Attempting to create this look (Grade my R3D)

[Björn Benckert]

That's pretty close there Bjorn.

Looks like RD's shot has less blue in the sky than this one.

Thats only me trying to beat the original with a little gradient sky

Yeah, I think Bjorn's matches…. Although the skin in No Country is pink/saturated compared to the brown/desat of the .r3ds in this thread…. Should be key-able though.

Agree, but to me the the skin tone of the no country ref is sticking out a bit. but it should not be a problem to match. little key node, sat 110 and red gamma mid tone up, 1.05 and then that would be dead on


If the plan was to match the No country look then to me this source could not been shoot better. Works really nice, especially considering it's also a much dryer desert than in the no country shots also the skies in the r3d was very well preserved and much possible to to keep in the shot something I think they did not have in the no country source.

Personally I think Matt's blue shirt kicks ass, as it holds the natural colours in a good way and allows to push the background a bit further without it feeling tinted. I see that the closeup I did looks tinted and ugly as hell in comparison now when I look at a second time, lol.

 

[Tony Rudenko]

 

[Marc Wielage]

Matt Ryan: How were you able to select his shirt? Because I can't seem to get it without keyframing each frame.

A tight qualification in Resolve plus a Parallel node will do it. That way, you could brownify everything else and let the shirt stay the same (or whatever details you want to retain). Some keys aren't possible when they're too close to the color and luminance of the background, but a powercurve window could work as a garbage matte.

The important thing is to consider is how much of the shot do you want to look normal, vs. how much of the shot do you want to have a look? This is more a philosophical question than a technical one. Come up with the concept first; the execution is easy. Bear in mind that the color has to be dictated by story, not something you merely borrow from another filmmaker.

If you say, "I want the ground to be dead and brown, but the car and the people have to look normal," then the concept dictates the strategy. Keeping the shirt blue is trivial -- just key off that and do an outside correction node.

 

[Scott Talbot]

A tight qualification in Resolve plus a Parallel node will do it. That way, you could brownify everything else and let the shirt stay the same (or whatever details you want to retain). Some keys aren't possible when they're too close to the color and luminance of the background, but a powercurve window could work as a garbage matte.

The important thing is to consider is how much of the shot do you want to look normal, vs. how much of the shot do you want to have a look? This is more a philosophical question than a technical one. Come up with the concept first; the execution is easy. Bear in mind that the color has to be dictated by story, not something you merely borrow from another filmmaker.

If you say, "I want the ground to be dead and brown, but the car and the people have to look normal," then the concept dictates the strategy. Keeping the shirt blue is trivial -- just key off that and do an outside correction node.

The problem I'm having is the difference between the pants and the shirt. The only thing I can think of is rotoing each frame. That's a lot of rotoing considering its all in the same environment and wardrobe.

Wouldn't you use an outside node in conjunction with the original to change everything else?

And yeah I'm aware that the color needs to follow the story. This fits. And in general it is very subtle. It's not like battleship or the hobbit.

 

[LenkPaul]