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Nvidia Showcases Real-Time 6K Editing

At their booth at NAB Show, Nvidia showed off a workstation that allowed for editing and color correction of 6K video in real-time.

Explains RedShark News, "The setup was an HP Z820 workstation with dual Nvidia Quadro K6000s. We understand that one of the cards was doing the debayering, and the other was applying color correction."

Read the full story here.

A Tutorial to Color Correction

In the below video, Clay Cook of Fstoppers provides a quick color grading tutorial in Photoshop.

He writes, "This grading technique uses a combination of adjustment layers; Hue/Saturation, Curves, Levels and Solid Color Fill. Depending on the look you want to achieve, this process can be altered and switched to fit to your vision."

Watch below and read more here.

The Room Posts Unconventional Love Story 'Her'

Postproduction on director Spike Jonze’s Her was completed at The Room, the specialty postproduction studio located within Technicolor–PostWorks New York. Digital intermediate colorist Jack Lewars performed final grading in collaboration with Jonze.

Bringing the Beautiful 'Grand Budapest Hotel' to Life

Wes Anderson doesn’t create films; he creates worlds. For The Grand Budapest Hotel, released by Fox Searchlight Pictures on March 7, that world became the fictional town of Zubrowka, located in the mountains of Eastern Europe.

To bring Zubrowka to life, Anderson developed a complete history mirroring that of 20th century Eastern Europe. Building this extensive history was key to developing the characters and story, as well as essential to creating the look of the world that they inhabit, which in turn reinforces their existence, making it truly believable for the audience.

Tips for Color Correcting Skin Tone

Larry Jordan has gathered together some handy tips for color correcting video.

He writes, "If you ask a colorist what they do to make actors look good on screen, they’ll tell you that they just watch the monitor and make them look 'right' for the scene. While truthful, that advice doesn’t help the rest of us that don’t have their experience at seeing and adjusting color. The purpose of this article is to give you some guidelines you can use to fix color problems to help your actors look 'normal.' While every actor looks a bit different, if you have a color problem, these guidelines will help you fix it."

Read the full story here.

Applying LUTs to Footage in FCP X, Premiere Pro, Media Composer, and DaVinci Resolve

Andy Shipsides of AbelCine provides a good updated tutorial for applying LUTs to footage in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7, and DaVinci Resolve 10.

Read it here.

Color Grading in Real-Time 4K with the Apple Mac Pro

In the below video, colorist Dado Valentic demonstrates real-time 4K color grading using the Apple Mac Pro and Blackmagic Design's DaVinci Resolve.

Writes Televisual, "In the video below, Valentic first demonstrates the speed of HD playback from within Resolve, using footage shot on the Sony F65, Sony F55, Red Epic, Red Epic Dragon and Arri Alexa. He then starts adding blur effects nodes to the footage (one of the most challenging nodes for a grading system to apply in real-time) to test how many the system could cope with while still maintaining real-time playback."

Watch below and read more here.

An In-depth Tutorial for Adobe Speedgrade CC

In the below video, David Andrabe provides an in-depth tutorial to color correcting with Adobe Speedgrade CC. The tutorial goes over everything from setting up to creating masks, creating looks, rendering out and more.

Watch below. (via NoFilmSchool)

Color Grading Video in Adobe Photoshop

Jaron Schneider of Fstoppers provides a tutorial for color grading video from within Adobe Photoshop.

He writes, "This is indeed a short tutorial on color grading video in Photoshop. Unconventional? Yes, but it is effective. Not too long ago I was having a conversation with the other Fstoppers writers when the conversation of quickly color correcting video footage came up. Without the hassle of Premiere, Speed Grade or any other grading software, was there a simple way to make adjustments that were easy and intuitive? I believe the answer is Photoshop."

Watch below and read the full story here.

Lorde Video Completed with BMD Tools

Santa Monica post facility Prehistoric Digital graded the music video for Lorde’s new single, “Team,” on Blackmagic DaVinci Resolve 10. Directed by Young Replicant, the video features two contrasting looks to demarcate the two-part narrative of the story. Kevin Cannon, colorist on “Team,” says he wanted the color grade to preserve the mystery for both scenarios and keep many of the details just visible through the haze.

A Primer on Color Terminology

Oliver Peters provides a primer on color concepts and terminology on his blog.

He writes, "It’s time to dive into some of the terms and concept that brought up modern color correction software. First of all – color grading versus color correction. Many use these terms to identify different processes, such as technical shot matching versus giving a shot a subjective “look”. I do this too, but the truth of the matter is that they are the same and are interchangeable. Grading tends to be a more European way of naming the process, but it is the same as color correction."

Read the full story here.

Coloring the Dark, Papery World of 'Short Term 12'

Colorist Ian Vertovec talks to Moveable Fest about his work creating the dark world of feature film Short Term 12.

Says Vertovec, "I describe the look of the film as almost like printed on paper. Because you don’t really get stark, rich blacks when you print something from an inkjet printer. You have this texture to it. When you have black blacks, the frame falls away.”

Read the full story here.

 

 

 

'Pemberley' Comes to LipSync Post

Postproduction for the BBC1 miniseries Death Comes to Pemberley was handled by LipSync Post in London, with color grading and deliverables completed on one of the facility’s three Quantel Pablo color correction and finishing systems.

“I sat down on the Pablo with the director of photography, Steve Lawes, initially to set up looks for certain scenes, laying down broad strokes,” recalls senior colorist Stuart Fyvie. “We then went through a second pass to smooth it out across all the scenes. It’s an iterative process.

