| | | | Service: FreshHat
by Moritz Fortmann on Jun 16, 2012 at 10:16:37 pm
in the COW - Services Forum
DI Colorist and Stereo 3D Artist
FreshHat
June 2012 Ravensbourne College of Design and Communication
BA, Moving Image Design
2002 DI Color Grading
Stereoscopic 3D Post & Production
Quantel Pablo & Neo
DaVinci Resolve Quantel Pablo & Neo
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| | | | FreshHat
by Moritz Fortmann on Jun 16, 2012 at 3:16:37 pm
in the Forum
COLOR GRADING Color Grading is the intermediate step between your final cut and preparing for distribution. Almost every TV program, documentary, music video, movie, etc. is color graded these days. The difference between a graded and ungraded image | | | | |
| | | | Re: Client Viewing Monitor Recommendation
by Shane Ross on Jun 15, 2012 at 7:21:27 pm
in the Apple Final Cut Pro Forum
Just for client viewing? Or for color correction and broadcast monitoring?
For client, Panasonic Plasmas are great. For Color grading, Flanders Scientific are what I swear by. Lucky to have them on the work machine and home office machine. | | | | |
| | | | Executive Producer
by Adam Berk on Jun 13, 2012 at 11:29:07 pm
in the JOBS Offered - Higher Pay Forum
Join San Francisco’s most rapidly expanding creative endeavor of its kind.
CT-SF, an artist owned and operated high-end visual fx, color grading and motion graphics boutique is excited to announce the search for Executive Producer.
You | | | | |
| | | | Scopes in Photoshop like in Apple Color?
by Zachary Silver on Jun 12, 2012 at 3:15:23 pm
in the Adobe Photoshop Forum
Hi everyone,
Recently I've been using Apple's color grading software, Color. It utilizes 3 way color corrector wheels, contrast bars and curves to fine tune the color and contrast of video clips. I really love being able to use the scopes that it fe | | | | |
| | | | Re: t -tap support
by jake blackstone on Jun 12, 2012 at 6:06:41 am
in the Autodesk Smoke 2013 Forum
I had been using Artist series panel with Resolve for over a year. It is, in my opinion, much more versatile, than the Wave. It is much better built, it is networkable, meaning it can be used with multiple stations, as long as they are on the network | | | | |
| | | | Re: What have you done in X lately?
by Dave Gage on Jun 12, 2012 at 1:38:52 am
in the Apple FCPX Techniques Forum
[Oliver Peters] "You might want to start on the last page and work your way forward. The oldest page has some of my demo reels, including some of the long-form stuff (features, etc.)."
Will do. The weekend got lost to the kids, but I should have mor | | | | |
| | | | Service: ColorGHear
by Shian Storm on Jun 11, 2012 at 11:42:01 pm
in the COW - Services Forum
Cinematography
http://www.imdb.com/name/nm0832549/
COLOR GRADING
Lowry Digital
23D Films
I have been freelance ever since while creating and implementing the ColorGHear System I learned from the world's most knowledgeable expert in image enh | | | | |
| | | | Re: Dailies Workflow Question
by jake blackstone on Jun 11, 2012 at 8:42:35 pm
in the Autodesk Smoke 2013 Forum
Your question implies a proper color grading module in Smac. As far as I'm concerned, CC and CW are old and outdated tools, good enough to do small tweaks in a pinch. Yes, there are people, who will claim, that they do grading in Smac all the time. A | | | | |
| | | | Re: t -tap support
by jake blackstone on Jun 11, 2012 at 8:30:58 pm
in the Autodesk Smoke 2013 Forum
I feel Tangent Elements will be a waste of money, as CC and CW are not real color grading solutions. If you decide to bring the Lustre technology, that's a different question...
I hope you realize, that without proper color grading module, that is a | | | | |
| | | | Re: edit with h264 or transcode?
by Ryan Holmes on Jun 11, 2012 at 5:23:05 pm
in the Adobe Premiere Pro Forum
Ryan Patch is right that there is no added bit-depth, color information, or resolution added to a file that you transcode. The file can ever only be as good as what you capture it on originally. Period.
