Hi there, does anyone here have any experience grading animation? I am grading a baby animation which is exposed from 3DsMax and everything is very exposed and some colours are oversaturated. everything is out of the range. Some of the clips are possible to grade but some not. Not sure what to do. Is there a setting they can export footage within the legal range?
This is the render:
We are rendering via Royal Render using V-ray Adv 3.60.04. Built-in frame buffering and Memory frame buffering are both enabled. We are separating the render channels into Multi-Matte, RGB and V-ray’s wire frame, but we aren’t rendering the Alpha. Shaders are using 3Ds Max Photometric Scale.
Gamma is Input: 2.2 and Output: 1.0. Colour mapping is set to Reinhard, Multiplier and Burn Value both 1.0.
[veronika koubova]"Gamma is Input: 2.2 and Output: 1.0."
... might be one of the only useable pieces of information here... (and invalid for cinema production anyway, as the television industry has already moved on to 2.4.
It seems like you are getting a purely graphical output with no regard for display-referenced motion picture colorspace.
In a way, the same issue as a musician providing a sound track referenced to "full" digital gamut - the way music CD's are often produced at full excursion "to provide maximum dynamic range" -- when the industry standard for television delivery sets a reference at-20 dBf.
If there is a post-production supervisor on this project, they are going to have to negotiate a delivery that takes the *deliverable* into account, if you want to make your life any easier. If the graphics company is producing something that has been artistically deemed to be the desired result, then your only option is to "make it work."
When you state that some values appear "oversaturated", the question is, compared to what?
If the onus is on you to reconcile the values, you may have to use your Input settings like looking through the wrong end of a pair of binoculars to make them smaller in order to fit into your grade.
Apparently they are just fine to whoever is producing them, and how they are being evaluated. Probably no scopes or other measurement values involved.
Were this a problem on my system here, the first approach would be to make sure that the files are being reproduced correctly -- full digital sometimes means over-riding the Resolve "Auto" setting and forcing the choice to the correct method. Then opening up the source media import colorspace -- ACES is the largest universal gamut/workflow framework - and picking an Input Transform that will reconcile the apparent image with the Output that you are aiming to deliver in. You have, in a sense, the opposite issue to using a Transform to reconcile Log-sourced footage in a Linear workflow, where you have to expand the values so they reconcile with your display-reference. In fact, you appear to have to "compress" the picture values so that they are compatible with the colorspace of your working environment.
"I always pass on free advice -- its never of any use to me" Oscar Wilde.
Thanks for this. Someone said this: Aha!! Actually there is highlight detail, if you go into AfterEffects, and bring down highlights there is detail in the super whites, so either they need to render a version sans super white levels, or you need to process the footage first in AfterEffects as ProRes or DPX to allow you to bring down the super whites to reveal the detail in Resolve, or to bring down those details first in AfterEffects and then render out for grading..
I am looking at the vector scope and some colours are over oversaturated. It’s just parts of the body or piece of a prop.
This is why they added multi-pass rendering to the workflow.
What might look good 2 seconds into the animation don't in the next 5 seconds.
Camera angles and how the color space in your 3D software is a bit of a roll the dice at times.
I use Maya extensively and if this becomes an issue, I have to add multi-pass in the cost of doing business.