image. I know how to do this effect in camera with filters and somewhat hard lighting and can also instruct the colorist to apply the effect in post. I've never done a whole show with this look so was wondering what DPs experienced with the look thought was the better method of achieving it.
  12. https://vimeo.com/71812380 We are very thankfull for John Brawleyā€™s first ProRes Files of the Black Magic Pocket Camera. We have decided to use Final Cut X for grading because we want to know how to get some useful pictures in a short time without using a color grading software like DaVinci. Our goal was to make a quick and uncomplicated color grading video without an additional grading software. Therefore we used Final Cut X and we were pleasantly surprised about the results. Lenses used: SLR Magic 35mm F1,4 Olympus 14-35mm F2,0 Olympus 7-14mm
  13. (HOLLYWOOD, CA) Margarita Mix Hollywood, a FotoKem company that has been providing award-winning audio post services to the entertainment and advertising industries for 34 years, has developed a unique post production finishing workflow that includes the addition of two color suites and an upgraded hub for media management. The expansion and inventive new process enable content creators to complete audio and video work simultaneously at a single facility, adding speed and cost efficiencies to the workflow. The new color suites are completely integrated with the existing audio bays, utilizing Nucoda Film Master color grading systems to ensure unmatched Avid integration with direct connectivity to the ISIS and Avocent network. Through this network, the experts at Margarita Mix are able to access audio and video elements from multiple terminals at the facility. As part of the expansion, Margarita Mix has added colorists Troy Smith and Michael Mintz, and online editor Adam St. Clair, to their family of artists and engineers. Margarita Mix clients that utilize ISIS media servers from FotoKem's Nonlinear Services Division can now tap into the high-speed fiber connection between facilities, eliminating the need for transporting tapes and drives across town. Addressing the frequent need for shot replacement and other creative changes during the finishing process, this direct connection to the client's servers allows new media to be prepped and incorporated quickly. A variety of content creators have utilized Margarita Mixes' augmented capabilities in the last 18 months. Their projects include Ridiculousness, Top Gear U.S.A., Life Below Zero, Fantasy Factory, Breaking Pointe, The Glee Project, and Richard Hammond's Crash Course. Dustin Montez, Post Supervisor for Ridiculousness and Fantasy Factory, was one of the first clients to utilize the new color capabilities and expanded services offered by FotoKem and Margarita Mix. "With our space and equipment rented from FotoKem, the streamlining of our services made perfect sense. The fact that the buildings are connected via fiber saves us, literally, hours of time. When there are fixes, everything is instantly sent back and forth. In our business, it ultimately comes down to the people, and we love our team at Margarita Mix - our colorist, sound designer, the engineers, everyone we work with is top notch. The workflow is easy, saving me time and money, and I don't have to worry about anything. Any type of show would benefit from collaborating with Margarita Mix." Margarita Mix brings award-winning sound services to the pipeline, with four full mixing suites featuring 5.1 surround sound, as well as stations where sound design and pre-lay can take place. The facility's talented mixers frequently contribute to animated and reality shows, as well as gaming and long- and short-form projects. Rand Gladden, Senior Vice President of FotoKem, explains, "We knew that combining the power of our network with one-stop audio/video finishing would result in some major advantages in cost and time. This is especially a game changer for reality TV productions that may not have previously had access to high-end workflows at an affordable price point." Veneta Butler, General Manager of Margarita Mix, adds, "Our clients have been asking for centralized services for years, and now it's a reality. Shots on the editorial ISIS across town can be replaced in minutes during an audio or video finishing session at Margarita Mix, providing incredible efficiencies and the ability to work on every aspect of their projects simultaneously." Gladden adds, "The connection and design of these facilities will empower collaboration; when there are tight turnarounds, creative changes, and advancing deliveries, this will be a great value-add for the creative process." About Margarita Mix Hollywood Established in 1983, Margarita Mix is a premiere audio and video post-production facility located in the heart of the Hollywood media district. They provide a wide variety of services, including audio mixing, color grading, online editing, sound design, ADR, and voice over recording. Their projects include television shows, feature films, commercials, animation, video games, DVD commentaries, and web-based content. For more information, visit www.lastudios.com. About FotoKem FotoKem is an independently-owned, full-service post production facility serving the worldwide creative community. Since 1963, the company has been a trusted resource for every corner of the entertainment