However, the reason transcoding is necessary | | | | |
| | | | ColorGHear
by Shian Storm on Jun 11, 2012 at 4:42:01 pm
in the Forum
I learned from the world's most knowledgeable expert in image enhancement, John Lowry. I worked for LDI for 2 years and learned almost everything there is to know about image enhancement. | | | | |
| | | | DaVinci Resolve 9 RAW codec
by Stephen Smith on Jun 11, 2012 at 3:59:28 pm
in the COW - Tutorials Forum
I purchased your Color training DVD when it came out and loved it. That is when I started to Color Grade. I'm looking for a new Color Grading program and really enjoyed this article. I have to say I'm really surprised Black Magic hasn't given you a B | | | | |
| | | | Re: What have you done in X lately?
by Oliver Peters on Jun 10, 2012 at 3:08:45 pm
in the Apple FCPX Techniques Forum
Dave,
Thanks for the kind words. You might want to start on the last page and work your way forward. The oldest page has some of my demo reels, including some of the long-form stuff (features, etc.).
As far as the color correction, a lot of the | | | | |
| | | | Re: edit with h264 or transcode?
by Bill Carnicelli on Jun 9, 2012 at 1:11:38 pm
in the Adobe Premiere Pro Forum
Hello Juan,
What I mean by "outside" is sending to someone else to work on it. Like color grading. But if you are going to complete the project on your machine using the Adobe Suit tools then I would stay with native files and not transcode. Just | | | | |
| | | | Re: Exchange Projects between Lite and pro?
by Kevin Cannon on Jun 7, 2012 at 3:36:02 pm
in the DaVinci Resolve Forum
Hi Markus,
We bring projects from Lite to the full version almost daily, and have had no problems. You are restricted to HD but none of the other limitations affect the conform. We usually just export the project from one machine and import it on | | | | |
| | | | Re: Advice for new monitoring solution
by Todd Gill on Jun 7, 2012 at 1:04:49 pm
in the Apple Color Forum
Jim,
I'm running a 2011 MacPro with Lion on it.
I am outputting via BMD Decklink HD Extreme 3D to a Flanders Scientific LM-2461W 10 Bit color grading Monitor.
I am currently running Adobe CS6 FCP and DaVinci and everything works great.
I al | | | | |
| | | | Service: Heather A. Banas
by Heather Banas on Jun 6, 2012 at 5:43:10 pm
in the COW - Services Forum
Assistant Editor M.S. • Strong production skills including advanced skills in camera work and direction.
Great post production skills with an eye for Color Correction. Familiar with DSLR and most pro-sumer HD cameras.
Able to edit to tape and cap | | | | |
| | | | Service: Thomas Bouffioulx
by Thomas Bouffioulx on Jun 6, 2012 at 4:11:52 am
in the COW - Services Forum
Condor Belgium (2012 - ongoing as freelance)
Senior colourist for high-end TVC on Davinci Resolve
HK City University - School of Creative Media (2011 - ongoing)
Part time lecturer : Color grading and spatiotemporal dynamic of moving pictures.
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| | | | Thomas Bouffioulx
by Thomas Bouffioulx on Jun 5, 2012 at 9:11:52 pm
in the Forum
Condor Belgium (2012 - ongoing as freelance) Senior colourist for high-end TVC on Davinci Resolve HK City University - School of Creative Media (2011 - ongoing) Part time lecturer : Color grading and spatiotemporal dynamic of moving pictures. INSAS ( | | | | |
| | | | Service: Graham Hutchins Inc.
by Graham Hutchins on Jun 5, 2012 at 5:44:51 pm
in the COW - Services Forum
10 years of production and post-production Bachelor of Science, Radio-Television-Film, University of Texas-Austin, 2000 Editorial, color grading, visual effects, compositing 3119 Castro St. Austin Texas United States , Post Production, Color Corre | | | | |
| | | | Re: placing Over Exposed Sky
by Mark Suszko on Jun 5, 2012 at 4:20:18 pm
in the Apple Final Cut Pro Forum
What Rafael says. Mask off the window area, use luma key to generate a matte. Later the matte over the new sky, and the original over the top of that. Very good chance you won't need a roto here, just manipulate opacity and blend modes.
A slightl | | | | |
| | | | Graham Hutchins Inc.
by Graham Hutchins on Jun 5, 2012 at 10:44:51 am
in the Forum
Bachelor of Science, Radio-Television-Film, University of Texas-Austin, 2000 | | | | |
| | | | External Grading Monitor
by Gregory Hutchinson on Jun 3, 2012 at 8:57:20 am
in the DaVinci Resolve Forum
Hi i need some help buying a color grading monitor my budget is 2,500
I have The Blackmagic Design DeckLink HD Extreme 3D card, i was look at the
Hp Dream Color is that a good chose or i can get something better for the 2,500
Thanks for any help. | | | | |
| | | | No QT / PR422 option exporting via Media Encoder?
by Sangye Ince-Johannsen on Jun 2, 2012 at 10:22:50 pm
in the Adobe Premiere Pro Forum
Hi all, I'm the videographer on an extended video project for a local theatre production, and I'm working out a good workflow with the editor. She's working in FCPX, but I use Premiere CS6 to do initial audio sync and color grading. After adjusting c | | | | |
| | | | @David Jahn
by walter biscardi on Jun 2, 2012 at 5:39:59 pm
in the COW - Tutorials Forum
Seems like an Avid Color Control Surface and Symphony Grading might be the ticket at this point. Probably the best $1500 you'd ever spend!
