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  1. Hello everybody, I was just given my first feature film grading job. I need some help. What’s the typical or best way to receive the timeline from the editor? The editor is using Premiere Pro. I will be editing in Davinci Resolve 16. I have only worked with original source files. Mostly on my own projects. So I don’t know how colorists receive and deliver the timeline from the editors. Any tips and advice would be appreciated. Thanks in advance.
  2. Hi all I am having a bad time with this grading I exported from Davinci Resolve. I am seeing different color on different device. On my laptop screen it looks rich in color. But on phone and other laptop screen it looks desaturated and more color shift towards green. Can someone help me and tell me why this happening please. Is there anything i need to do in color management settings?
  3. Hey everyone, This might be a question that exposes my ignorance, but recently I was asked if I could grade a 30 minute documentary for someone. I happen to do a lot of color correction for my job as well as just for fun when I want to mess around in Resolve, so I was confident that I could do what the director was asking for (she said she wants it to look true to life, so mostly just primary corrections it sounds like). Then she told me that the footage was V-Log 4K shot on the Panasonic EVA1 and asked if I have a 4K monitor, which I don't. What I do have is an IPS 1920x1200 monitor,
  4. The free 'Colour On Stage' seminar hosted by FilmLight will include two days of live presentations that look at the interaction between colourists, directors, DPs and DITs. To view the programme and register to a session: https://www.colouronstage.com
  5. I apologize in advance for this post being so long. Screenshots of the color grade and video links are at the bottom of the post. --- A few years ago, I ran across a Vimeo, under the name Organik Cineworks. They are a Hungarian couple that creates wedding videos. I saw one of their videos, and loved their editing style, so I followed them. Now, I am obsessed with their color grading. Let me just say, they are SO difficult to get in contact with, because a) They're Hungarian, and b) They probably don't have time to answer someone's questions about their grading. HOWEVER, after emailin
  6. Save the date... NAB2019 Colour Day. Monday 8 April. Renaissance Las Vegas Hotel Leading colourists will present their individual journeys in colour, as well as the creative tips they have honed over successful careers – all live on Baselight. The colourist lineup includes… Doug Delaney from Technicolor, who recently graded Captain Marvel, Andrea Chlebak and Laura Jans Fazio of Deluxe, and Oxido’s Fernando Medellin, who will explain his grading approach on high-end beauty commercials and his work on the upcoming HDR Netflix show Monarca. They'll be joined by FilmLight colour experts D
  7. Hello everyone, If this has been covered in a previous post please link, I was unable to find much on a few cursory searches. I am requesting advice or suggestions for a good lab who I can send Super 8 cartridges to for processing, telecine, and most importantly good quality post and colour grading. I am based in the UK (London). Normally I rely on someone local who hand-process the film and does all the post for me. I have always been very happy with his work, but I'm interested to see what kind of results I can get from a 'lab'. I am aware of Andec in Berlin ( andecfilm.de ) and
  8. Bleach bypass is one of those processing strategies that seems to be loved by every generation of filmmakers, but I'm wondering what it can be used for beyond making the audience feel a character's sadness and/or fear? What unexpected emotions can it be used to convey—what reaction can it evoke from the audience? How have you used it to create other moods? Would there be a humorous use of bleach bypass? And finally, is it best used for the whole picture or is it more effective when used in just a few scenes?
  9. Hey everyone, I recently have been attempting to understand ACES. Currently, I am using C-LOG footage from a C100 mk II, but I've noticed that the IDT for C100 C-Log isn't listed in the Resolve project settings. I've found a CTL file for this (presumably) on Canon's website, but I have no idea how to install that in the program, and the more I try to delve into ACES the more complicated everything seems to be. Does anyone have advice for this? Thanks!
  10. Hi everyone, I'm writing a piece on the history of colour correction/grading through the ages and was wondering if any of you have been in the business long enough to have first hand experience of grading with film before it went digital? If any of you have any information about who to talk to or know of anywhere that still processes film (preferably in London), please let me know!
  11. I recently purchased a color chart to use while grading and am curious about how to treat middle grey. Intuition would tell me to place it around 50% on the waveform, and articles I've seen on the subject say 45%. However, I know that different cameras record middle grey differently, for example, C-LOG places middle grey at 32% IRE. I haven't been able to really test it with the C100 I use at work yet, but I'm curious, when grading a C-LOG image, should I correct middle grey to 45-50% IRE, or should I leave it at 32% IRE, and just adjust my highlights and shadows accordingly? Thanks.
  12. Hey guys, I’ve a question on Davinci and the way its waveform deals with the blacks. I’m grading a project aimed for the big screen, I set my level to data (and data level also for export), did all my grading, but notice the blacks stay around 128 on my waveform and when I try to lower them and crush them toward 0 the picture just get way too dark. I don’t have any broadcast safe line active and such things. Is that due to the fact my computer display in 8bits? so the moment I try to lower the blacks, I just get super blacks? So if I export this graded version and play it on my comp
  13. Hello, I'm trying to understand color in a more professional way. I'm a Cinematographer and not a Colorist but I enjoy color grading and I've done it for several year. (not paid) I am working on a big documentary and I was hoping to get some feed back on the look I pulled off. I got this look by converting my BMDfilm to LOG-C then applying the Arri LOG-C to REC709 LUT and used a reference image I liked from a feature film to fine tune the color and contrast. I think maybe I went too far... I don't want the Instagram look or candy pop look, I truly just wanted a look that was close to n
  14. Struggling to find any information online about grading a 16mm black and white transfer. I have done grading work but would love some tips on grading 16mm transfer specifically black and white. Any resources would be appreciated.
