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Towd

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  1. I once worked with a really good compositor at a large VFX house who admitted to me once that he was totally colorblind. His trick was that he just matched everything by reading the code values from his color picker tool and matching the parts of his composite purely from the values he sampled. I've always remembered that when I feel I can't trust my eyes, or something is not working for me. You can color grade just by making sure everything is neutral and balanced. Later, as you become more comfortable with the process and gain more experience you can start creating looks or an affected grade. Generally to start you want to get your white balance correct. Find something in your shot that you know should be neutral or white. A wall, a t-shirt, a piece of paper, or anything else that should be white or gray. After that, check your blacks and make sure they are neutral, then double check your whites. Finally, check your skin tones and make sure they are correct. You can do this by using the vectorscope and just getting them on the skin tone line. Somewhere in this process you'll want to set your exposure. I generally just make a rough exposure adjustment at the beginning so I can see everything, then dial it in once my balance is set. One thing I do a lot when studying how a film I like is graded is to take screen captures from a Netflix stream or other source and pull them into a project to compare the color values on it. Then you'll have a roadmap for for what you are trying to match.
  2. Towd

    Anyone shoot time-lapses?

    It's a separate piece of software you run along side of After Effects. It looks like they still offer an evaluation version, so you can try it out. After effects will load a sequence using your raw settings. LR timelapse takes care of the exposure variations. It's been years since I've done it, so I don't remember the exact workflow, but it's something along those lines. 😁 Also, never did it this way, but I imagine, you could run out a clip using a Photoshop timeline. After Effects is just nice because you get its workflow with things like Lumetri color adjustments you can layer on top of your raw grade if you want to tweak things.
  3. Towd

    Anyone shoot time-lapses?