I'm currently working Smoke 2012/Apple Color/Kona 3/Avid Color Surface.
Except that I've already tested t | | | | |
| | | | Re: Apple article on Optimizing Media
by Jeremy Garchow on Jun 1, 2012 at 1:34:38 pm
in the Apple FCPX or Not: The Debate Forum
[Bret Williams] "So quick I've actually forgotten that's what it's doing! I'm not positive, but I thought that anything that has already been compressed doesn't get recompressed like Premiere. For example, the native h264 project I did had color grad | | | | |
| | | | Re: Apple article on Optimizing Media
by Bret Williams on Jun 1, 2012 at 12:27:39 pm
in the Apple FCPX or Not: The Debate Forum
So quick I've actually forgotten that's what it's doing! I'm not positive, but I thought that anything that has already been compressed doesn't get recompressed like Premiere. For example, the native h264 project I did had color grading on every sh | | | | |
| | | | Re: GPU cards and Videocards...
by jake blackstone on Jun 1, 2012 at 4:09:39 am
in the Autodesk Smoke 2013 Forum
It's not a hack. It is a standard feature of Smoke to run DVI out for the second monitor.
The issue doing it that way is, that OSX doesn't support 10 bit. For 10 bit you must use BM or AJA cards. So, if you're considering color grading with Smoke, | | | | |
| | | | Smoke To Davinci Workflow
by Ari Brown on May 31, 2012 at 5:50:09 pm
in the Autodesk Smoke Forum
I am a long time reader, first time poster - so please be gentle :)
I have done a number of searches, but I haven't been able to find the answer to my workflow question yet.
I am trying to figure out the best workflow for doing a conform with A | | | | |
| | | | Service: Cinema Gotika
by Gabriel Campañó on May 30, 2012 at 9:48:17 pm
in the COW - Services Forum
CINEMA GOTIKA [CGK] is the first "digital lab" and boutique in Latin America and our core business is apply high-end solutions to image and sound mastering for cinema and media content.
We specialize in digital film restoration in order to protect, | | | | |
| | | | Cinema Gotika
by Gabriel Campañó on May 30, 2012 at 2:48:17 pm
in the Forum
CINEMA GOTIKA [CGK] is the first "digital lab" and boutique in Latin America and our core business is apply high-end solutions to image and sound mastering for cinema and media content. We specialize in digital film restoration in order to protect, i | | | | |
| | | | Cinema Gotika - Film Restoration & Mastering Reel
by Gabriel Campañó on May 30, 2012 at 11:51:51 am
in the Forum
CINEMA GOTIKA [CGK] is the first "digital lab" and boutique in Latin America and our core business is apply high-end solutions to image and sound mastering for cinema and media content.
We specialize in digital film restoration in order to protect, | | | | |
| | | | Video: Cinema Gotika - Film Restoration & Mastering Reel
by Gabriel Campañó on May 30, 2012 at 11:51:51 am
in the COW - Videos Forum
Cinema Gotika - Film Restoration & Mastering Reel CINEMA GOTIKA [CGK] is the first "digital lab" and boutique in Latin America and our core business is apply high-end solutions to image and sound mastering for cinema and media content.
We specialize | | | | |
Podcasts | | | | adobe photoshop for video podcast
Photoshop and AE: Color Grading Video
In this episode of Video Adrenaline for Photoshop and After Effects, Richard Harrington explores how to use Photoshop and AE together as color-grading tools. | | | | |
| | | | boris fx tutorials podcast
Using BCC 7 AE's New 3 Way Color Grade Filter: 2
Kevin P. McAuliffe takes another look at Boris Continuum Complete 7 AE's new 3 Way Color Grade filter. BCC 3 Way Color Grade provides a professional color grading process complete with three custom color wheels for pedestal/gamma/gain adjustment... | | | | |
| | | | boris fx tutorials podcast
Using BCC 7 AE's New 3 Way Color Grade Filter: 1
In this video tutorial, Kevin P. McAuliffe takes a look at Boris Continuum Complete 7 AE's new 3 Way Color Grade filter. BCC 3 Way Color Grade provides a professional color grading process complete with three custom color wheels for pedestal/gamma/gain... | | | | |
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