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Found 21 results

  1. I’d love some feedback on a music video I did for my band recently. Part of the music video is a super-stylized noir look, and part of it has a glitchy electric computerized feel. Feel free to comment on the cinematography, VFX, or even the song. Let me know if you think this worked!
  2. 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.
  3. 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!
  4. 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.
  5. Hey there! I'm sorry if this is too many questions at once, but I figured it would be better to just lay my initial questions all out at once instead of peppering them throughout the thread over time. I graduated from college this May with an English degree and a minor in Communications, and I want to go to film school as a graduate student. In order to do this, I need a short film (I'd really like to go to USC). However, my university didn't/doesn't exactly have a cutting-edge film program, so I'm a little flustered. Here's a bit of background about my short film project. It concerns a young woman going to a bar in the early hours of her 21st birthday (it's like 12:08 AM) and ordering her first-ever drink. It's going to be shot without dialog--it will be all body language and sound effects, like a Pixar short, if that makes sense. I want the look of the film to be "objective" (I know that's not a real thing in film) except for a couple of wide-angle shots and a deep focus shot which pulls back over the bar to establish that she's in a bar (if there's a way to do this without deep focus, let me know). I'd also like to do something like this shot from The Music Man (https://youtu.be/CC33O52pGUg?t=2m43s). I don't know how they did it, but I suppose you can cheat it in post if you're a good/patient enough rotoscoper. Anyway, I was looking into what kind of camera I should use to film this project. I've saved up a bit of money and I want to get the best camera possible for the job without requiring me to learn a textbook-worth of information or have tons of hands-on time with the camera before I use it. Since I'll be filming in a real bar (sadly, I haven't saved up enough money to build one from scratch on a soundstage) at night, there will be low light and the possibility of competing color temperatures (since I can't exactly tear out any lights). I'd also prefer to go for as filmic a look as possible. I would shoot the project on film if I could, but I super-don't know enough about film to do that. For this reason, I was looking at either the RED camera or the ARRI Alexa XT. After reading about the RED, I came away with the impression that it was a very particular camera that had kind of a steep learning curve, and that the ARRI Alexa XT would be much easier to shoot with, although I don't know if it's easy enough. My experience has mainly been with that one miniDV Canon SD prosumer camera that everyone had. I also would like to shoot Open Gate ARRIRAW for the project to maximize the pixel count for upscaling to 4K. Since I live near Atlanta, I'm looking at renting from here: http://pce-atlanta.com/. Here is their list of cameras and lenses (PDF): http://www.pce-atlanta.com/pdf/Camera%20Catalog_4_8_2013.pdf. I'm going to be renting the camera and lenses for a weekend. So my first question is: how feasible is this? Especially as I've never used the Alexa before and I'm not an experienced color corrector. Can you just drop ARRIRAW footage into the free version of Da Vinci Resolve or Adobe SpeedGrade and get good results just by messing with a few presets, or is it going to be a month of tedious work? Because I don't have the time to devote every day to it, especially as I'll also be doing foley work. My second question is this: ARRIRAW is flat footage, correct? So how do you know how the colors are going to look when using the monitor? My third question is: how much is that Codex docking station that plugs into the USB 3.0 connection on a MacBook Pro? I've been unable to get a straight answer from their website. And do I need to buy a software license to transfer the ARRIRAW files to a hard drive using it? My fourth question is this: what kinds of lenses should I use? I was thinking of just getting a zoom lens, since that would be cheaper, but would I be able to pull off that deep-focus shot with it? And ARRI's website tells me that shooting in Open Gate ARRIRAW can be a problem because a lot of lenses don't fully cover the sensor area. Do any of the lenses on that list qualify? I'd rather not abandon the Open Gate part of my plan, but I'd sooner abandon it than abandon the Alexa XT (although if I weren't shooting in Open Gate ARRIRAW I guess I could switch to an Alexa with the XT module), so if I have to, I will. My fifth question is: do I need to get a new tripod? I mainly have the kind which you can use for still camera work or for that relatively light Canon prosumer camera I mentioned. Is the Alexa XT a heavy camera? My sixth question is: lighting. I don't understand it. I have a lot of questions about it. I'm considering just using the available light for this reason. For instance, I understand the three-point lighting method (or I think I do, anyway) and I understand how it's easy to do in close-up, but what happens when you cut to a long shot from a different angle, exposing where the lighting rigs would be? My seventh question is: how do I keep it from looking like TV? Let me elaborate on that. I initially thought that aspect ratio played a part in making TV look like TV, but Better Call Saul looks like a movie to me, and Witness for the Prosecution, mistakenly presented in 16:9, looked like a movie as well--not like TV. So my theory is that it has something to do with coverage and composition (and maybe editing and lighting, too). I want my short film to look like a film. What are some common pitfalls I should avoid if I don't want my film to be mundane? I think that's it for now. If you guys could do me a favor and keep checking this thread, I'm sure I'll have more questions. Thank you so much for your time. Also, please let me know if in the future I should make separate topics for questions with separate subject matter. I just didn't want to clutter up your forums.
