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Found 33 results

  1. 10 NEW FEATURES in DaVinci Resolve 16 BETA 2 In this video, I will share my top 10 favorite features that are newly added with the latest BETA 2 update in R16. If you are on the fence and need a nudge to upgrade to Resolve 16, this video might do the trick. FULL VIDEO When you are plowing through 100s, sometimes 1000s of shots a day, time is the most important factor in determining your success or failure. The features you will see in this video will help you save a significant amount of time and make you a much more efficient colorist. Reply and let me know if you found these features helpful. And guys, I will be giving away a FREE Powergrade. Watch the video to find out more. As always, I do my best to make these videos entertaining and fun to watch.
  2. 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 emailing and messaging them through their social medias, I finally got a response. To summarize, the couple said this: We grade using LUTs in Lumetri, Premiere Pro, but cannot say which LUTs we are using. We have different presets of a LUT to fit different lighting conditions. I then said that I understood, and asked if they could forward me the scopes from one of their videos. The scopes I received are also at the bottom of this post. I changed the subject and asked about the settings they use on their a6300. I have the same set-up as them: All of our films were captured using the a6300. We shoot in PP6 Cine 4, and find it to be just as beautiful as S-log without the need of constant high ISO. We do not use noise reduction in post. Finally, I decided to shoot my shot once more and inquire about the LUTs they use, because I literally. cannot. find. them. anywhere. I had searched for hours, so I started to wonder if they were specifically "wedding LUTs", or maybe they were LUTs not available online for purchase, and Organik Cineworks made the LUTs themselves. I also found similar ones to theirs (White in Revery and Kreativ wedding LUTs), so I asked if I was on the right track. Here's the response I received: White in Revery and Kreativ LUTs are indeed similar to the ones we use 😉 Yes, it's a wedding LUT that wasn't made by us, but we really can't say more than that. I left it at that, and really didn't want to bother them anymore. I then went into Premiere Pro and tried my hardest to replicate it myself. The result is something that reminds me of their crushed blacks, desaturated greens, white highlights, and general warm, earthy vibe, but isn't exactly IT. I am a huge perfectionist, and cannot accept the fact that it isn't just like theirs. Here is a screenshot from my attempt: https://imgur.com/a/UqWA1qH I ended up using Kreativ's "Osmara" LUT as a base, and made some minor tweaks. Below are the scopes they sent me and the screenshots of the grading. If you would like to watch the videos instead, here are the links to a few of their recent ones where the grading is consistent: VIDEO LINKS https://vimeo.com/311253998 https://vimeo.com/293844993 https://vimeo.com/294623662 SCOPES https://imgur.com/a/05SW8W5 SCREENSHOTS Here is a link to my Imgur album with all screenshots. --- Please let me know if you recognize these colors and know what LUTs they're using. I get roasted every time I post this on Reddit. Those commenting say these colors are very generic and can be found in nearly any LUT pack. I disagree. I've never seen this exact grading style before. I normally see the generic orange-teal, while this is more of a brown and desaturated green. I know a LUT is simply a base for grading mostly log footage, and of course can be tweaked. I also realize that just because I may find out the name of the LUT they use, doesn't mean I will achieve the exact look their videos have. There are many other factors to take into account. However, I genuinely am curious to know where they're getting these beautiful colors from at this point, and have been wracking my brain combing through LUTs online. I'm not trying to copy them, as I rarely do wedding videos and have my own film style myself. I just would like to post and see if anyone recognizes this LUT. Thanks 🙂