    I used to process a lot of time lapse footage for an old job. The standard we used was LR Timelapse. My memory is sketchy, but I think the process involved grading one raw image for the look you wanted and then running the sequence through the LR Timelapse software and it would calculate exposure variations for you and try to correct for them. You would then export that exposure data into After Effects and run out the sequence using your raw settings. Overall, it produced very nice results even if there was a lot of flickering in the original sequence. It used to offer a trial version for testing if you wanted to give it a try.
  4. Here's my take on this footage: First one is my neutral grade... but with the exposure pushed way down just to add drama and get the image to pop... at least to me. Also, threw a power window over the right pillar, so it competed less as the subject of the shot. Second one is my crack at a grade for a ghost story (since Kye is looking for themesπŸ˜„). In this story our little friend here is selling haunted curiosities.
  5. You know @kye, when I was reviewing the 2 Gems Media stuff, I got generally a similar impression. His newer stuff is better than some of his early stuff. I also, suspect he may just shoot the "standard" color profile on the GH5 and white balance off a wall in the room he's in. (Or off a card.) His post process may not be much more than degraining, tweaking exposure, adding glow, and adjusting skin tones (if that). That would explain the clipped highlights. Plus the standard (non-log, Cine-D) profiles can deliver really nice results with minimal work. This way he can just crank out videos with minimal effort. Whatever he's doing, it's still a nice enough end product that it seems to be keeping him busy.
  6. Hey Mark, I'm really glad you found it helpful! It was kind of fun to take a crack at this type of grading since it's not a look I normally do, but it's nice and certainly has some utility. I don't know if you use Resolve, but I'll attach the powergrade that you are free to use. Otherwise, I'll go through my basic approach and thought process on this. Finding a general system that works for me, helps me compartmentalize what I'm doing. Overall though, I try to keep things simple and generally avoid secondaries or masks unless I'm trying to fix problems in footage. I laid everything out sequentially because I'm not sure what package you use, but this is my general order of operations. If you are using Resolve, you could potentially combine the WB(White Balance), Exposure, Contrast, and Saturation nodes into a parallel operation. I think everything else depends on the previous, although it's all personal preference. You could potentially throw the contrast pop, vignette, and glow into one huge parallel operation with the other ones. But, I kind of like working in serial though. So here's the steps and a brief explanation: Degrain Roll Off - This is just a curve I use to roll off highlights before converting to my working color space, so I could preserve a little more detail. I start dropping highlights from 50% increasing to 100%. A bit like forcing high dynamic range into an image. Color Transform - This gets me into my timeline's color space as soon as possible where I prefer to work. In this case, I set it to sRGB. White Balance - Used the eyedropper on something I want white in the scene. Then tweak a little. Sometimes take multiple samples and average between them. Exposure - Just gain control until my mids are where I want them. Then go back and tweak my Roll Off if I want to save more highlights. Contrast - Just a small amount of Contrast since the ref video was pretty contrasty. Could use an S-Curve here. Saturation - Dial in sat after setting contrast or gamma. Contrast Pop - I like to put a touch of this in when it works. It's a different kind of contrast. If you've used Nik tools, this is pretty much the same thing as Tonal Contrast. Can look weird if dialed too high. Vignette Glow - this is just the glow effect filter in Davinci. I set the threshold to 1 since I was pushing highlights out of range, so it added some glow to anything out of legal range. Gives a soft edge. Very low spread. By default it's really large. Sharpen optional. Did a micro amount. Grain would go last, but I didn't use any on this. One note about the power grade: I think contrast pop, degrain, color space transform, and maybe glow are only in the full version of resolve. You can probably find equivalents or leave them out. An slog2 LUT could potentially replace the Color Space Transform since I'm compressing highlights before it anyway. Real_Estate_001_1.1.1.drx Real_Estate_001_1.1.1.dpx BTW, IMO the Sony you shot your test footage with is pretty nice. By degraining at the beginning, it smooths out the 8 bitness of the image and it had more dynamic range than I could use. I'm sure if I worked with it regularly and graded a variety of shots with it, I'd develop a more robust pipeline to take care of any quirks it might have. No idea how skins look in it though. Still, the Z6 has me curious. But I'm waiting to see if they add internal raw at some point..
  7. So, I watched the 2Gems Media's video a few times and some of their other videos on their channel. It's an interesting modern style that he's obviously using to much success. I wouldn't call it a cinematic style. He's not afraid to let his whites clip and it looks like he degrains his footage and doesn't add any back, but just leaves it very clean. The most important thing he does is get a nice neutral white balance. Also, he seem to push overall exposure into the upper range. I'm not saying he lifts blacks, but his middle exposure area feels higher than normal. Conversely, for a cinema look, I'd push everything much darker. I'm sure this is to make a home feel warm and inviting. I also noticed he seems to put a soft glow around his highlights-- or he has a filter that does it. In any case, I put a little glow at the very top of the exposure range. Didn't use any secondaries or keys, or animate any values. So, I just let the beginning remain a bit green since it's getting the bounce off the walls anyway. It is a bit of a challenging shot with the mix of light sources and colors, so I just aimed for a fairly neutral white balance that I just tweaked a tad after pulling a white sample off the back window frame. Anyway, here's my interpretation of his style. Let me know if you think I got close. I included my node graph for the order I did stuff. Only one operation per node. Just posting last and first frames. Last frame first, since I looked at that the most for the hero look. I feel I could lift the exposure even a quarter to half stop more, but it bugs the hell out of me to be this bright already, and I did try to protect highlights a little more than I think the 2gems guy does. Must... protect... highlights.... 🀣