Light Iron Manages Color Pipeline for 'Ender's Game'

Light Iron provided on-set color, color workflow and final color for Ender’s Game, which Light Iron CEO Michael Cioni describes as “an amazing science fiction movie, with a behind-the-scenes story as compelling as what’s on the screen.”

Modern VideoFilm Colors FOX’s 'Sleepy Hollow'

Supervising senior colorist Todd Bochner of Modern VideoFilm relies on Blackmagic Design’s DaVinci Resolve to help deliver the stylized look of the FOX series Sleepy Hollow.

'Lone Survivor' Thrives with EC3 Location Post Services

Cinematographer, Tobias Schliessler, ASC got to take a brand-new dailies facility on wheels for a test drive for the Peter Berg-directed, Navy SEALS themed Lone Survivor. The EC3 Trailer (a joint venture between post houses Company 3 and EFILM) was designed to bring full digital dailies services to locations. In the case of Lone Survivor, the EC3 trailer was parked high in the mountains of New Mexico, which were standing in for Afghanistan.

EC3's New Mobile Dailies Trailer Used On-Location for 'Lone Survivor'

EC3's Dylan Carter talks to The Hollywood Reporter about their new 40-foot dailies trailer that was used on Universal Pictures' Lone Survivor. 

They write, "Today it’s fairly standard for a feature post facility to offer location-based post services, but EC3’s director of digital workflow Dylan Carter aims to differentiate this one by calling it a 'no-compromises version. … We are not taking a piece of the facility; we have re-built a facility, that moves.'"

Read the full story here.

Company 3 Uses DaVinci Resolve to Color Correct 'Captain Phillips'

Blackmagic Design has announced that Company 3 London has used DaVinci Resolve for color grading the film adaptation of Captain Phillips.

Four years after it made headlines, the harrowing true life story of American shipping captain Richard Phillips, swept up in a hostage ordeal after Somali pirates hijacked his ship, has been made into a new film by director Paul Greengrass, with Barry Akroyd as the cinematographer. Color correction for Captain Phillips was carried out by Company 3’s senior colorist Rob Pizzey.

Technicolor – PostWorks New York Serves ‘The Butler’

Final post-production finishing for The Butler, director Lee Daniel’s story about race relations in America, was completed at Technicolor – PostWorks, New York. It marked the facility’s third recent collaboration with Daniels and his production team, following Precious: Based on the Novel "Push" by Sapphire and The Paperboy.

A New Color Workflow for 'Pacific Rim'

Colorist Maxine Gervais and director Guillermo del Toro talk to ICG Magazine about the bold colors and new workflow that went into making their summer action film Pacific Rim.

Says del Toro, "I was working with Maxine for weeks and we quickly established a common language that maximized the nature of the colors and depth of blacks I wanted. We were seeking a very strong, graphic look, almost painterly. By the end of the process, Maxine and I had developed almost instant communication. The color coding of the film is very strong and specific and we achieved it thoroughly.”

Read the full story here.

Hawaiki Color Puts Color Wheels Back in FCP X Interface

Oliver Peters reviews Hawaiki Color, the Final Cut Pro X color grading plug-in that reintroduces color wheels to the NLE.

He writes, "Although I’ve been a fan of the Color Board, I really like the results I got from Hawaiki Color. Control granularity is better than the Color Board and working the wheels is simply second nature. Absolutely a bargain if it fits your grading comfort zone!."

Read his full review here.

Additive and Subtractive Color Mixing: A Primer in Color Theory

Recently I was asked to lecture at a college for a course in advanced cinematography. The professor asked that I include color theory in my lecture and at first, I was a little overwhelmed at the concept. Color theory could fill an entire curriculum in and of itself, yet I only had a scant three hours to speak, and that was to be just one of the topics.

I asked the professor for more detail on what he’d like to have covered and why. He told me that some of his students were having trouble grasping the idea of colored light and the way it interacts with colored sets and costumes. Ah! OK! So I can cover an introduction to additive and subtractive color mixing and help clear up that concept a bit. Since that’s still fresh in my mind, it shall be our adventure this month.

Watch an Introduction to Color Correction

In the below video tutorial, John P. Hess of Filmmaker IQ goes through the basics of color correction, from camera capture to grading.

Watch below.

Introduction to Color in Digital Filmmaking from FilmmakerIQ.com on Vimeo.

The Best Color Grading Plug-Ins for Final Cut Pro X

In a post on his blog, Oliver Peters writes about some of his favorite Final Cut Pro X plug-ins that deal with coor grading and looks.

He writes, "One of the aspects I enjoy about Final Cut Pro X is the wealth of tools and methods for color correction, grading or whatever you want to call the process. There simply is no other NLE on the market with as many built-in and third-party tools for making adjustments to image color and style. I’m not limiting this to simply color correction, but also glow, diffusion and stylizing filters that increasingly are a part of  a grading session. It’s about getting the right look for the best emotional impact and with FCP X there are a host of choices at very little expense."

Color Grading with LUTs in Adobe Premiere Pro

In a guest post on Philip Bloom's blog, James Miller explains his Adobe color correction workflow.

He writes, "As an option I though it would be nice to show color correcting from within Adobe Camera Raw. Of course this method works best with native raw/dng files but by exporting frames as Jpegs at Max (12) quality or Tiffs we can bring them into ACR in supported applications."

Read the full post here.

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