  3. The 13th annual Hollywood Professional Association (HPA) Awards took place tonight, honoring the accomplishments of industry luminaries, behind-the-scenes artists and outstanding engineering teams. The HPA Awards set the bar for creative and technical achievement, recognizing individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world. Awards were given to talented individuals and teams working in twelve creative craft categories, including color grading, sound, editing and visual effects for commercials, television and feature film. Victoria Alonso, EVP Production of Marvel, was honored with the HPA Charles S. Swartz Award, and special awards were presented for Engineering Excellence. The many social movements, including #metoo, of the past year that effectively harnessed the power of technology to bring positive change to our industry were also acknowledged during the show. The winners of the 2018 HPA Awards are: Creative Categories Outstanding Color Grading – Feature Film WINNER: “Alpha” Maxine Gervais // Technicolor – Hollywood “Avengers: Infinity War” Steven J. Scott, Charles Bunnag // Technicolor – Hollywood “Red Sparrow” Dave Hussey // Company 3 “The Shape of Water” Chris Wallace // Deluxe – Toronto “The Greatest Showman” Tim Stipan // Company 3 Outstanding Color Grading – Television WINNER: “The Crown – Paterfamilias" Asa Shoul // Molinare “Damnation – Sam Riley’s Body” Paul Allia // Picture Shop “The Marvelous Mrs. Maisel – Pilot” Steven Bodner // Light Iron “Game of Thrones – Beyond the Wall” Joe Finley // Sim “The Crossing – Pilot” Tony Smith // Picture Shop Outstanding Color Grading – Commercial WINNER (TIE): Volkswagen – "Kids’ Dreams" Adam Scott // The Mill WINNER (TIE): Zara – "Spring/Summer 2018 Main" Tim Masick // Company 3 Bottega Veneta – "Spring/Summer 2018 Trailer" Tim Masick // Company 3 Tile – "Lost Panda" Tom Poole // Company 3 Audi – "Final Breath" Sofie Borup // Company 3 Outstanding Editing – Feature Film Sponsored by Blackmagic Design WINNER: “A Quiet Place” Christopher Tellefsen, ACE “Coco” Steve Bloom “You Were Never Really Here” Joe Bini “Mission: Impossible – Fallout” Eddie Hamilton, ACE “Believer” Demian Fenton Outstanding Editing – Television (30 Minutes and Under) Sponsored by Blackmagic Design WINNER: “VICE – After the Fall” Kelly Kendrick // Vice “The End of the F***ing World – Episode One” Mike Jones “Vida – Episode 6” JoAnne Yarrow “Barry – Chapter Eight: Know Your Truth" Kyle Reiter “Vice Principals –The Union of the Wizard and The Warrior" Justin Bourret Outstanding Editing – Television (Over 30 Minutes) Sponsored by Blackmagic Design WINNER: “The Defiant Ones – Part 2” Doug Pray, Lasse Järvi “Stranger Things – Chapter Nine: The Gate” Kevin D. Ross, ACE “Game of Thrones – The Dragon and the Wolf” Crispin Green “Westworld – The Passenger” Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE “Counterpart – The Crossing" Dana E. Glauberman, ACE Outstanding Sound – Feature Film WINNER: “The Shape of Water” Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe - Toronto “Ant-Man and The Wasp” Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound “Avengers: Infinity War” Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound “Blade Runner 2049” Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group “Black Panther” Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound Outstanding Sound – Television WINNER: “Altered Carbon – Out of The Past” Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound “Yellowstone – Daybreak” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. “Waco – Operation Showtime” Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood “Dark – Secret” Alexander Würtz, Achim Hofmann, Jorg Elsner, Christian Bichoff // ARRI Media GmbH Ansgar Frerich // Basis Berlin “Yellowstone – Kill the Messenger” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. Outstanding Sound – Commercial WINNER: OXFAM – “The Heist No One is Talking About” Neil Johnson // Factory Studios KIA – “Fueled by Youth” Nathan Dubin // Margarita Mix SANE – “Let Me Talk” Anthony Moore, Jack Hallett // Factory Studios Monster – “Opportunity Roars” Tom Jucarone // Sound Lounge ICRC – “Hope” Anthony Moore // Factory Studios Outstanding Visual Effects – Feature Film WINNER: “Avengers: Infinity War” Matt Aitken, Charles Tait, Paul Story, Sidney Kombo-Kintombo, Marvyn Young // Weta Digital “Maze Runner: The Death Cure” R. Christopher White, Daniel Macarin, Phillip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital “Blade Runner 2049” Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC “Rampage” Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital “Thor: Ragnarok” Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore Outstanding Visual Effects – Television (Under 13 Episodes) WINNER: “Game of Thrones – Beyond The Wall” Joe Bauer, Steve Kullback, Ted Rae // HBO Eric Carney // The Third Floor David Ramos // El Ranchito “Altered Carbon – Out of The Past” Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG “Outlander – Eye of The Storm” Richard Briscoe // Outlander Production Daniel Norlund, Filip Orrby // Goodbye Kansas Aladino Debert, Greg Teegarden // Digital Domain “Black Mirror – Metalhead" Russell McLean // House of