  6. 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 http://movie-tourist.blogspot.co.uk/2014/04/midnight-in-paris-2011.html http://movie-tourist.blogspot.com/2013/01/to-rome-with-love-2012.html http://www.dvdbeaver.com/film3/blu-ray_reviews55/midnight_in_paris_blu-ray.htm http://www.dvdbeaver.com/film4/blu-ray_reviews_58/to_rome_with_love_blu-ray.htm http://www.blu-ray.com/movies/Midnight-in-Paris-Blu-ray/26512/#Screenshots http://www.blu-ray.com/movies/To-Rome-with-Love-Blu-ray/58388/#Screenshots Have in mind that the Movie Tourist screenshots look different than the films themselves.
  7. 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 on a monitor, calibrated using SMPTE PLUGe bars, as that is how the projector has been calibrated. Those bars are essentially all one shade of black on a macbook, so now I'm concerned that once projected, my blacks may look lighter than originally intended. What confuses me is that I have tested out my own blu-ray on a few different televisions, and the contrast and color looks good. When projected, could it really be vastly different? Should I re-grade another version specifically for projection exhibtion? And if so, does that mean I would need to bring down all my blacks? We used the scopes and everything is on the line, nothing crushed. And if that's the case, are studios grading several versions for broadcast and streaming? I know it's quite a bit to digest. Any thoughts would be welcomed! Go easy on me, I'm still learning. Thanks so much!
  8. 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
  9. 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
  10. Hello everyone, My goal for writing this post is to get a better understanding of what goes into achieving a "well balanced" shot. For clarity, I'll lay out the main factors which I believe contribute to the composition of a shot. These are: Physical camera and lens: The desired look and feel of any shot is obviously constrained by the physical tools in use (to an extent). Shooting with different settings on the camera can also either add or take away from a certain look that may be desired. Lighting: I'm under the impression that lighting can make or break a shot, regardless of how expensive the camera used to shoot is. Post: Everything that comes in the editing stage. It seems like a well lit, clean shot is crucial here if the goal is to get the most out of color correcting, and otherwise processing, the footage. How heavily do each of these factors impact the final composition? For example, by percentage, my intuition would be that it's something like: Physical camera and lens (50%) Lighting (40%) Post (10%) Is this about right, or am I way off? I'm guessing this would vary based on the type of shot I was trying to achieve, so for the sake of this post, let's say that I'm specifically talking about achieving a look and feel similar to the screenshot below: This is an image from a film titled The Raid 2. I chose this scene from the movie because I particularly struggle with setting up lighting for night shots. It looks like they did a pretty good job here, without losing any detail or overexposing the image and making it look unnatural. Considering the screenshot above, how much of the look and feel would you say is due to having "the right equipment" vs. having talented and experienced individuals with an in-depth understanding of cinematography. Any input is appreciated!