market, providing broad post production expertise, high-end solutions and innovative in-house technologies. The company assists filmmakers in successfully bridging production and post, helping navigate the expanding world of motion picture finishing technology. FotoKem offers a broad spectrum of services, including a full service film lab, file-based workflows, digital intermediates, digital cinema packaging, mobile dailies, global data delivery, film and video finishing, audio mixing and mastering, visual effects, restoration, and production rentals. FotoKem has expanded over the years with the acquisition of SPY Post, Keep Me Posted, L.A. Studios, and Margarita Mix. For more information visit www.fotokem.com, or follow FotoKem on Facebook and Twitter. # # # Media Contacts: Lisa Muldowney / Chris Purse ignite strategic communications 818.980.3473 lisa@ignite.bz / chris@ignite.bz
  14. Hello, I'm relatively new to DV and recently installed version 9 after coming from 8.2. I've looked around on the net for problems regarding this issue and have basically hit a wall - the problems that most people have had were with the same anomaly I've been trying to deal with. Problems: Finalized file has a bar at the top of the video that flickers on and off. The entire frame will do this as well randomly throughout a clip. Along with the above, say I apply a LUT and grade it, then render. In the final file the video flickers back and forth between the graded footage and the stock footage. -- I haven't had any noise issues or anything of that sort, just random flickers -- Possible Solutions I've found and (or) attempted: Upgrade to the latest Cuda Drivers - 5.0.35 Disable SLI (tried rendering with 1 GPU and still had problem) Check frame rate to make sure the master matches the file Tried rendering as multiple filetypes Disable all audio * there might be some others but they don't come to mind right away, what I did find is that a lot of the macos users that had similar problems needed an OS update. ------------------------------------- The footage was shot on a 60D, 1080p @ 24fps as a .mov The media rendered, was rendered to a .mov along with a .#res file as well. I've included my project settings below - feel free to point out anything that seem obviously out of place ^_^ Along with that, here is a clip of the actual problem. NOTE: The flickering at the end of the video is not the candle. You can also observe the bar at the top of the frame that spans horizontally while flickering. http://lanelehman.com/V1-0001_MVI_9526.mp4 System Information: Operating System: Windows 7 Professional 64-bit (6.1, Build 7601) Service Pack 1 (7601.win7sp1_gdr.120503-2030) Processor: IntelĀ® Core i7-3930K CPU @ 3.20GHz (12 CPUs), ~4.2GHz Memory: 16384MB RAM DirectX Version: DirectX 11 Display Devices: Card name: NVIDIA GeForce GTX 560 Manufacturer: NVIDIA Chip type: GeForce GTX 560 Display Memory: 4050 MB Dedicated Memory: 978 MB Shared Memory: 3072 MB Current Mode: 1920 x 1080 (32 bit) (59Hz) Driver File Version: 9.18.0013.0694 (English) Driver Version: 9.18.13.694 Card name: NVIDIA GeForce GTX 560 Manufacturer: NVIDIA Chip type: GeForce GTX 560 Display Memory: 4050 MB Dedicated Memory: 978 MB Shared Memory: 3072 MB Current Mode: 1920 x 1080 (32 bit) (59Hz) Driver File Version: 9.18.0013.0694 (English) Driver Version: 9.18.13.694 Thanks for any replies I get here, I really appreciate the time taken to read all of this. My search for a solution to a working version of v9.0 continues!
  15. To anyone here who uses DaVinci Resolve (full or Lite), you may be interested to know that version 9.1 was released today. The update includes retina support for Apple's Macbook, including the 15" Retina Macbook Pro. It also includes an enhancement for the CinemaDNG format, which is used by the Blackmagic Cinema Camera. The Resolve product manager has posted full details about the update to the Blackmagic forums, here: http://forum.blackma....php?f=3&t=4253 The update can be downloaded via the Blackmagic Support page: http://www.blackmagi...gn.com/support/
  16. Hello everyone, you know that color grading software they used for The Hobbit? maybe you can figure it out from this link Thanks AM
  17. HI all, I recently finished a school short film project as the colourist of this short, The Haze. This is my first time grading a full short, for the past I was just doing practices and reading books about the color correction and grading. The short was mostly shot in a forest in Day and Night and the story is all happening at night time, so it was quiet a big challenge for me to match the shot. Also I found it hard to get the skin tone correct and matched. If anybody have any tricks and tips, it will be great! The short was shot on a Canon 60D with Sigma 30mm f1.4, Graded using Davinci Resolve Lite and Dell U2410. Please take a look at this short and any comments and critiques will be much appreciated as it will helps me learn and improve. Thanks a lot! "The Haze" - https://vimeo.com/52768534
  18. Here's a music video I made as a submission to a competition created by the band The Civil Wars. I love this site because most of my work gets a lot of constructive criticism which helps for the next production. So let me know what you think about everything! :) Thanks! http://genero.tv/watch-video/34354/
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