Tomorrow Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG “Westworld – The Passenger” Jay Worth, Bruce Branit // Deep Water FX Bobo Skipper // Important Looking Pirates Kama Moiha // COSA VFX Mike Enriquez // DNEG Outstanding Visual Effects – Television (Over 13 Episodes) WINNER: “Agents of SHIELD – Orientation: Part 1” Mark Kolpack, Sabrina Arnold // Marvel Kevin Yuille, David Rey, Hnedel Maximore // FuseFX “Supergirl – For Good” Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX “Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia” Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop “Legends of Tomorrow – The Good, The Bad and The Cuddly” Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX “NCIS: LA – A Line in the Sand/Ninguna Salida" Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree The following special awards, which were previously announced, were also presented this evening: HPA Engineering Excellence Award The winners of the 2018 HPA Award for Engineering Excellence are: · Blackmagic Design - DaVinci Resolve 15 DaVinci Resolve 15, released at NAB this year, offers a major step forward for the post-production workflow, a significant shift in technically and creatively matched toolsets as well as overall efficiency. The platform, designed to provide a full suite of post-production tools, from ingest to delivery, directly integrated in a single ecosystem, includes significant improvements in quality, functionality and time to delivery. Exchange formats, translation and conform can be eliminated, and last-minute change efficiently managed for feature film, episodic TV and short form productions. · Canon - Visual and Technical Monitoring of HDR Images Canon has seen the need for not only visually seeing HDR images on set, in editorial, and in finishing but also for engineering tools to know exact values of the HDR images and its pixels; compare SDR and HDR images; compare different HDR deliverable systems; out of gamut warnings; and connection to various manufacturers camera metadata. This complete system from Canon ensures that HDR and SDR image creation is easily and accurately be accomplished. · Cinnafilm, Inc. – PixelStrings PixelStrings is a cloud-based video conversion service focusing on ultimate playback quality for media. Leveraging the award-winning framerate conversion, retiming, artifact/noise/telecine correction, and transcode technologies from Cinnafilm, this PaaS enables the mass creation of best-possible video versions while leveraging infinite, GPU-enabled cloud compute power. The platform is a growing hub of other best-of-breed media technologies and is a simple pay-as-you-use toolset available 24/7 though a browser. PixelStings enables the freedom of a predictable OpEx process. · IBM Aspera & Telestream - Telestream Vantage with Lightspeed Live Capture IBM Aspera and Telestream have developed a game-changing solution for high-speed capture and production of live, broadcast quality video from remote locations for faster production turnaround. The API integration of Aspera’s FASPStream streaming technology with Telestream Vantage and Lightspeed Live enables open-file workflows so production teams can work on live video feeds from remote locations in real time, with dramatically lower costs compared to satellite delivery, fiber or on-location production and more flexible deployment options. The HPA Engineering Excellence Award is recognized as one of the most important technology honors in the industry, spotlighting companies and individuals who draw upon technical and creative ingenuity to develop breakthrough technologies. Submissions for this peer-judged award may include products or processes and must represent a step forward for its industry beneficiaries. Honorable Mention was awarded to Samsung for Samsung Onyx. Charles S. Swartz Award The Charles S. Swartz Award is awarded to a person, group, or company that has made a significant artistic, technological, business or educational impact across diverse aspects of the media industry. The award recognizes broad, impactful and lasting contributions that have advanced and/or provided some unique purpose to the larger media content ecosystem. This year’s honoree is Victoria Alonso, respected producer and Executive Vice President, Production for Marvel Studios. More information about the HPA Awards and the Hollywood Professional Association can be found at http://www.hpaonline.com/. The HPA Awards, which are produced by Homerun Entertainment, are made possible through the generous sponsorship of Diamond Title Sponsor Blackmagic Design; Platinum Sponsor IMAX; Bronze Sponsors Avid and Sony Pictures Post; and Foundation Members Avid, Dolby, EFILM, Encore, and Stereo D.