  15. Post Control and FilmLight invite you to a new workshop on look development and colour space management with Prelight. This workshop will start at 6pm, and will cover: Presentation and Q&A on colour space management with FilmLight's Thomas Eberschveiler. Demonstration of Prelight, plus live exchange of looks/BLG grades between Prelight and Baselight, with Pentti Keskimäki, Colourist F.S.C. at Post Control. Pentti will also show his favourite tools in the colour grading system - including some of the new features the upcoming Baselight 5.0 release. Entry to this event is free but you mu
  16. Dit, the proffesion | Camaleon Cinema Services Camaleon Rental blog we are going to speak about the role of a DIT. The first question is to define what a DIT is as well as determine if this position belongs to the camera crew or to the postproduction crew. The answer would be that he is kind of a liaison between both department, even though if we have to make a choice we would say that he is part of the camera department since he works on set. The DIT profession (technical image technician), arrives with the appearance of the first high definition cameras and then with the digital cine
  17. My plan is to shoot in Slog3 for my short film. I'd like to use a creative lut to help me grade it but I've gotten confused. I know about rec709 being the broadcast standard, but what about for the web? Websites like Vimeo and Youtube? What happens when you apply a creative lut and leave it as it. Will what ever you are displaying it on correct it? Maybe I'm going about this the wrong way because I don't understand it at all lol. I never had to deal with this considering this is my first time using Slog. Apply a rec709 LUT first and grade manually vs adding a creative LUT and correcting i
  18. Learn some great grading techniques by The Mill's senior colorist Damien Van Der Cruyssen. He's incredible talented, and in this Lowepost article he talks about his work on the 'Encounter' spot by Calvin Klein. Damien is specialized in setting distinctive looks for luxury brands, and is also well versed in long-form grading.
  19. Is it even possible to achieve a decent result when color grading non RAW footage. Is it a common thing to do to color grade non RAW footage? How much of what I see at the cinema is shot RAW?
  20. It seems like all the color grading information out there is about how to make footage look dark and dramatic but I'm currently working on a comedy that could use its own touch of color timing magic. So, how does one go about grading a happy, lively story? What are the basic timing decisions? Common sense tells me that I would want to stick to the characteristic contrast curve and keep the midtowns meaty, but where do I go from there? Is there a highlight color that I should introduce? Do I want to do anything with my shadows? Skin tones? Or do comedies suffer when subjected to a grade?
  21. Hello! I was wondering if any of you could tell me how do you think the colours of Woody Allen’s films Midnight in Paris and To Rome with Love were achieved in postproduction? How would you define the look and the colours? I'm particularly interested in what you think was tweaked, if there is anything that you recognize that might have been fiddled with right away. Here are some Web pages with screenshots from the films: http://www.thecinetourist.net/an-american-tourist-in-paris.html http://thecinescapader.blogspot.com/2014/11/visiting-filming-locations-of-to-rome.html ht
  22. I recently enjoyed watching HUMAN by The Movie by Yann Arthus-Bertrand, and was struck by the diverse locations as well as the diverse yet strange unified lighting theme. Using a dark (black) background Bertrand has literally focused all our attention onto the face of the moment. With mostly natural, frontal (sometimes toppish) lighting, which is virtually shadowless, every pore, freckle, line and emotion is bared front and center for us to soak in. Does anyone have any thoughts on the why, how and what on this? Has anyone tried to recreate this? All Im
  23. Hey Graders, hopefully you can help me out with my dilemma. I recently started grading work for a commercial that used a beauty filter for all the setups except one. I believe they used a Tiffen Glimmergas 1/4 filter, with CP2s on a Dragon. I find that the non-filtered image has a "distinct" video feel to it, any suggestions on matching? Cheers!
  24. Hey there, I'm unsure where to start, so I'm just going to say it all. I have a feature which was graded in FCPX using both a macbook pro and a calibrated monitor. Because most people initially watching the film were going to do so on their computers, we thought it best to find a middle ground for exposure and color so that it could be played on a computer, television or in a theater. Now that the film has been accepted to play publicly, we've been told that the blu-rays will be authored by an outside company for exhibition. That company mentioned that each film should have been graded
  25. Hi All, I've noticing on my dailies for recent projects that I am underexposing skin tones. It is mostly intentional as I just find "balanced" shots quite ugly and digital looking - less so on the Dragon and Alexa, most significantly on the C300. I end up putting skin tones around 30% IRE and highlights (say 90% IRE) at about 60% IRE. These projects have all been narratives obviously as I wouldn't be able to get away with this in commercials. I'm wondering if any one else has experienced this with highlights. I'd rather not underexpose as it can make things tough in the grade, but I j
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