Thanks all, as far as the coloring work. I served as the colorist for this project as we did post all in-house at Rich Lee's company, Drive Studios. Rich and I have been experimenting with a workflow where I have been getting more involved with the VFX pipeline, coming in and working at the compositing level to color elements before they are married into an outputted vfx shot. Much of the post work was performed with various Adobe products. The short was edited with Premiere, most of the comps were performed with After Effects, some paint-outs with Photoshop, and then the 3D vfx work was executed with Maya. By keeping much of the composites within Adobe, I could export a rendered VFX shot into Premiere, color the shot there and see if aspects like contrast, and color balance fell into line, and if necessary, revisit the comp to make adjustments to individual elements and re-output. So for this project, we ended up coloring the short entirely in Premiere.
Next we will start to apply this idea to other projects but working with Flame and Resolve as well...
Thanks all, as far as the coloring work. I served as the colorist for this project as we did post all in-house at Rich Lee's company, Drive Studios. Rich and I have been experimenting with a workflow where I have been getting more involved with the VFX pipeline, coming in and working at the compositing level to color elements before they are married into an outputted vfx shot. Much of the post work was performed with various Adobe products. The short was edited with Premiere, most of the comps were performed with After Effects, some paint-outs with Photoshop, and then the 3D vfx work was executed with Maya. By keeping much of the composites within Adobe, I could export a rendered VFX shot into Premiere, color the shot there and see if aspects like contrast, and color balance fell into line, and if necessary, revisit the comp to make adjustments to individual elements and re-output. So for this project, we ended up coloring the short entirely in Premiere.
Next we will start to apply this idea to other projects but working with Flame and Resolve as well...
Thanks all, as far as the coloring work. I served as the colorist for this project as we did post all in-house at Rich Lee's company, Drive Studios. Rich and I have been experimenting with a workflow where I have been getting more involved with the VFX pipeline, coming in and working at the compositing level to color elements before they are married into an outputted vfx shot. Much of the post work was performed with various Adobe products. The short was edited with Premiere, most of the comps were performed with After Effects, some paint-outs with Photoshop, and then the 3D vfx work was executed with Maya. By keeping much of the composites within Adobe, I could export a rendered VFX shot into Premiere, color the shot there and see if aspects like contrast, and color balance fell into line, and if necessary, revisit the comp to make adjustments to individual elements and re-output. So for this project, we ended up coloring the short entirely in Premiere.
Next we will start to apply this idea to other projects but working with Flame and Resolve as well...
Thanks all, as far as the coloring work. I served as the colorist for this project as we did post all in-house at Rich Lee's company, Drive Studios. Rich and I have been experimenting with a workflow where I have been getting more involved with the VFX pipeline, coming in and working at the compositing level to color elements before they are married into an outputted vfx shot. Much of the post work was performed with various Adobe products. The short was edited with Premiere, most of the comps were performed with After Effects, some paint-outs with Photoshop, and then the 3D vfx work was executed with Maya. By keeping much of the composites within Adobe, I could export a rendered VFX shot into Premiere, color the shot there and see if aspects like contrast, and color balance fell into line, and if necessary, revisit the comp to make adjustments to individual elements and re-output. So for this project, we ended up coloring the short entirely in Premiere.
Next we will start to apply this idea to other projects but working with Flame and Resolve as well...
Thanks all, as far as the coloring work. I served as the colorist for this project as we did post all in-house at Rich Lee's company, Drive Studios. Rich and I have been experimenting with a workflow where I have been getting more involved with the VFX pipeline, coming in and working at the compositing level to color elements before they are married into an outputted vfx shot. Much of the post work was performed with various Adobe products. The short was edited with Premiere, most of the comps were performed with After Effects, some paint-outs with Photoshop, and then the 3D vfx work was executed with Maya. By keeping much of the composites within Adobe, I could export a rendered VFX shot into Premiere, color the shot there and see if aspects like contrast, and color balance fell into line, and if necessary, revisit the comp to make adjustments to individual elements and re-output. So for this project, we ended up coloring the short entirely in Premiere.
Next we will start to apply this idea to other projects but working with Flame and Resolve as well...
