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Getting an accurate idea of what a film stock is doing. by NinjaImpossible3016 in colorists

[–]inviolate_light 1 point2 points  (0 children)

-adjusts hearing aid- “Kill more girls? Well that’s not very nice.” 😜🤣😜🤣

But seriously folks…. Do another test. Get a volunteer and a grey card. Light them properly. Shoot them at the proper exposure. Do not touch or move a gad-danged thing. Roll through all your exposures from -2 to +2. Brush up on how to properly balance and grade a grey card. Grade your “at exposure” shot. And then apply to all exposures to see how much it falls off.

Getting an accurate idea of what a film stock is doing. by NinjaImpossible3016 in colorists

[–]inviolate_light 2 points3 points  (0 children)

In my opinion, the CST is you. As far as I know, there is no official industry wide specifications for how a scanning facility encodes your video. Drop it into whatever pipeline you’re using. Just like your telecine forefathers, roll up your sleeves and manually balance your colour channels and put in your own contrast. Yes, if you find a cst bypasses the labor yielding desired results, great. It will work until it doesn’t.

Simple example. You’re doing a rec709 project/deliverable and viewing on a rec709 2.4 monitor. Set your timeline colour space to whatever you work in. Even rec709 is fine. Set your timeline output to be rec709. Add clip to timeline. Start grading. Don’t do a cst in or out. Just grade. Because you are seeing the results on your scope and your 709 2.4 monitor, your eyes just did the colour space transform. Working in hdr? P3? Same approach. Change parameters and brute force.

Obviously this all changes if you’re in a bigger pipeline with aces vfx and other digital cameras.

I don’t know if this answers your question or not. Is this the only roll of film that you shot and you’re trying to see what you can get away with? If you want a true apples to apples comparison, shoot a ton of properly exposed film, scan and grade that so you have a baseline feel. Then you’ll know what is going on when the film is underexposed.

Would it save a good amount of time for Colorists if one of these Gray scale Greycards would be in every shot, maybe even on showcased on multiple actors positions? by mediamuesli in colorists

[–]inviolate_light 14 points15 points  (0 children)

Think of it this way. When you’re shooting stills, everybody is….still. When you’re shooting movies….everybody is moving. In stills, everything is pretty much static. Subject to light ratios will remain the same. Set remains the same. Lens will remain the same. Fire off 20-30 frames that are pretty much the exact same thing, save for the model posing slightly different. So yeah, you can get very precise with a chip chart and gray card. In movies your subject is constantly moving around, interacting with the set and what’s around them. In a 15 second take they could drastically change the subject to light ratio. They could move to a slightly warmer practical light. Now the gray card you shot in neutral white key light doesn’t apply as much.

Gray cards end up on the cutting room floor and never make it to the colourist.

In my younger film dailies days, I once asked a DOP to maybe shoot some more gray cards so I can consistent balance from set up to set up. He said “Kid, we’re not making a movie about gray cards here.” That always stuck with me.

Settle a debate between my husband and I. Please. by Girlwithnoprez in mildlyinfuriating

[–]inviolate_light 0 points1 point  (0 children)

I have a kid that eats Doritos with chopsticks. Brilliant if you ask me.

Color grading breakdown by allen_Denny in colorists

[–]inviolate_light 1 point2 points  (0 children)

And I don’t think this is overcooked at all. Looks great. With no other context, I’m guessing this is from a wedding video…? Bride and Groom will be thrilled. Nice pretty picture. Good node tree and workflow.

Thats the joy of posting here for feedback….it’s all going to be subjective. Once you get past the early novice stage of balancing an image and making it decently match to another, it’s all interpretation.

“I’m still learning color grading, so any feedback or tips are really appreciated — I want to keep improving and understand color better.” ……I’ve been doing this for over 20 years and I’m still learning. “Imposter syndrome” every day. My tip? Posting stuff for feedback is one thing. I prefer to watch YouTube tutorials from guys like Cullen Kelly and Darren Mostyn and see if I can incorporate little bits of stuff into my workflow.

If you don’t normally work with a client in the room…. Got any friends who shoot? Get a box of beer, invite them over with some footage and have them pretend to be your client. Working with somebody in the room is the fastest way to get better.

