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Color space
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Ben Brainerd
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I'm pretty sure we had this discussion not too long ago. And if I recall correctly, you started that thread too...
Yep. http://reduser.net/forum/showthread.php?t=34066
The answer is going to be more or less the same this time around: There's no secret to good color, as long as you have a good colorist and are willing to work at it.
Yep. http://reduser.net/forum/showthread.php?t=34066
The answer is going to be more or less the same this time around: There's no secret to good color, as long as you have a good colorist and are willing to work at it.
Mark Wilkinson
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Maybe post a single 16 bit linear tiff of what you're working with and let the peanut gallery take a look -
Dan Hudgins
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Masking and art direction
Masking and art direction
Color films have masking layers, so after three generations, neg, master pos, dupe neg, you get some contrast and color over mask increase in saturation.
The other issue is, "was there color in front of the camera" when you were shooting, much of the "film look" is not the film itself but good art direction and lighting and costume design and painting the set the right color.
The masking in my CC can boost the colors and remove some crosstalk, and can make RED footage look a little cleaner and brighter in color, you can adjust the brightest color to be at the edge of the chroma vectorgram display, but you should not slam the chroma into clipping.
But if you take a very gray subject and boost the chroma 400% you will pick up some chroma artifacts, its better to boost the color on the subject in front of the camera, even go as far as to use colored gels over the lights to highlight the color of the costume and such, then you don't have to boost the chroma that much and you get a cleaner brighter lower noise image in the end...
Masking and art direction
Color films have masking layers, so after three generations, neg, master pos, dupe neg, you get some contrast and color over mask increase in saturation.
The other issue is, "was there color in front of the camera" when you were shooting, much of the "film look" is not the film itself but good art direction and lighting and costume design and painting the set the right color.
The masking in my CC can boost the colors and remove some crosstalk, and can make RED footage look a little cleaner and brighter in color, you can adjust the brightest color to be at the edge of the chroma vectorgram display, but you should not slam the chroma into clipping.
But if you take a very gray subject and boost the chroma 400% you will pick up some chroma artifacts, its better to boost the color on the subject in front of the camera, even go as far as to use colored gels over the lights to highlight the color of the costume and such, then you don't have to boost the chroma that much and you get a cleaner brighter lower noise image in the end...
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Ben Brainerd
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Looking at the Vimeo video, there's no reason there should be major color problems. Unfortunately, there's not a lot of "Maybe try it like this" we can do with Vimeo.
If you could post some *uncorrected* TIFFs/DPXs, or even better one of your R3D files, if you've got a smallish one, we the peanut gallery could take a stab at it and maybe give you some pointers. It looks like the footage has a fair amount of potential, but without seeing it as it looked out of the camera, it's hard to give tips on ways to make it look better.
If you could post some *uncorrected* TIFFs/DPXs, or even better one of your R3D files, if you've got a smallish one, we the peanut gallery could take a stab at it and maybe give you some pointers. It looks like the footage has a fair amount of potential, but without seeing it as it looked out of the camera, it's hard to give tips on ways to make it look better.