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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 :)

Color Correction for "TimeScapes 4K"

Steve Sherrick said:
But in fairness, they have a RAW development source window for RED, which is where I was thinking this would end up if anywhere. That way, it's treated like FLUT, or any other parameter in there. Now, I completely admit I'm not sure exactly what they are doing with Alchemy. I have my theories, but that's all they are. So again, maybe it's not something that actually belongs in the REDCODE RAW source settings and perhaps is more like a plug-in. I'd have to be schooled on exactly how Alchemy is working.
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Actually RAW settings adjustments are pain in the behind in Resolve. Right clicking on the selection, moving controls with a mouse, not seeing the RAW adjustments in the nodes window, etc. It's no picnic. Unless absolutely needed, I rarely touch those controls. Plug in is the right way to do it, that is unless someone else comes up with a better way. Plus, if I'm not mistaken, all RAW processing is done in CPU and not GPU. As it is, CPUs already are busy with debayering. IMHO, Alchemy in SDK is not it...
 
Nick Pasquariello said:
AWESOME quote. AWESOME grades, too.

Just want to add my voice that any finer details you supply, I will be absorbing like a sponge. I'm eagerly awaiting more info.
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Richard G said:
very much looking forward to the description of the process. thanks bruce. and thanks lowe.
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I'm not sure if this is what you want, Richard - but I have updated my original post now with 4 pages of detailed madness :)

Questions? Was going to do a part 5 but am a little tired now...

Bruce Allen
www.boacinema.com
 
Thanks for sharing, Bruce. I think that is one of the most precise, yet through, grading guides I have read! Very well presented.
 
Bruce Allen said:
"Real pros can make something awesome with like 3 nodes."
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It's not always about the number of nodes -- it's trying to figure out the shortest path to get the job done. I don't think it was necessary to enable 10 nodes to get this shot corrected, but everybody has a different style. Bear in mind you can do more than one correction within one node, and sometimes a parallel node is a wiser choice than a serial node. In other cases, the problem with serial nodes that build on top of each other (like 8-9-10), you may find that the later nodes are undoing what you did in previous nodes. Worse, they can start introducing noise when you start pushing levels too far.

Typically, I only start slamming this many nodes (or layers) when I encounter really problematic footage, which I don't think this is. Having said that, I think the stills look very beautiful.

I am also not boosting saturation in the dark stuff because there's quite a lot of color noise there.
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You gotta wonder why that's happening; it's also discussed in this thread elsewhere.
 
Thanks Bruce!!!!

One of the best useful posts at RED User forum lately!!!!

Also looking forward in a near future that you could show us

how to color correct or grade skin tones on R3D files using Resolve + other helper apps..
 
Awesome Bruce, thanks for the taking the time to create that for us.

And for what it's worth, both of the shots you color corrected stood out to me in Tom's piece.

Tom: Hire this man immediately.
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He's HIRED if he's got the time!!!!
 
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Thanks Bruce for sharing your expertise in color-grading.
I had no idea that so many grading steps ware being done to grade Tom's footage.

By the way - what was the file format of the final 4K that you sent Tom?
Was it an MOV file with ProRes 4:2:2 ?
 
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Tom Lowe said:
e2Uw


e2Ux


Forum member Bruce Allen helped me color correct two of the shots in "TimeScapes 4K". He was kind enough to donate his time and talents. I think Bruce did an amazing job! Maybe Bruce can weigh in and tell us how this was done? I want to know myself!

Also, here is my own meager attempt at very simple correction, for the Big Sur sunset shot. The only difference between the top and bottom shot is that I used Red Cine-X Pro Alchemy and Alchemy Saturation in the bottom one vs the standard tools in Adobe CS5.5. As you can see, Alchemy easily wins!! The sun looks like an orange blob in the non-Alchemy version, and looks like film in the Alchemy version. I hope Adobe will implement Alchemy soon, because like Jim said, I will be tempted to use it for nearly every shot!

e2Uy


This is why shooting RAW kicks ass.
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Congrats Tom Great Work...You GUYS DESERVE IT FOR REAL...CONGRATS...
 
Nice work, Bruce.
 
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