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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

new oz movie.. color?

That is a Fantastic link Matt.
Ill be in Long Beach working on a pilot if you have some time maybe you can come by and share some more link ideas?

just a thought.
 
BigLu said:
That is a Fantastic link Matt.
Ill be in Long Beach working on a pilot if you have some time maybe you can come by and share some more link ideas?

just a thought.
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BigLu,

Let me know when your in town. What kind of links are you looking for?
 
Andrey B said:
Thank you for sharing Matt Ryan! Very interesting method you found!
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No problem,

Just keep in mind the real 3 strip process has deeper more Ruby looking Red's. But this is a great starting point.
 
This looks great. Looking forward to trying it out!
 
something I don't see discussed much are the 'recipes' behind great color grading jobs. I assume each colorist/post house has an arsenel of transform matrices, LUTs, elaborate node trees for reuse - something that's comparable to the non-linear effects film. But I am a newbie, and I can't imagine that just dialing in lift gamma and gain with color wheels will get all the results. Could someone enlighten me? Is it simply a function of the artistry of the colorist at the instrument?
 
Brett Harrison said:
something I don't see discussed much are the 'recipes' behind great color grading jobs. I assume each colorist/post house has an arsenel of transform matrices, LUTs, elaborate node trees for reuse - something that's comparable to the non-linear effects film. But I am a newbie, and I can't imagine that just dialing in lift gamma and gain with color wheels will get all the results. Could someone enlighten me? Is it simply a function of the artistry of the colorist at the instrument?
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No conspiracy here, just great cinematography, art direction, VFX and color grading. No special tools needed, just talent.
 
Brett Harrison said:
something I don't see discussed much are the 'recipes' behind great color grading jobs. I assume each colorist/post house has an arsenel of transform matrices, LUTs, elaborate node trees for reuse - something that's comparable to the non-linear effects film. But I am a newbie, and I can't imagine that just dialing in lift gamma and gain with color wheels will get all the results. Could someone enlighten me? Is it simply a function of the artistry of the colorist at the instrument?
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Every colorist has his own set of pre built looks. They are usually pretty complex LUT's that they have refined and perfected from project to project. The colorist is an artist and definitely contributes the right recipe for a film. I know Light Iron has a special color science they have developed for RED footage that they use as their base. So there are definitely special recipes out there that the pro's have developed. But every project requires a different look, so no look is a do all.
 
Matt Ryan said:
So there are definitely special recipes out there that the pro's have developed. But every project requires a different look, so no look is a do all.
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Yeppers.

It's good to have that library of looks. Never know when they come in handy. I used one from 2006 a few weeks ago. I do have specific color and tonal looks that provide a nice baseline or starting point. Some are what I would consider "finishing looks". Some replicate different stocks. Some replicate certain print processes. Some are just made of nonsense.

100% right on every project being different.
 
Matt Ryan said:
Every colorist has his own set of pre built looks. They are usually pretty complex LUT's that they have refined and perfected from project to project.
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I agree with you about the LUTs but not for the looks.
LUTs are based on years of case studies and grow around each camera's new color science.
looks often don't work on similar shots. Colorists are able to recreate it from scratch in a minute ;)
 
Brett Harrison said:
something I don't see discussed much are the 'recipes' behind great color grading jobs. I assume each colorist/post house has an arsenel of transform matrices, LUTs, elaborate node trees for reuse - something that's comparable to the non-linear effects film. But I am a newbie, and I can't imagine that just dialing in lift gamma and gain with color wheels will get all the results. Could someone enlighten me? Is it simply a function of the artistry of the colorist at the instrument?
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traditionally, colorists have been very protective of (what they call) their magic, secret-sauce. most of these things are actually really simple, though there is some complicated LUT-building and scripting that goes on, but it's not that complicated. the magic is in the mind of the colorist to help the director/cinematographer tell the story in terms of light and shadow (remember, colors are either limited or revealed light). color is art + science... alchemy :)

i for real can't wait to see OZ...
 
jake blackstone said:
No conspiracy here, just great cinematography, art direction, VFX and color grading. No special tools needed, just talent.
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I wish more people understood that. Special sauces largely disappeared a few years ago along with film targeted DI's. Today, what separates the best DI from the average do it yourselfer's work is experience and talent, not any kind of special toolset, unique LUT, or secret node network. Many people here and elsewhere never want to believe that it's that simple. But it is.
 
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