  4. Happy to announce that 3D LUT Creator OFX plugin for DaVinci is coming! Details in the video https://www.youtube.com/watch?v=aKVE8MgJpb8
  5. I'm about to start a feature and because of our schedule as well as dropping temperatures, the possibility of shooting day for night is becoming more and more real. My concern is that having red/orange light in the night scenes is extremely important to the director, but that the grade will suck all of that out. The source for the light is a campfire, but one of the characters will also be bloody and wearing a faded red jacket. I've seen the 40's/50's day for night scenes which have a lighter grade and thus more colors, but those seem to have been done because of the sheer expanse of the locations that needed to be seen. Cast Away is the best example of fire/red light I can find for day for night, however I have read that there were some VFX in those shots. While we do have access to a good VFX house, I want to be able to introduce red light practically as a baseline. One detail, we'll be shooting in the woods in California so I'll have limited generator power due to fire concerns. So essentially I am at a loss. Any advice is deeply appreciated.
  6. Hello fellow filmmakers! I have been editing in premier and color grading in davinci resolve. Ive actually enjoyed the process more than I thought I would but am curious how to achieve certain moods and tonws. I love the memory type of colors we get in call me by your name during the grass scene how might I achieve that? Overall the film has a very blue tone so how might you suggest I grade more romantic scenes, sad scenes, neutral scenes? Lastly, I have had trouble transferring slow motion from premier to resolve any advice? Thanks so much! Tyrone
  7. 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 computer, it looks all good, with nice blacks and all, but my question is: what happen when the film is screened to a festival, is the screen 10bit? for which my black all of a sudden will be milky? I read a lot about this topic but everyone has different opinion as for the workflow to follow and so on, I’d be more than happy if anyone gives me some insight on the matter :) Thank you! (I attched a a screenshot just so you understand what I’m talking about)
  8. The Hollywood Professional Association (HPA®) has opened its Call for Entries in Creative Categories for the 12th annual HPA Awards. These awards are considered standard-bearing honors for groundbreaking work and artistic excellence, recognizing creative artistry in color grading, editing, sound, and visual effects in feature film, television, and commercials. The HPA Awards shine a spotlight on talent, innovation and engineering excellence in the professional media content industry. The 12th annual gala awards presentation will be held on the evening of November 16, 2017 at the Skirball Cultural Center in Los Angeles, California. Entries are now being accepted in the following competitive categories: Outstanding Color Grading - Feature Film Outstanding Color Grading - Television Outstanding Color Grading - Commercial Outstanding Editing - Feature Film Outstanding Editing - Television Outstanding Editing - Commercial Outstanding Sound - Feature Film Outstanding Sound - Television Outstanding Sound - Commercial Outstanding Visual Effects - Feature Film Outstanding Visual Effects - Television Outstanding Visual Effects - Commercial Entries for the Creative Categories will be accepted between May 15 and July 10, 2017, and Early Bird Entries (reduced entry fee for the Creative Categories) will be accepted through June 12, 2017. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 7, 2016 through September 5, 2017. Entrants do not need to be members of the Hollywood Professional Association or working in the U.S. As announced previously, the Call for Entries remains open for the Engineering Excellence Award, which will be bestowed at the November gala until May 30th, 2017. Additional special honors, including the HPA Lifetime Achievement Award, will be announced in June. Seth Hallen, President of the HPA and a founding member of the HPA Awards Committee, commented, “The HPA Awards have grown into an unmissable evening, bringing the creative community together. The judging is peer driven, so these honors resonate to winners and nominees alike. In the past 12 years, we have judged and honored the most compelling creative work. And, every year, in every category, the submissions are of the highest caliber. I sincerely encourage individuals and companies to enter the HPA Awards. It’s where we show the world the talent, fierce dedication and hard work behind the story. We look forward to another very special event on November 16th." Complete rules, guidelines and entry information for the Creative Categories and all of the HPA Awards are available at: www.hpaawards.net. For a list of the previous years' winners, click here. The HPA Awards are made possible through the generous sponsorship of Foundation Members Avid, Co3, Deluxe, Dolby, EFILM, and Encore; and Platinum Sponsors IMAX and Sohonet. For sponsorship or program advertising opportunities, contact Jeff Victor at jvictor@hpaonline.com or calling 213.614.0860. Opening of ticket sales will be announced shortly.