  11. i'm only asking for help on how to convert the Sekonic color meter "CC" index reading to apply to the Resolve "tint" slider value in the camera RAW section. (no mired/kelvin issues for this.. just the CC value and translating that value for post work) On p12 of the Sekonic manual paraphrased, each CC index number is multiplied by 2.5 to get a Color Correction filter number... OK, that's awesome... for knowing what CC gels to use on lights... ...but how does that meg/grn adjustment number relate to the +/- 150 value in many applications (lightroom/resolve) I would also like to know how to apply that same meg/grn measurement to shots in post too. Here's an example: hypothetical fumbled studio shoot. Tungsten lamps, checked/metered in advance, all good. Power goes out, comes back on an hour later. one of the bulbs is now dead and is replaced. In a rush and don't re-meter lights notice after the talent leaves that something is off with the key (fill bounced) re-meter, yup for some reason the new lamp shows a CC index value of G2 (previous bulb was 0 on the Sekonic C-500) Write down the value... Fast Forward I am now sitting in front of Resolve and looking at the "tint" slider in camera raw window on the "color" tab. what do i set the slider to... +5 -5 +2 -2 .... or something completely different? Please explain in detail. Thank You so much in advance, I have given myself a headache from googling and re-reading manuals =)
  12. Hi everyone, in few days I'm gonna show my short film to a commission for my graduation... now, until now I just worked on my laptop, never tried to see the result on TV, but as soon as I did it... I really freaked out! watching the film on my laptop, everything is good: high quality definition, bluish and desaturated look which is exactly what I wanted to achieve, no digital noise... when I saw it on TV, it was yellowish and very saturated, really bad definition with a LOT of digital noise... I don't really know what to do, my school career will be probably influenced by this project... can someone help with that? do you think I'm doing something wrong linking the PC to the TV, or is it normal all that noise?? I used a RGB cable to link the PC to the TV, and I'm using premiere pro cs6 to edit... is there something I can do in the export settings to have a really good HD product once it is shown on TV, or on a big screen? Please help, I will be really grateful for any kind of answer :(
  13. Hi. I am going to shoot a short film on Canon 1D C camera. I love Marvel´s cine style set up on the Canon 5D mark III. Is it possible to use the same Marvel´s cine style for the 1D C camera? Or do you recommend another cine style for that camera? I just want to use the best cine style possible so I can do the best color correction in the end. We´re going for the "Amelie" look:-). Best, Henrik A. Meyer www.henrikameyer.com
  14. Hello - I'm in the process of finishing up a documentary that I shot last year. I'm almost at picture lock and it's time for me to start thinking about color correcting and grading my project. My film was shot on two different film stocks, Kodak's 50D 7203 and 500T 7219. Both films were processed normal and were given a flat pass telecine on a Baselight system to HD ProRes422HQ files. I've tried some correction tests with this footage and I am having a devil of a time getting everything to balance out. The transfer is obviously lacking in contrast, and when I try to correct that it knocks the color and saturation all out of whack. According to the scopes I am using (inside color and FCP) I have to drop the blacks way down and stretch the whites and the midtones way up in order for the spread to register correctly. In fact, it seems to take too much correction to add contrast to my footage. Is this the case? Am I doing to do much? I'm turning to you guys for some help and advice. Right now I'm not worried about grading the footage - just correcting it so it doesn't look flat. Below are some screen grabs from my project which should give you a good idea of what I'm dealing with. If you have any suggestions or comments please feel free to share them with me. I'm also happy to provide more screen grabs or answer any questions if you think it will help. Here's some shots from the 50D footage, all take in full sun around f16. http://www.flickr.com/photos/25291579@N00/9007383279/ http://www.flickr.com/photos/25291579@N00/9007384281/ Here's some shots for the 500T footage. Two were shot under fluorescent light at around f2, the last was shot using a practical tungsten fixture at around f4. http://www.flickr.com/photos/25291579@N00/9007385761/ http://www.flickr.com/photos/25291579@N00/9008568480/ http://www.flickr.com/photos/25291579@N00/9007388485/ I should mention that these screen grabs appear much darker than my actual footage. The blacks are not as strong in the 7219 footage as shown here, but they are very strong in the 7203 footage and these stills make them look even darker. I should also mention that this project will most likely be corrected using Apple's Color. Thanks in advance for your help, Aaron Martin
  15. Hi there, I am new to the cinema DNG workflow and I just started working with the Ikonoskop a-cam-dii. Although I have been doing a lot of research on the subject, I would like to have some advice from someone with some experience in the field. My questions is the following: for projects that do not need massive color correction, would it be acceptable to throw away the DNG files after transcoding them to Prores 4444 or Prores HQ 422 and use these Prores files as the master files? What would the disadvantages be in this case, if any? Thanks
  16. 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/
  17. Hello everyone, you know that color grading software they used for The Hobbit? maybe you can figure it out from this link Thanks AM
  18. 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
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