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on Jul 19, 2014 at 7:46:39 am
Alexis Van Hurkman's
Color Correction Look Book: Creative Grading Techniques for Film and Video
has some good tips:
In truth, I think a lot of looks boil down to much more than just color correction. You need the cooperation of the DP, the art department, the costume department, and the makeup department for everything to come together as a unified look.
I think you can get some inspiration by lots of successful contemporary films and commercials, and study their use of grad filters (in production or post), colored washes, desaturation, the orange/teal thing, the desaturated-cyan thing, and to reverse engineer them. In some cases, the looks are very, very complicated and require a dozen or more nodes and very specific shot-to-shot adjustments; in others, it might just be a preset from a few nodes that the colorist just pops in as required. It's interesting to note that many American TV shows are color-timed in about 2 days, so there's no way they're taking 15 minutes per shot to do very involved, complex looks -- but they do sit down and come up with maybe a dozen presets early in the season, to the extent that a producer can say, "hey, give me that cold, blue, depressed look for this scene," and the colorist takes that and works from there.
I don't believe the so-called "Look LUTs" out there on the web are the answer, but you could try some of those out and see if they get you close. In general, I think it's possible to recreate those with the essential tools we already have in Resolve. Once you have this as a Powergrade, you can use it from then on whenever a similar situation pops up.
Current Message Thread:
by Stephen Smith on Jul 18, 2014 at 9:39:29 pm
by Marc Wielage on Jul 19, 2014 at 7:46:39 am
by Sascha Haber on Jul 19, 2014 at 8:39:06 am
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