  9. Hey everyone! I would love to hear your feedback on my latest film. This was a translation of my time spent in Baltimore and Washington during the trump election. I wanted to show the viewer what it felt like as I was waling through the streets during this incredibly tense time in Americas history. http://www.freshfinishmedia.com/canadian-filmmaker-washington-election/
  10. In a new premium article supervising colorist Scott Klein (Warner Bros) talks in detail about his technical and creative work on the Fox megahit “Empire” and about his collaboration with Cinematographer Paul Sommers. Enjoy!
  11. Hollywood Professional Association Unveils HPA Awards Nominees Creative nominations announced for editing, sound, visual effects and color grading 28 September 2016 (Los Angeles, CA) - The Hollywood Professional Association® (HPA) today announced the nominees for its 2016 HPA Awards. Considered the standard-bearer for excellence and innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, the HPA Awards honor creative achievement and artistic excellence. Launched in 2006, the HPA Awards recognize outstanding achievement in editing, sound, visual effects and color grading for work in television, commercials, and feature films. The winners of the 11th Annual HPA Awards will be announced at a gala ceremony on 17 November 2016 at the Skirball Cultural Center in Los Angeles, CA. The 2016 HPA Award nominees are: Outstanding Color Grading - Feature Film "Carol" John Dowdell // Goldcrest Post Productions Ltd "The Revenant" Steven J. Scott // Technicolor Production Services "Brooklyn" Asa Shoul // Molinare "The Martian" Stephen Nakamura // Company 3 "The Jungle Book" Steven J. Scott // Technicolor Production Services Outstanding Color Grading - Television "Vinyl - E.A.B" Steven Bodner // Deluxe/Encore NY "Fargo - The Myth of Sysiphus" Mark Kueper // Technicolor "Outlander - Faith" Steven Porter // MTI Film "Gotham - By Fire" Paul Westerbeck // Encore Hollywood "Show Me A Hero - Part 1" Sam Daley // Technicolor PostWorks NY Outstanding Color Grading - Commercial Fallout 4 - "The Wanderer" Siggy Ferstl / Company 3 Toyota Prius - "Poncho" Sofie Borup // Company 3 Nascar - "Team" Lez Rudge // Nice Shoes Audi R8 - "Commander" Stefan Sonnenfeld // Company 3 Apple Music - "History of Sound" Gregory Reese // The Mill Pennzoil - "Joyride Circuit" Dave Hussey // Company 3 Hennessy - "Odyssey" Tom Poole // Company 3 Outstanding Editing - Feature Film "The Martian" Pietro Scalia, ACE "The Revenant" Stephen Mirrione, ACE "The Big Short" Hank Corwin, ACE "Sicario" Joe Walker, ACE "Spotlight" Tom McArdle, ACE Outstanding Editing - Television "Body Team 12" David Darg // RYOT Films "Underground - The Macon 7" Zack Arnold, Ian Tan // Sony Pictures Television "Vinyl - Pilot" David Tedeschi "Roots - Night One" Martin Nicholson, ACE, Greg Babor "Game of Thrones - Battle of the Bastards" Tim Porter, ACE Outstanding Editing - Commercial Wilson - "Nothing Without It" Doobie White // Therapy Studios Nespresso - "Training Day" Chris Franklin // Big Sky Edit Saucony - "Be A Seeker" Lenny Mesina // Therapy Studios Samsung - "Teresa" Kristin McCasey // Therapy Studios Outstanding Sound - Feature Film "Room" Steve Fanagan, Niall Brady, Ken Galvin // Ardmore Sound "Eye In The Sky" Craig Mann, Adam Jenkins, Bill R. Dean, Chase Keehn // Technicolor Creative Services "Batman VS Superman: Dawn of Justice" Scott Hecker // Formosa Group Chris Jenkins, Michael Keller // Warner Bros. Post Production Services "Zootopia" David Fluhr, CAS, Gabriel Guy, CAS, Addison Teague // Walt Disney Company "Sicario" Alan Murray, Tom Ozanich, John Reitz // Warner Bros. Post Production Services Outstanding Sound - Television "Outlander - Prestonpans" Nello Torri, Alan Decker // NBCUniversal Post Sound "Game of Thrones - Battle of the Bastards" Tim Kimmel, MPSE, Paula Fairfield, Mathew Waters, CAS, Onnalee Blank, CAS, Bradley C. Katona, Paul Bercovitch // Formosa Group "Preacher - See" Richard Yawn, Mark Linden, Tara Paul // Sony Sound "Marco Polo - One Hundred Eyes" David Paterson, Roberto Fernandez, Alexa Zimmerman, Glenfield Payne, Rachel Chancey // Harbor Picture Company "House of Cards - Chapter 45" Jeremy Molod, Ren Klyce, Nathan Nance, Scott R. Lewis, Jonathan Stevens // Skywalker Sound Outstanding Sound - Commercial Sainsbury's - "Mog's Christmas Calamity" Anthony Moore, Neil Johnson // Factory Save the Children UK - "Still The Most Shocking Second A Day" Jon Clarke // Factory Wilson - "Nothing Without It" Doobie White // Therapy Studios Honda - "Paper" Phil Bolland // Factory Honda - "Ignition" Anthony Moore // Factory Outstanding Visual Effects - Feature Film "Star Wars: The Force Awakens" Jay Cooper, Yanick Dusseault, Rick Hankins, Carlos Munoz, Polly Ing // Industrial Light & Magic "The Jungle Book" Robert Legato, Andrew R. Jones Adam Valdez, Charley Henley // MPC Keith Miller // Weta Digital "Captain America: Civil War" Russell Earl, Steve Rawlins, Francois Lambert, Pat Conran, Rhys Claringbull // Industrial Light & Magic "The Martian" Chris Lawrence, Neil Weatherley, Bronwyn Edwards, Dale Newton // Framestore "Teenage Mutant Ninja Turtles: Out of the Shadows" Pablo Helman, Robert Weaver, Kevin Martel, Shawn Kelly, Nelson Sepulveda // Industrial Light & Magic Outstanding Visual Effects - Television "Supergirl - Pilot" Armen V. Kevorkian, Andranik Taranyan, Gevork Babityan, Elaina Scott, Art Sayan // Encore VFX "Ripper Street - The Strangers' Home" Ed Bruce, Nicholas Murphy, Denny Cahill, John O'Connell // Screen Scene "Black Sails - XXI" Erik Henry // Starz Matt Dougan // Digital Domain Martin Ogren, Jens Tenland, Nicklas Andersson // ILP "The Flash - Gorilla Warfare" Armen V. Kevorkian, Thomas J. Conners, Andranik Taranyan, Gevork Babityan, Jason Shulman // Encore VFX "Game of Thrones - Battle of the Bastards" Joe Bauer, Eric Carney // Fire & Blood Productions Derek Spears // Rhythm & Hues Studios Glenn Melenhorst // Iloura Matthew Rouleau // Rodeo FX Outstanding Visual Effects - Commercial Sainsbury's - "Mog's Christmas Calamity" Ben Cronin, Grant Walker, Rafael Camacho // Framestore Microsoft Xbox - "Halo 5: The Hunt Begins" Ben Walsh, Ian Holland, Brian Delmonico, Brian Burke // Method Studios AT&T - "Power of &" James Dick, Corrina Wilson, Euna Kho, Callum McKeveny // Framestore Kohler - "Never Too Next" Andy Boyd, Jake Montgomery, Zachary DiMaria, David Hernandez // JAMM Gatorade - "Sports Fuel" JD Yepes, Richard Shallcross // Framestore Recipients of a number of special awards have been previously announced by the HPA. Herb Dow, ACE, will be honored with the 2016 Lifetime Achievement Award. Michelle Munson, CEO of Aspera, will receive The Charles S. Swartz Award, and The Mill BLACKBIRD has been tapped to receive the HPA Judges Award for Creativity and Innovation. Winners of the coveted Engineering Excellence Award include Aspera, Grass Valley, RealD and SGO. Grass Valley and Canon USA received Honorable Mention in the Engineering Excellence category. The HPA Awards gala ceremony is expected to be a sold out affair and early ticket purchase is encouraged. Tickets for the HPA Awards are on sale now and can be purchased online at www.hpaawards.net. For all inquiries and sponsorship information, call the HPA at +1 (213) 614-0860 or email at info@hpaawards.net. