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250D came back orange... / salvageable??


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Hi guys!

I hope everyone is holding up ok. 

Grading nightmare below:

I've shot a film with 250d and 500t rolls and in some cases (when using the 250d indoors and in low light) I got a orange tinted result (raw scan images attached)
Now, I'm planning on grading this in da vinci. I'm not so sure I can do a massively good job because I've tried a few times and I always get up to a point where the image look ok but still not balanced enough to make me see past the grade (it looks very pushed)

Have a look at these two screenshots... are they salvageable in your eyes?

 

A

Pale_Blue_Door_2020_03_02.00_00_58_24.Still015.jpg

Pale_Blue_Door_2020_03_02.00_02_09_22.Still014.jpg

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Thank you Phil!

I see what you are suggesting there! 

It's close to where I would push it as well. How would you describe what you did there? Is it tint and colour temperature (to put it roughly)

The other detail of this project is as follows...
I made some footage using the 250d and a daylight involved so I did get some footage that look decent.
I have a feeling the orange footage will never come close to this though...

 

What do you think?

A

 

 

 

Pale_Blue_Door_Part_001_HD_TRANSCODE.00_05_01_08.Still001.jpg

Edited by Alexandros Pissourios
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The choice in the shot I altered is whether you want the shirt on the foreground subject to be white, or the walls in the background to be white. I get the impression the foreground is catching a bit of daylight from a window so it's bluer than the deep background. Nothing wrong with it, just a choice as to what you do with mixed colour temperature.

I might go for a bit more brightness and contrast. Looking at the histogram that's part of the Photoshop curves filter, you can see that there's very little in the top half of the brightness range of the original. You can see the curve I used to punch it up a bit.

Obviously, any of this might not suit your intent or match surrounding shots.

graded2.thumb.jpg.51ec9d7b05bde57b32487bca03de1715.jpg

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Thank you Phil. 

It's really helpful to just a get reading from someone else. 

Yes, this last one you sent over with the histogram is def easier to manage (there was a home daylight lamp in the room so it's kind of ok, no orange tint --and  the Cinelab technical grade in the transcodes is actually quite lovely. 

It's the (terminal) error of not using the lamp on all shoot dates that I'm struggling with but from what i'm getting, I should relax my expectations and try and do my best with it. 

I'm learning in the most silly way !! 

a

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There's an OFX plugin in recent versions of Resolve called "Chromatic Adaptation" (under ResolveFX Color in the studio version, I don't know if it's included in the free version).  It seems to perform a more complex color transformation than what's possible with basic curves or grading adjustments.  You end up with a vastly more accurate, purely technical correction in one node, allowing you to separate your creative / opinion adjustments into other nodes.  

 

pale blue door chromatic adaptation_1.1.1.jpg

pale blue door chromatic adaptation_1.2.1.jpg

chromatic adaptation settings.png

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Upon further reading, the Chromatic Adaptation plugin is only included in the studio version of Resolve.  In my opinion, it's well worth the cost. 

 

Quote

Chromatic Adaptation (Studio Version Only)

A Color category plug-in that lets you precisely transform an image that has been lit or processed assuming one specific color temperature to another user-selectable color temperature. This transformation alters the appearance of all colors in the image as perceived by the human vision system in the same way that a new illuminant would, whether that illuminant is a light in the environment being recorded or the color temperature of a display on which the image is shown. This plug-in is useful for performing specific color temperature transformations as part of color management workflows or for setting up precise color temperature adjustments as part of a creative grade.

You control this transformation by using pop-up menus to define the Illuminant Type of the source (typically the color temperature the camera was set to), and that of the target that you want to transform the image to. For both sets of controls, you can choose a Standard Illuminant from a list, a Color Temperature via a slider, or CIE 1931 xy coordinate values. This plug-in also takes into account the current color space and gamma of the clip, which default to the current Timeline Color Space.

This image transform is extremely precise because the image is first transformed from the Timeline Color Space to XYZ, and then it’s transformed to match the LMS (long, medium, short) color space that models the cone response of the human eye to colors lit by different illuminants.

 

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