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CINECOLOR
Приєднався 27 вер 2024
Color grading tutorials and behind the scenes videos to help you level up your next film or video project.
S-Log3 Base Grade Color Correction Tutorial - Fixing White Balance & Color Separation
In this sample lesson from our S-Log3 color course, we explore a simple workflow to achieve more natural colors during your base grade stage. By carefully adjusting the tint axis and color temperature, we can create more color separation and find a perfect starting point for the creative grade.
Check out our S-Log3 LUTs here: cinecolor.io/collections/sony-s-log3/products/sony-s-log3-master-collection
Full S-Log3 color science course available here: noamkrollacademy.com/collections/courses/products/unlocking-sony-s-log3-color-science
#filmmaking #filmmaker #cinematography #cinematographer #colorgrading #slog3
Check out our S-Log3 LUTs here: cinecolor.io/collections/sony-s-log3/products/sony-s-log3-master-collection
Full S-Log3 color science course available here: noamkrollacademy.com/collections/courses/products/unlocking-sony-s-log3-color-science
#filmmaking #filmmaker #cinematography #cinematographer #colorgrading #slog3
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Easy DaVinci Resolve 3-Strip (TECHNICOLOR) Color Grading Tutorial
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This video demonstrates an easy to follow workflow for achieving a technically accurate 3-Strip / Technicolor process look, used by countless iconic Hollywood feature films - like The Wizard Of Oz. Achieve a more authentic Technicolor look by splitting apart red, green, and blue tones, and then strategically adding them back together for a vibrant, saturated look. In essence, this workflow will...
Fixing Sony S-Log3 Awful Color Saturation Issues With Color Density Settings
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Sony S-Log3 footage is known for its problematic color science, which can lead to oversaturated and overexposed colors - particularly on the red part of the spectrum. This video demos a quick and easy workflow for eliminating this issue entirely, and achieving more naturalistic colors, even when adding a significant amount of saturation to your shots. Check out our post-production tools at www....
Using 100 Year Old Color Grading Techniques On An 8mm Vampire Short!
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In this tutorial, we deconstruct the color palette on the latest Cinecolor short film "Gaze", which is loosely inspired by the classic 1922 silent film "Nosferatu." The video breaks down the simple but highly effective process used on this short to tint the shots with a color cast - similar to the dye wash process that was used on analog film over 100 years ago! Check out our post-production to...
Crazy I just did a video on this workflow a while ago! Good job replicating it! See if you can figure out what I"m doing here by taking it to the next level with projector light grading... ua-cam.com/video/E3ffw8OKKpo/v-deo.html
This is very cool and I like the look, but you could do exactly the same thing with just one RGB mixer set like this: Red: 1.0, -0.5, 0.5 Green: -0.5, 1.0, 0.5 Blue: -0.5, 0.5, 1.0 Cheers, dude! :)
Damn, that was amazing. I just happened to look up some color grading stuff you’d uploaded this three days earlier. I subscribed instantly. Great work. Request: you think you could do a grade similar to degraded B&W footage? I had a project that might use it but I might just go with your technicolor tutorial.
Ive followed all of the step but for some reason, the skintones get screwed. Face gets super red/brown
This is really cool to see in action! one question: what is your timeline color space and clip color space to make this work? In other words, if I'm using a Blackmagic RAW clip do I need to convert that to Rec709 first and then go through this process, or can it be done straight from LOG? Does the timeline color space being Davinci Wide Gamut change anything. Thanks for your help!
Thank you! This version is done in Rec 709. I would recommend converting your footage out of LOG first and then applying the node tree.
How do I apply these nodes created to all of my clips? Great tutorial bro!
I tried to apply it but atthe last step where I am connecting the last node and changing the red green and blue outputs, all of them appear red, do you know why?
Thanks! Just grab a still in Resolve and you can copy and paste the grades to everything.
One of the connections / links might be broken. I would try starting from scratch to see if it eliminates the issue.
@@CINECOLOR_IO I did start twice from the beginning but still couldn't find the problem:( For extra context: I recorded with my DJI Osmo Pocket 3 in D-log and I applied the Lut in the first node. But still after removing it I couldn't solve it. I don't have davinci studio, is there a limitaton? So far within the video I didn't see anything I couldn't do with the free version
This is insane, I am so thankful this video exists I am a huge fan of this look.
So glad you enjoyed it!
I followed the steps but i always end up with a blue image help
Are you combining all of the last 3 nodes together? Sounds like you might just be routing the blue channel straight to the output.
@CINECOLOR_IO I'm routing all three of them and weirdly it always turns up blue, i can send you a screenshot of the nodetree if you have any idea what might cause it
pure magic
Thanks!!
sAVING THIS NODE TREE
Glad you enjoyed it!
How to make this method work in RCM?
Interesting technique, thank you. But wouldn't we get the same result if we raise the shadows and lower the highlights?
It would look a lot different as the colors wouldn't be separated.
Please keep creating content like this!
Working on it!
The issue you're talking about has nothing to do with s-log3 or its color science. What you're referring to is basically because of the YRGB color model used in the saturation knob within the lift/gamma/gain panel where saturation adjustments are applied by increasing or decreasing the chroma values (color information) relative to the luminance value (Y) summarizing - it causes the colors to appear neon and brighter when more saturated, unlike the subtractive saturation model used in the color slice tool. Also keep in mind those tools are all designed to work in a wider color space like davinci wide gamut so they might yeild undesired results when you use them after your output LUT (unless you specify that on your timeline settings, but in general practice theres no real reason to make those adjustments after your ODT).
well i didnt see any new improvements on this method...
Nice tutorial thanks for that. Is there a reason that there is no trace on your waveform scope there? I would have liked to see it on other clips as well. I guess I've have to reproduce it to see - Thanks again and great work.
thank you so much, great tutorial!
Epic, looks great
Thanks!
Nice one, this node strusture has given me some amazing results 👍👍👍
Great to hear!
I am absolutely amazed. This is awesome!! Thanks for this video. I really do appreciate you.
You are very welcome!
Great tutorial 🎥✒️🇮🇹
Thank you 🙌
can you do one on dye transfer eastman color to late 50s technicolor. I know there is not much documentation on dye transfer prints like on the hammer's color universal remakes from the 50s. or ray harryhousen films
Great suggestion! Will work on it...
Informative Knowlegde...Buddy thnxss👍
Appreciate the feedback!
👏🏿👏🏿👏🏿 What color density tools would you suggest for Premiere?