  8. Yes, shared nodes are really useful for making a scene adjustment ripple across all shots in a scene. It's something more useful to me in the main grade after I get everything in my timeline's color space. For me, what I like about pre and post-clips is that I typically have 2 or 3 nodes in my pre grade and the purpose of my pre-clip is just to prepare footage for my main grade. For example, a team I work with frequently really likes slightly lifted shadow detail, so I'll give a little bump to shadow detail then run the color space transform in my pre-clip. If one camera is set up really badly one day and I need two different pre-clips for that camera, I'll just make multiple incrementing numbered groups for that camera, so I've never had a reason to put a shot in multiple groups. The other thing, I really like about groups is that you get a little colored visual icon of all shots in a current group that appear on the thumbnails in the timeline. This makes for a nice visual sanity check when I'm scanning through a ton of footage on a long project. Usually, the camera used is fairly obvious from A cams, to drones, to body cams by the thumbnail on the timeline so the visual reference of thumbnail and colored group icon is a nice check that I've prepped all my footage correctly. I know there is some extra flexibility in putting grading nodes before or after a color space transform, but for me on a large project, my main purpose in the pre-clip is to just get things close and into the proper color space. If I really need to do more adjustments that have to be done pre-color space transform, I'll flip around color spaces in my main grade. But my goal is to do all my shot to shot and scene balancing in my main grade with everything in my delivery color space. Keeps things sorted for me. πŸ˜„ Ultimately, it all depends on the type of work you are doing. If I was doing feature work that is all shot on one camera type my system wouldn't be very useful. But I do a lot of doc work, and outdoorsy adventure stuff that are typically shot on all types of cameras and conditions, so it can be really useful for keeping things organized. One last trick with the groups is that if I'm also mixing 6k, 4k, and 2k footage, I can throw a little sharpening or blurring into the post-clip section to match up visual detail between cameras. Then use the timeline grade to do any overall finishing if needed. Ultimately, Davinci is just a wonderfully flexible system for developing custom workflows that works for you. I love that their are so many ways to organize and sort through the color process. πŸ‘
  9. Just wanted to point out that the OP is shooting on a GH5 and not a GH5s. They have totally different sensors and very different noise patterns. I personally really like the GH5 noise. At 1600 ISO and less it has very little color noise. I actually really like the way it looks at 400 and 800 ISO... feels organic. Also, the video posted above is a perfect example of why I believe you should analyze footage using a view LUT. V-LOG maps black to 128 out of 0-1023 which I believe is higher than any other manufacturer. You can take any camera and lift it's blacks 10% and see all kinds of garbage. That said, the fixed pattern and color noise of the GH5s is not ideal.
  10. A big +1 on this for myself as well. Some people seem to get good results just pulling log curves until they look good and can get get nice results, but I find if I handle all the color transformations properly, I'm reducing the number of variables I'm dealing with and I have the confidence that I'm already working in the proper color space. Once in the proper color space, controls work more reliably, and it is also a big help if you are pulling material from a variety of sources. I have not tried the Aces workflow, but since I'm pretty much always delivering in rec 709, I like to use that as my timeline colorspace. So, I just convert everything into that. One feature I also really like about Resolve is the ability to use the "grouping" functionality that opens up "Pre-Clip" and "Post-Clip" grading. Then I group footage based on different cameras, and I can apply the Color Space Transform and any little adjustments I want to make per camera in the "Pre-Clip" for that group/camera. That way when I get down to the shot by shot balancing and grading, I already have all my source material happily in roughly the same state and I can begin my main balance and grade with a clean node graph. On a typical project, I may have material from a variety of Reds with different sensors, DSLRs, GoPros, Drones, and stock footage. If I had to balance everything shot by shot by just pulling on curves, I think I'd go crazy. If you don't work in Resolve, you can do roughly the same thing by using adjustment layers in Premiere and just building them up. Use the bottom adjustment layer to get all your footage into Rec 709 with any custom tweaks, then build your main grade above that. Even if you are not working from a huge variety of source material, many projects will at least have Drone and DSLR footage to balance. You can then develop your own LUTs for each camera you use, or just use the manufacturers LUTs to get you into a proper starting place. One final advantage if you can use the Color Space Transform instead of LUTs is that LUTs will clip your whites and blacks if you make adjustments pre-LUT and go outside the legal range. The Color Space Transform node will hold onto your out of range color information if you plan to later bring it back further down the line.
  11. I watched a video a few times on my laptop, but the noise didn't look unusual. I think you're just seeing a the noise in the lifted shadows. Log is not a normal viewing format. That is why view luts are typically created for monitoring on a set or in camera. It is supposed to be adjusted to your delivery format (rec709, rec2020, DC3, film print) before final viewing. It's sometimes described as a "digital negative" in that like a film negative it holds a wider dynamic range than a final film print. But when you view it without a display LUT, you are seeing all the gorey details that shouldn't be present or at least very suppressed in your final grade.
  12. Looks pretty normal for Log footage to me. πŸ€·β€β™‚οΈ
  13. If you ever end up with some of that in a shot you want to use, you can suppress it pretty well by using a soft mask around the problem area, key the purple and desaturate it. Best to just avoid it if possible πŸ˜‰or use a better lens if you have one when shooting high contrast.
  14. Yeah, the purple stuff around the trees when the focus is changing looks distracting.
  15. I think the most distracting element in the sample footage is the purple fringing and pulsing focus. Log color profiles have very lifted shadows, so you will see a lot of noise in them when looking at it without a view LUT or grade. Normally, you would apply a LUT, or an S-curve to push your shadows to near black and roll off the highlights. Once the shadow area is compressed, you wont see as much noise, if any. If you are going for a flat look, you will probably want to run some kind of denoise on the shadows to clean them up. The advantage of LOG is that you have the option to compress shadows and highlights and have more flexibility in how much you want to lift them. If you shoot with a standard profile its much harder to adjust shadow detail... if there is any at all.
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