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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 :)

Resolve Remote Grading Demo Reel for 2012

jake blackstone said:
This is my latest Remote Grading Demo Reel for 2012.
As the title implies, most of the color grading was done around the world in real time using Resolve in Remote Grading mode.
Hope you like it...
Click to expand...

Impressing,
How does monitoring work while in remote?
 
Ido Karilla said:
Impressing,
How does monitoring work while in remote?
Click to expand...

Thank you.
The monitoring is quite easy to do. Mine and client's monitors are both calibrated to Rec-709 specs. Before each session black level is checked with Pluge. This way both, client and I see the same picture, despite being thousands of miles apart.
As you can see from my demo reel, usually I grade commercials and music videos, but occasionally I get to work on longer projects.
Just last week I graded a 22 minutes short in Moscow, that will be made into a DCP for showing in movie theaters. So far, it is one of six shorts, underwritten by a single advertiser. In this case, it is Megaphone, one of the largest Russian phone companies. Another one is in two weeks.
 
Some of these shots, Jake, are just killer. As in, I would kill to see some of your node trees to learn a thing or two. Or 20. This really makes me want to work a lot harder to get a lot better, faster.
 
Nick Pasquariello said:
Some of these shots, Jake, are just killer. As in, I would kill to see some of your node trees to learn a thing or two. Or 20. This really makes me want to work a lot harder to get a lot better, faster.
Click to expand...

Surprisingly, I don't believe in complicated grades. I rarely have more, than four or five nodes. Anything more gets unwieldy and it affects the playback performance. Rember, all this done remotely, so it is important to keep it simple for the performance sake, as not all clients have systems with multiple GPUs. And most important, it all starts with great cinematography:-)
 
jake blackstone said:
Surprisingly, I don't believe in complicated grades. I rarely have more, than four or five nodes. Anything more gets unwieldy and it affects the playback performance. Rember, all this done remotely, so it is important to keep it simple for the performance sake, as not all clients have systems with multiple GPUs. And most important, it all starts with great cinematography:-)
Click to expand...
I have heard this from other colorists as well. I think even Mike M had mentioned this at one point. It's easy to go crazy with all kinds of nodes and complicated processing and sometimes it's probably appropriate. But like a lot of things, including lighting, seems like it's easy to go overboard and lose sight of what's important. I've been amazed at what I've seen talented people do with little more than a 3 wheel color corrector in an NLE. Obviously, they just know how to get the most out of the tools they use.

Nice work Jake!
 
ARe you kidding, amazing!!!! you just showed me that I dont know anything about grading. So far I been grading in RCX only, my RED Scarlet footage and nothing looks like what I see here. WOOW!!!
I need a drink!



AMAZING, are the files original R3D that you are working on? and then exported to Proress let just say.
 
greg filipkowski said:
AMAZING, are the files original R3D that you are working on? and then exported to Proress let just say.
Click to expand...
I had to think about it a little.
Pretty much only the Seat car shots and some of the portraits were Red. But only Seat car shots were R3Ds. Portraits were transcoded Prores. Everything else was Alexa. Yes, rendered finish was Prores.
 
Steve Sherrick said:
I have heard this from other colorists as well. I think even Mike M had mentioned this at one point. It's easy to go crazy with all kinds of nodes and complicated processing and sometimes it's probably appropriate. But like a lot of things, including lighting, seems like it's easy to go overboard and lose sight of what's important. I've been amazed at what I've seen talented people do with little more than a 3 wheel color corrector in an NLE. Obviously, they just know how to get the most out of the tools they use.

Nice work Jake!
Click to expand...

Thanks Steve.
Less is usually more:-)
But on a serious note, as I said, another important consideration is the performance of the slave Resolve. Because I can't control it, less nodes means better playback for the client.
 
Some of those shots are so incredibly punchy, it's jaw-dropping.
 
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