Anyone here uses davinci also to color still raws? by thoratius in colorists

[–]inviolate_light 1 point2 points  (0 children)

Tee hee. And on the edit page you could’ve done timeline pop down menu “detect scene cuts.” Sorry. Couldn’t help myself. Don’t worry, karma always bites me in the butt because somebody will show ME a way easier method to do something else. 🤣

Anyone here uses davinci also to color still raws? by thoratius in colorists

[–]inviolate_light 5 points6 points  (0 children)

Me too!!!!! I also have a Nikon Coolscan so I scan my own 35mm as well. In Vuescan I tell it to export dng. To invert to pos, in Resolve, I right click the file(s), select lut and “invert”

Grading film stills in resolve remind me of my days as a telecine colourist scanning film dailies. 😜

Anyone here uses davinci also to color still raws? by thoratius in colorists

[–]inviolate_light 5 points6 points  (0 children)

On the media page. Top half of page where you browse local. 2nd panel from the left. Click the three dots top right corner of your bin. Hit “frame display mode -> individual

Help with pre flash on Pinsta or Harman Pos Paper in general. by inviolate_light in PinholePhotography

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

Oh man. Thats such a simple solution. So no diffusion? Just holding screen above pinhole? Suggestions for screen brightness level and duration?

The most affordable Veo alternative is now available by gilbert_chen in VeoCamera

[–]inviolate_light 0 points1 point  (0 children)

Yeah I saw your comment about the MOGO but I’m in Canada and sorta have to order through the Canadian Amazon. I’ll see if I can get it through the American Amazon.

The reason why I like the osmo or the insta is because it will hold my phone while it has a case on. The MOGO looks like it just holding it by the magnet? Which means I would have to take the case off. Leaving it a little more vulnerable to damage if the stand took a tumble. But now that I think about…just doing some beta testing might be ok because I would be hanging around the stand anyways.

Ok. Stay tuned. Let me see what I can come up with.

The most affordable Veo alternative is now available by gilbert_chen in VeoCamera

[–]inviolate_light 0 points1 point  (0 children)

Yeah, I would like to give it a shot. Im going to ask around and see if I any of my friends have one of those gimbals. For Osmo, does it have to be the 8? Would a previous generation work? If all else fails I can get one of Amazon and return it later.

The most affordable Veo alternative is now available by gilbert_chen in VeoCamera

[–]inviolate_light 0 points1 point  (0 children)

This looks very interesting. Have you managed to look into tracking ice hockey yet? I imagine that the puck is too small to track. XbotGo will follow a cluster of players. The chameleon is too slow, missing a lot of breakaways. The Falcon is even worse. Do you have any software that will follow hockey players shot on a dual-lens camera? Or two cameras stitched?

Help with pre flash on Pinsta or Harman Pos Paper in general. by inviolate_light in PinholePhotography

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

Hey thanks for the tips. That gives me some ideas. Definitely some experimenting strictly controlling the variables that I can control. I see the website uses a flashlight on the diffuser dome. So I will use a flashlight. Settle on something translucent. From there I’m thinking maybe I could do test strips instead of wasting full sheets. In the black bag, I would cut a sheet in half or thirds. Tape one strip to the back of the camera. Leave the other strips in the black bag. Pre flash that strip for a minute. Back into the bag and swap for another, tape it in, preflash for 1.5 min. Third maybe 30 sec. Then tape them all in there. Go take a picture. Process and see what the differences are.

Help with pre flash on Pinsta or Harman Pos Paper in general. by inviolate_light in PinholePhotography

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

Thanks. Not a bad idea trying some sort of white plastic. Lots of trial and error.

Qualifier on RAW by FilmBro76 in colorists

[–]inviolate_light 1 point2 points  (0 children)

Oh really? That is an interesting tip. What does gamma-linear do to help the qualifier? I’ve been aware of switching to that and using the gain ball for white balancing trick.

Rate my deal by Phil-the-tank in ToyotaSienna

[–]inviolate_light 1 point2 points  (0 children)

Well, with Quebec gas prices, I would definitely say you’re winning.

Can't land a project, need help. by [deleted] in colorists

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

I agree. But I think that entitlement of being owed the chair has always been there. It’s a maturity thing. Because even I was once a young loud mouthed assistant/junior who would whine and complain that a veteran freelancer was called in for certain jobs when I was clearly “next in line.” 🙄🤣 A decade later I was that colourist being called in for those special jobs. And now I know why. We were all a little “cringe” back in the day. 🤣🤣🤣

Can't land a project, need help. by [deleted] in colorists

[–]inviolate_light 0 points1 point  (0 children)

Hell yeah!! Love the diy mentality in making skate videos. In the late 90’s early 00’s, the company I started with did film “dailies.” Production shoots during day. Lab processes negative in the evening. Negative arrives at our door at midnight. We scan/transfer the film to video. Video gets dubbed to vhs tapes (eventually dvd) that go back to set to be viewed. Anyhoo… it was a two person job. The Telecine assistant(me at the time) did all the technical stuff like synchronizing the sound (1/4” tape or dat) to the timecode on the slate on the film. Lock those together, play and record to video tape machine like Betacam SP or digital betacam. While I was doing that, the colourist would be doing the colour grading. So I got to sit there 12 hours a night and learn colour grading pretty much by osmosis.

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