color grade from raw to rerender?

[Fred Potts]

I was having a decision with a film friend and it was about giving footage to be color graded to a colorist. We have a short 3 minute film that is going to get color graded. I said that it needs to be given to the color graded person as the original files that comes from the camera for each shot. For example if there are 10 flies that makes up this short 3 minute film then that is 10 files that needs to be color graded

My friend said that I can just render the 3 minute film that is on the timeline and give it as a one render file and it would work out fine.

But wouldn't that make it a bit harder to control the footage if it has already been re rendered? Wouldn't you lose the 6k footage?

Any feedback would help - Thanks

 

[Nick Morrison]

I was having a decision with a film friend and it was about giving footage to be color graded to a colorist. We have a short 3 minute film that is going to get color graded. I said that it needs to be given to the color graded person as the original files that comes from the camera for each shot. For example if there are 10 flies that makes up this short 3 minute film then that is 10 files that needs to be color graded

My friend said that I can just render the 3 minute film that is on the timeline and give it as a one render file and it would work out fine.

But wouldn't that make it a bit harder to control the footage if it has already been re rendered? Wouldn't you lose the 6k footage?

Any feedback would help - Thanks

Both answers are correct in their own way.

1) The proper way to do the grade is the first way you mentioned. The mechanics of this generally works like this: you export an EDL and/or AAF of your short film sequence (video only, all shots on one layer, no sound), and send this and all the corresponding camera originals to the colorist. To save hard drive space, and if you know what you're doing, you can alternatively also use a program like Resolve to make "trims" of the original camera footage, so you're only sending the colorist exactly what they need (but definitely include handles here).

Very important, incase something goes wrong with the relink to the footage - also send the colorist a reference QT that has burned in this info: your source clip names and source clip timecode.

2) A work around if you are crunched for time is to export a Prores 444 quicktime of your short-film and give this to your colorist (4K or 1080). Obviously not as good as giving the colorist camera originals, but this is often good enough, and saves a lot of time on conform. If all the footage is well shot and doesn't need too much fixing, this can be OK. If the footage is stressed in any way (under expossed, over exposed, dramatically wrong color temp) this may not be advisable.

Good luck.

 

[Christoffer Glans]

color graded person

A growing medical condition that the industry needs to be wary of. :laugh:

 

[Fred Potts]

when a colorist does the correction on the footage, what is the best way for the colorist to return the footage back to me so I can hand it off to the Visual Effects guy to add in his effects? I was given some different ideas to look at; export the individual clips in DNxHD for best quality(Loss less), or create individual custom luts that are easily apply them and add VFX

 

[Mark A. Jaeger]

Chris = dålig pojke. I think that's what my grandfather called me.

 

[jake blackstone]

when a colorist does the correction on the footage, what is the best way for the colorist to return the footage back to me so I can hand it off to the Visual Effects guy to add in his effects? I was given some different ideas to look at; export the individual clips in DNxHD for best quality(Loss less), or create individual custom luts that are easily apply them and add VFX

You should really discuss these questions at some more specialized forums dedicated to color grading and VFX. I would recommend posting these questions on lifgammagain forum to get more of a a colorist perspective or something like Logic user group for a VFX professional perspective.

 

[Fred Potts]

You should really discuss these questions at some more specialized forums dedicated to color grading and VFX. I would recommend posting these questions on lifgammagain forum to get more of a a colorist perspective or something like Logic user group for a VFX professional perspective.

Thanks I will check in those areas