Jump to content

Search the Community

Showing results for tags 'color correction'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

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 th
  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
  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 ht
  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
  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 ex
  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
  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 projec
  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 kn
  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 Da
×
×
  • Create New...