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com. Blackmagic Design, NAB Show, AVID, Company 3, Deluxe, Dolby, EFilm, Encore, IMAX, Sohonet and Sony are among the sponsors of the 2016 HPA Awards. ### About the HPA® Awards The HPA Awards were created to foster awareness and recognize the achievements of the individuals and companies that have contributed to groundbreaking technologies and creative excellence within the professional media content industry, and build involvement in the Hollywood Professional Alliance. The HPA is a partner of the Society of Motion Picture and Television Engineers® (SMPTE®). Information about the HPA Awards is available at http://www.hpaonline.com. The HPA Awards will be presented with generous support from Foundation Members and sponsors. About the Hollywood Professional Association Hollywood Professional Association (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through their partnership with the Society of Motion Picture and Television Engineers® (SMPTE®), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at www.hpaonline.com. About the Society of Motion Picture and Television Engineers® (SMPTE®) Winner of an Oscar® and multiple Emmy® Awards, the Society of Motion Picture and Television Engineers® (SMPTE®) is a global leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem. A professional membership association that is internationally recognized and accredited, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. For a century, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines. Nearly 7,000 members - motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students - who meet in Sections worldwide, sustain the Society. Through the Society's partnership with Hollywood Professional Association (HPA®), this membership is complemented by the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at http://www.smpte.org/join. Media Contact: ignite strategic communications christine purse | kate eberle +1 818 980 3473 | chris mobile: +1 323 806 9696 chris@ignite.bz | kate@ignite.bz
  12. Company 3's Paul Ensby is widely regarded as one of London’s top colorists, and in this article he talks about his work with Romeo & Juliet. Paul has a very impressive list of feature film credits, including 'Kingdom of Heaven', 'Amy', 'Hanna' and Guy Ritchie's 'The Man From U.N.C.L.E' that soon will be added to the Lowepost premium collection.
  13. 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.
  14. Hey guys, I just installed DaVinci Resolve 12 (Lite Version) on my laptop, and I've noticed something when importing clips - on playback in the Edit and Color tabs, the clips have a flickering strobe of different colors. Is this something to do with my graphics? And if so, is there anything I can change to get rid of this issue? Here are my basic specs: HP Envy Laptop CPU: intel Core i5 Platform: Windows 10 Graphics: Intel HD Graphics 520 RAM: 12GB Thanks a lot!
  15. Hi everyone. I want to lern more for color grading advance , for the moment i have acoount in mixlight and i love this training but i need more info for color grading DI. Can you sugest me something special for online or dvd advance training??? Thank you Bledi
  16. 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.
  17. 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.
  18. 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!
  19. 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 :)
  20. 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
  21. 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 actor’s face! Thanks for watching! R
  22. 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.
  23. Here's my color grading reel: https://vimeo.com/88596271 Feedback is always appreciated. :)
  24. 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
  25. 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 – 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 157.5æm, 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.
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