Resolve Grade - Brand Guidelines Color Palette

[Ty Maier]

Hey there!

If I wanted to grade according to a specific color palette included in a company's brand guidelines doc, where would I start?

Specifically a goldish-beige and navy blue tone.

Wasn't sure if there was a best practice or method for creating the initial grade with predefined colors.

Thanks,
Ty Maier

 

[rand thompson]

Try PhilmColor by Phil Holland

http://www.phfx.com/tools/philmColor/index.shtml

Goldish-Beige Tone:

[/url]A001_C046_0525TK.0000260F by rand thompson, on Flickr[/IMG]

[/url]A001_C046_0525TK.0000260F by rand thompson, on Flickr[/IMG]

[/url]A001_C046_0525TK.0000260F by rand thompson, on Flickr[/IMG]

Navy Blue Tone:

[/url]A001_C046_0525TK.0000260F by rand thompson, on Flickr[/IMG]

[/url]A001_C046_0525TK.0000260F by rand thompson, on Flickr[/IMG]

 

[rand thompson]

Here is a 50/50 overlay of "Pelican"(Goldish-Beige) basestock and "NightOwl"(Navy Blue) basestock. For a "Goldish-Beige/Navy Blue" overall tone.

[/url]Untitled 4_2.1.1 by rand thompson, on Flickr[/IMG]

 

[Aaron Lochert]

Forgive me for asking this, but is this not something to be covered with art direction?

 

[Ty Maier]

Forgive me for asking this, but is this not something to be covered with art direction?

You're absolutely right that this will be primarily driven by art. I was just interested in creating grades from a brand's specific color palette.

 

[Hrvoje Simic]

You're absolutely right that this will be primarily driven by art. I was just interested in creating grades from a brand's specific color palette.

Just in case - specific brand-defined palette is mostly for graphic and art design. Unless your shots are very simple with simple objects, and you have very specific requests, that palette is more like a general reference.

Depends on specific expectations and contents of the shot. It is more of a feel and sensibility thing then a universally applicable methodology and due to amount of variables cook book is unlikely.

 

[richard peterson]

try color compressor.
- import a still image with your target colors
- add a serial node to the footage and qualify or window the color/area that you want to change; the quality of your resluts will be dependednt on how well you isloate the color
- drop the color compressor on that node. set the target color to your desired color. This is where you can use the color picker to select your specific color
- turn up the compress hue values to taste

I'm not sure how color accurate this will be but should get you close..

here are a few low rez screen shoots... my key is bad but you get the idea. Of course the greater the color difference the more critcle your window or qualifer will need to be.

 

[Marc Wielage]

If I wanted to grade according to a specific color palette included in a company's brand guidelines doc, where would I start? Specifically a goldish-beige and navy blue tone.

My opinion: it can't be done.

They'll just have to bring in a product sample and have you match to it under D65 lighting. And that's something that is endlessly discussed in commercial color sessions. It's tough because so much depends on the specific lighting on the set, the degree of shadow, the exposure, the color of the person holding the object, and so on.

A LUT won't do it -- it's a question of time and experience. Bear in mind you'll find the product will change color depending on lenses, angle, and location, so a single correction won't keep it consistent. It's possible that you'll need a VFX artist to cut out multiple external masks so you can always grade the product separately from everything else in the shot. Either that or use power windows by hand, which is time-consuming.

 

[Ty Maier]

My opinion: it can't be done.

They'll just have to bring in a product sample and have you match to it under D65 lighting. And that's something that is endlessly discussed in commercial color sessions. It's tough because so much depends on the specific lighting on the set, the degree of shadow, the exposure, the color of the person holding the object, and so on.

A LUT won't do it -- it's a question of time and experience. Bear in mind you'll find the product will change color depending on lenses, angle, and location, so a single correction won't keep it consistent. It's possible that you'll need a VFX artist to cut out multiple external masks so you can always grade the product separately from everything else in the shot. Either that or use power windows by hand, which is time-consuming.

Thanks Marc! This is what I needed to hear!!

 

[Dermot Shane]

it can be done, it just takes time and the been there/done that tshirt

i booked 12 hours into a 30 sec spot last week, the concept was about branding and brand colors everywhere possiable in this world... all cars were one of two shades of blue in the company logo, luggage, flowers, flags, ties, shoes matched other color in the logo... tons and tons of keying / tracking / rotoing...

it was shot on ArriRAW, but it would the same workflow with R3D's

doable, but bring cash, a healthy amount of cash...

10 years ago i'd have done this gig in Jaleo, Flame or DS.

now Resolve, Nucoda and Baselight are up to the task, Luster and Flame always have been, as has Mystika

but haveing a deacde or more of experience is pretty important in getting through the day with everyone happy campers

those luts are a (very) bad joke or shear ignorance in action....

 

[rand thompson]

those luts are a (very) bad joke or shear ignorance in action...

My understanding of what the OP was asking for was a simple "Golden-Beige/Navy Blue" overall grade not that everything in the image has to be Golden-Beige/Navy Blue with no exceptions. So I will plead "ignorance" of what the OP actually was requesting.