In the early days of DSLR revolution, color grading was not such a common word as you may think. Indeed, higher budget productions had been working for decades with digital color correction, but at the time most cameras used to shoot in a compressed format and a
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Davinci Resolve has always been an industry standard in the post-production realm, but since the acquisition from Blackmagic Design and the consequent huge price cut, it has been massively adopted by filmmakers around the world. In fact not only we have now a free version, but the
As you already know, ProRes RAW is Apple’s latest addition to the ProRes family of video codecs, promising to deliver RAW-like flexibility with the speedy performance creative professionals have come to know and love for years with the rest ProRes flavors. Due to the fact that the
When it comes to multi-cam setups, probably the most significant challenge video editors and colorists face in post is the pesky task of matching the colors and appearance of each camera. This is especially true when the setup consists of cameras of different brands and models, which
Despite its flat color and contrast aesthetic, Sony’s proprietary picture profile S-Log 3 is well known for its flexibility when it comes to color grading. While the profile definitely has certain advantages, its main difficulty is that it may be tricky to actually work with, especially for
Working with multiple cameras on set is not an unusual practice. In fact, it is widely used in filmmaking, especially for setups that combine the use of a traditional camera and a drone. However, the most challenging aspect of using such a combo is matching the color
Color grading Log footage isn’t rocket science by any means. Nevertheless, many people still struggle when it comes to pulling off this tricky color grading task. In fact, you can do this just as you would normally do with any other footage that needs to be color
The crazy flexibility of the REDCODE Raw native format of RED cameras is no secret, however with the huge influx of new RED users thanks to more affordable cameras such as the RED Raven and Scarlet-W, there is a hefty demand for a more “click and drag”
EIZO have been known as makers of some of the more affordable grading monitors out there for both photography and video. Anyone, who’s ever sifted through colour grading forums like Lift Gamma Gain will have noticed these monitors as a decent budget alternative to the usually higher
Getting the basics right when getting out there to shoot can save you a ton of headache in post-production. Sure, I am well aware that a lot of you who will read this post are much more advanced users, who have been producing lovely images for quote
Seasoned colorist and fellow filmmaker Alex Jordan of Learn Color Grading and FilmSimplified has produced dozens of insightful color grading tutorials, along with a slew of dedicated courses and numerous free resources on the topic over time. Nevertheless, he still has some handy tricks up his sleeve.
Blackmagic Design has come a long way in the recent years with its professional cinema camera line, but still many filmmakers who’ve been using those cameras on a daily basis are wondering what is the best approach when it comes to color grading BMC footage for optimal results.
Maintaining color consistency from the principal photography phase all the way through the post-production process of any filmmaking project could be an overwhelming task, especially when a multi-cam shooting is involved along the line. Things might get even worse when you need to match grades while working
In the latest version of DaVinci Resolve 12.5, Blackmagic Design overhauled the Log grading controls along with the overall approach these settings affect colours. Currently, they provide much smoother and more pleasing results, especially when it comes to color grading Log-encoded images. All in all, now there
One thing is for sure, shooting in S-Log2 (or utilising any other variation of Log gamma curve) is possibly the most efficient way to take advantage of the full dynamic range your camera sensor can capture. One of the downsides, however, is the extra amount of work
With the recent updates and enhancements, and the introduction of the Lumetri Tool, in particular, colour correction and colour grading using the latest version of Premiere Pro CC have never been easier. But, what if you want to colour correct a moving object in your clip or do other
After the recently released firmware update 2.1 for the GH4, now Panasonic have released a free firmware upgrade for their flagship cameras the VariCam 35 and VariCam HS. The latest firmware adds Full HD recording in ProRes 422 HQ for both cameras. Furthermore, the VariCam 35 gets an even better codec support, with
The ability to edit and colour grade 4K footage comes with certain technical requirements that every video editor should be aware of. If you are on the market for a new editing PC or Mac, here are some of the essential component features that you should take into consideration.
With the implementation of the S-Log2 profile in the A7s, Sony has finally fulfilled one of the highest demands of professional shooters and enthusiasts alike for enhanced control over the image in an affordable package. Usually, a flat, Log curve would be present in much higher level cameras like
For some time now, cameras the likes of the ARRI Alexa and Blackmagic Cinema Camera have offered their customers higher bit-depths and stronger color-sampling than Canon has put out with their popular EOS line. 10-bit 4:2:2 recording in-camera, 12-bit 4:4:4 recording in-camera, enough latitude and color space