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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 :)

skintone

Regarding the potential for automatic color chart based color correction for camera/shot matching, I found an Adobe webinar awhile back that shows how to use this feature in CS6 Speedgrade. Skip to ~43 mins.
Iʻve never actually tried this, so if anybody who knows all about this technique (or something better) you are invited to comment please :-)
http://bit.ly/LdUnEF
 
For anyone wondering how to use it - drop it into Macintosh HD > Library > Application Support > Blackmagic Design > Davinci Resolve > LUT

Make sure your Gamma Curve is set to REDlog Film. Then select the LUT as the 3D Output Lookup Table.

Your image is going to look desaturated and contrasty, which is normal and should be easy to correct in the first node.
 
Graeme Nattress said:
Shoot a chart! All the colour temp meters I've used just don't get accurate enough....
Graeme
Click to expand...
Graeme Nattress said:
So from what I remember there was an issue with a certain combination of light, makeup and camera...
Graeme
Click to expand...

Graeme is hitting on my two top pet peeves when i do quick set audits .... Charts & Makeup.

I don't know what it is, but some crews just forget to bring charts and/or get rushed and forget to shoot charts. It literally only takes seconds, and it speeds post up so much. I am literally at a loss why this happens, i think one reason is that the DP/Cinematographer is often not involved in post (which btw i totally disagree with, to me the cinematographer should be over the entire look of the movie including vfx and color).

On the Makeup side, it drives me insane when the talent has makeup done from 1950 type chemicals with prep lighting which is nuthing like the shot lighting. It's horrible when you even have multiple makeup people for the talent with different chemical bases (another whine is that talent should not be allowed to have personalized makeup people in the contract). Most often then not though, it's that the DP has paid zero attention as the talent are being prepped (i love to see the lighting guy spend some extra time and actually do the a lighting setup for the makeup artist). From a money waste viewpoint, I'd say these two things kill about 5% of the budget and can completely destroy looks (it's really hard to correct bad makeup, especially if your shooting at 5k). There are so many new makeups that reduce glare and work with led & florescent lights, it freaks me out when i see someone cake some crap on when some simple transparent no gloss would have done the trick (and btw, the new stuff doesn't make women have beards at 5k).
 
Bob Gundu said:
OK i know it's not shot on RED but I sure like the grading :)
http://www.youtube.com/watch?v=6WKmnAcMTKM
Click to expand...

My company "Pretty Moving Pictures" had the pleasure of working with Paul Cameron on setting up the workflow from the camera back. Dane Brehm was the DIT and with Paul's approval Dane and I tried to make Dead Man Down be the first major feature to record ArriRaw on the Gemini 444 recorder. Unfortunately, that wasn't quite production ready when we entered into production so Codex ended up recording the ArriRaw instead. Dane used our mobile lab systems to backup, grade and send 3D LUT's to our Dailies facility via Scratch Labs. Very cool show to be a part of and it looks great. I think CO3 is doing the color but I could be mistaken.
 
Juan Melara said:
For anyone wondering how to use it - drop it into Macintosh HD > Library > Application Support > Blackmagic Design > Davinci Resolve > LUT

Make sure your Gamma Curve is set to REDlog Film. Then select the LUT as the 3D Output Lookup Table.

Your image is going to look desaturated and contrasty, which is normal and should be easy to correct in the first node.
Click to expand...

Hey Buddy

Where can i get a set of Kodak and Fuji CUBE luts for Resolve? I only have 3dl files and they convert to CUBE poorly and look nothing like what they should. Your one wasn't bad.
Also does anyone know where i can get a good set of 2k grain that i can mix in in Resolve? All my grain is SD
 
Adam Eden said:
Hey Buddy

Where can i get a set of Kodak and Fuji CUBE luts for Resolve? I only have 3dl files and they convert to CUBE poorly and look nothing like what they should. Your one wasn't bad.
Also does anyone know where i can get a good set of 2k grain that i can mix in in Resolve? All my grain is SD
Click to expand...

I'll convert them if i get some time in the next day or so...

You can give it a shot if you have after effects. Try my method in this thread.
 
Bjorn's LUTs actually do some very nice things to skin tones... Makes them look "thicker" not just more saturated. Also makes the highlights clip nicer than a simple film curve... Me likey.
 
Mike P. said:
Bjorn's LUTs actually do some very nice things to skin tones... Makes them look "thicker" not just more saturated. Also makes the highlights clip nicer than a simple film curve... Me likey.
Click to expand...

I cant wait for him to convert them to CUBE! I can't find a single 3dl to cube converter anywhere!
The after FX thing to resolve thing is very hard and looks a little different.
 
Bob Gundu said:
I decided to give the Speed Looks a go. I must say that I'm very impressed!
Click to expand...

Yeah, I love them as you can tell from my thread on them. Curious to see how Bjorn's look in comparison.
 
Mike P. said:
Bjorn's LUTs actually do some very nice things to skin tones... Makes them look "thicker" not just more saturated. Also makes the highlights clip nicer than a simple film curve... Me likey.
Click to expand...

Thanks. I personally just love the Fuji3513_log2hd_CUSPclip.

So if anybody has the chance to convert any more of those then thats t you should aim for. Did not know I liked fuji, i thought thought I was a kodak guy, but then when looking into it Fuji actually have had some really nice print stocks.

To me all the print stuff (which is basically half of the whole celluloid invention) got a bit forgotten when digital came into the the picture. I remember 10 years back or so. Then it was not really rare that even for little swedish TV commercials some directors and DP's actually went ahead and did a neg cut holding all the selected takes and then went the extra miles to strike prints to use in the telecine. often making quite a few, like one INR, one low contrast, a high contrast and then the one that every one usually had such high hopes for was offcourse the bleach bypass... The BB print normally came out very much unusable dark and contrasty...

Then for some unknown reason all that went away when the HD telecine, like the spirit, came along. From that point tend to think most grades that I see look way to much like color slides. Very few colorists manage to actually digitally push the images towards that really rich positive/print look.

But to me those 3dl print luts are a good way to at least get in that direction.
 
Björn Benckert said:
Here is a little test clip I do not have the before sadly. It's just shot with some poor tungsten lamps and the light from the telly but I find it to look more than film would have done in the same condition and the guy's skin tone is not the most common still it looks very natural in a good way I think.

http://www.syndicate.se/Files/~usr/callboypilot/HAWK_100mmgradedsmall.mov
Click to expand...

Hi Björn!

Did you add grain to the clip?
If so, what method/software did you use?

Thanks!
George
 
Hey Bjorn, what do the different abbreviation things mean? CUSPclip, ConstL, etc., and what effect they have?

Ironically, I actually really love that rich positive/print look, which I usually tried to mimic/fake by adding more saturation to things like skintones and shadow saturation (which didn't really work.) I like where these LUTs start you off. I've tried experimenting with RC3 (instead of RC2) and while the colours may not be right, it still looks pretty good. Really have to watch white balance though... things can react weirdly if you're off.
 
SpeedLooks Clean 3500 Fuji:

LogC Original
LogC_CleanOut_1.11.13.jpeg


LogC input, 3500Fuji Output LUT:
LogCInputLUT_1.11.5.jpg


http://wp.me/p242Io-j0
 
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