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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 :)

" EPOCH " Shot by Christopher Probst on RED MONSTRO 8K

Many thanks Chris and the team for this, thanks for the BTS, this is cinematography, pictures/sounds and story are amazing. Didn't see the 13min when I watched.

Congrats.
 
Hey Chris,
I salute you,fantastic work..................thanks for sharing BTS,If you don't mind please tell about the grading ,which software using for that,who is the colorist,



Thanks
Sunil Prem
 
Very nice and inspiring video. I especially like the shots in the beginning.
Great job guys!
/Andreas
 
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.

llJaN4f.jpg


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.

llJaN4f.jpg




Next we will start to apply this idea to other projects but working with Flame and Resolve as well...

Super cool to know Chris..and thanks for sending me to look for other info on this...a wealth of info man....I thought Monstro was not for me...but you are convincing me to take a hard look....
 
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.

llJaN4f.jpg


Next we will start to apply this idea to other projects but working with Flame and Resolve as well...

Nice. Maybe Resolve only now that Fusion is built in and no need for rendering out between edit and effects. Still find premiere fastest to edit in myself. Hoping to move everything to Resolve one day.
 
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.

llJaN4f.jpg


Next we will start to apply this idea to other projects but working with Flame and Resolve as well...

Thank you very much Chris......
 
Top notch cinematography, Chris!
Congrats to your sound design team too. That sound really draws me into the story.

I would also like to mention, with all the hype about low light and high ISO capability of Gemini, it is good to see that you shot the night scenes at 400 respectively 640 ISO!
 
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.

llJaN4f.jpg


Next we will start to apply this idea to other projects but working with Flame and Resolve as well...


Cool to read the you are into the post of things.
 
This might have been asked, but I thought the image circle of the Master Anamorphic were 29mm, and your screen grabs show 8k 6:5 which means your image circle is 33+mm. Am I missing something or are the masters image circle just very conservative?
 
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Andrew, yes, they cover the full height of 21.6mm tall...
 
Was this done out of pocket and pulling favors? ( my apology if it isn't cool to ask such a thing ).

My guess is that if paying full rate this would cost a couple hundred k, minimum, by the time you add up the production cost and all the post work. Hell, the meal penalties alone would be upwards of $25k. :smilewinkgrin:
 
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.

llJaN4f.jpg


Next we will start to apply this idea to other projects but working with Flame and Resolve as well...

Really appreciate the information Chris. It's nice to see and show that even without using Resolve you can get a very nice grade done right in Premiere.
I know you are inspiring a lot of people here.
 
Cool Scot! I always admired that about you. Try to go through the ASC feed chronologically, as I had a series of posts that build upon the previous. It'll be worth the trouble. Also, I had already exhausted TONS of material in my own feed,so there's a lot of good stuff in both.

Chris,
There’s a crazy amount of information you share.
Thank you very much for the inspiration!

curtis
 
Good to see my ex-wife is still acting ;-)
 
For those that wanna see Epoch projected, we will be screening the film at Cinegear looks like both Friday and Saturday at 12:45PM in the Sherry Lansing Theater on the lot.

And should the planets align, I'll be doing a Q&A after and showing some more BTS materials and vfx breakdowns as well.

I'll add official info shortly.
 
For those that wanna see Epoch projected, we will be screening the film at Cinegear looks like both Friday and Saturday at 12:45PM in the Sherry Lansing Theater on the lot.

And should the planets align, I'll be doing a Q&A after and showing some more BTS materials and vfx breakdowns as well.

I'll add official info shortly.

Sweet!
 
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