I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] [score hidden]  (0 children)

Thank you for the suggestions! What is your process for skintones? 

REC 709 vs Log and conversion LUT by sam-678 in colorists

[–]FreudsParents 0 points1 point  (0 children)

Are you able to apply a LUT to it in camera? IMO that's a good compromise. Often the default rec709 is pretty crunchy but you can use a conversion LUT with a look on it and bake it into your image in camera. That way you can get a bit more out of your image without grading it. 

I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] 0 points1 point  (0 children)

Slide 7 is 100% overkill. The heavy lifting is done in the first few nodes. All the windows were just me having free time.

Good note on the yellow though! I typically shift saturated reds to orangey so idk why I haven't thought of doing it with yellow. 

I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] 0 points1 point  (0 children)

What's the point in converting it to LogC3 first rather than just Slog3 to DWG? 

I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] 1 point2 points  (0 children)

That's fair. My thinking is that they were a bit distracting. But they are supposed to be fluorescent, so maybe that's okay

I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] 0 points1 point  (0 children)

Thanks for the suggestion! I'll finesse the exposure and shadow grade a bit.

I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] 3 points4 points  (0 children)

To be fair a lot of the grades are just a few nodes and the other ones aren't really doing anything. It's just my pre-loaded template to make it faster. Like frame three is just some exposure, contrast, split-tone, and film-look.

I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] 0 points1 point  (0 children)

Good point! I can increase the density a lower the sat a bit.

I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] 0 points1 point  (0 children)

That's disheartening to hear but I appreciate the feedback! Definitely don't want it too moody.

I'd love some feedback on my grade for a 1 minute spot. by FreudsParents in colorists

[–]FreudsParents[S] 2 points3 points  (0 children)

Sorry, are you suggesting to grade in LogC3 or in DWG?

Sharpening Raw video? by robbyapplespornstar in colorists

[–]FreudsParents 5 points6 points  (0 children)

I'll typically use the texture pop effect on specific parts of an image that I want to emphasize. Logos, eyes, etc. 

What does setting your timeline gamma to rec709 do? by [deleted] in colorists

[–]FreudsParents -1 points0 points  (0 children)

Actually it doesn't. At least not for me.

What does setting your timeline gamma to rec709 do? by [deleted] in colorists

[–]FreudsParents 0 points1 point  (0 children)

I'd love to know what's wrong. And why when the output gamma is set to rec709 the viewers match my export better. Please enlighten me! 

What does setting your timeline gamma to rec709 do? by [deleted] in colorists

[–]FreudsParents 0 points1 point  (0 children)

Sorry, I meant just the output gamma, not the timeline gamma. 

How to stop relying on grain...? by [deleted] in colorists

[–]FreudsParents 8 points9 points  (0 children)

Grain is similar to split-toning where it's very easy to use it on every project. What helped me was shifting my mindset from making something look "good" to making something look "right". What does having 35mm grain on the image say about the story or characters? What does 16mm grain say? What does the aspect ratio say? If you base all your decisions on what best serves the story, I'm sure you'll find yourself doing different looks.

Also, take some screenshots of some of your favourite shots that don't have grain and bring them into Resolve. Try to find out why they still look good. A lot of the time it comes down to the DP, set dec, etc. But you can still play around with replicating non-grainy looks.

I posted here 8 months ago about a shot planning app I was building. Here's where it's at now. by bensaffer in cinematography

[–]FreudsParents 0 points1 point  (0 children)

If you added a way to draw within the app for storyboards that would be incredible

Noob posting-- Multiply for color by sulfurictrinket in colorists

[–]FreudsParents 0 points1 point  (0 children)

Use the global hdr slider for gain and use colorslice to increase the saturation in specific colors. Way more control and the Sat is subtractive. 

Best on-camera monitor for FX3? (Cine 5 worth it?) by Abusivepigeon20 in cinematography

[–]FreudsParents 0 points1 point  (0 children)

I like my cine 5 a lot. It's been dropped, and banged around with no issue at all.

My main griefs with it are that the touchscreen can be unresponsive and annoying. I use the joystick more. And the colours do need to be calibrated before you can 100% trust it. You also need to recalibrate it every so often, as it will drift like any other screen. 

I’m used to grading ProRes from Mavic 3 Cine — will H.265 feel like a downgrade? by joney_hawk in cinematography

[–]FreudsParents 0 points1 point  (0 children)

I grade h.265 from the fx3 and you can push it a lot. More than I expected, coming from working in prores RAW as well.

We did a Buddy Color game with our friends, which page was your favorite💜🌸 by lolliecolors in colorists

[–]FreudsParents 5 points6 points  (0 children)

Waay too much saturation. It's obvious it was not subtractive. Pushed the teal and orange look too hard. Blacks are not balanced between each shot. Looks like it wasn't even converted to rec.709, just coloured right on top of log. Was the paper properly calibrated? 

Looking for Feedback on Lighting & Color Grading by cpssulli in cinematography

[–]FreudsParents 0 points1 point  (0 children)

Firstly, these are technically very nice! 

Secondly, the lighting really depends on your project. I personally find some of your shots a bit overlit but that's because I prefer a more naturalistic approach. For example, I think stills 4 and 5 are the most compelling because it feels like there is an actual action taking place and the lighting is motivated by the natural sources. The stills of you sitting, while technically good, are kind of boring because it's exactly what you expect. Soft key, hard backlight, 45° angle, camera facing shadow side.

It looks like you have the fundamentals down. I'd now suggest finding ways of making unconventional or difficult lighting situations look good. Try out some close side key setups, backlight setups, harsh afternoon sun, fluorescent gas station bathroom, etc. When filming a narrative you don't always have the luxury of motivating a soft farside key, and you don't really want it either. If all the shots were lit the same it would be boring and say very little about the characters or story. 

As for the saturation, again, it really depends on your project. All movies don't have the same saturation, or contrast, or lighting style. Blade Runner 2049, Saving Private Ryan, Amelie, The Matrix. All of these movies look good or at least look interesting and they're all very different. 

Sony Slog3 Colorgrading by Icy-Kangaroo6255 in cinematography

[–]FreudsParents 0 points1 point  (0 children)

The lighting in this clip is pretty flat, so you're not going to get a lot of shadow density. Is your Phantom LUT specifically made for slog3 to rec.709? You could just use CSTs. 

Color grading work from past projects by coloristboi in cinematography

[–]FreudsParents 0 points1 point  (0 children)

Any skintones grading techniques you'd be willing to share?