Fascinating interview. So impressed with your ability to find the top tier creators in the film industry, and bring so much depth to your interviews. My favorite tip was flipping a shot to see how I respond to the look and colors from that perspective. It sounds simple, but I can see how it would bring a whole other reaction to the shot, and help me bring the best work to each shot. Thanks for bringing real professionalism to your channel. Great work.
Thank you! This is awesome. I was just wondering these days about the creative aspect of the grading of Mad Max FR. And I was just about to comment in your channel about it and you come out with this video, what a beautiful coincidence :-) MMFR seats so far from the obvious dark, grayish, gritty grading, and yet somehow it is like like it always was this way. I mean, it's as perfect as it's unexpected. So I wondered what was the thinking process behind that... It breaks my brain to think about what exactly makes a grading work, at an emotional, subconscious level.... how does all these color subtleties add up and do something in our brains... Thank you again for sharing these treasures with all of us! You 're both awesome.
What an amazing interview! I fell in love with color grading when I realised how important it could be as a storytelling tool. This conversation came back to that point over and over. Brilliant!
Qazi, you are the best, you really help me to get inside the industry and know different things, I donot know how to thank you , but if I'm gonna be an important figure in industry. Definitely gonna mention you as the Godfather .
This was really interesting to watch! I work in vfx so it's an eye opener to see just what a colorist is thinking as I have no idea. Especially when he referenced Transformers, because that is one of my favorite movies visually (and the reason I got into vfx), but that's me looking at it as a visual effects artist. I never once looked at the grade. I also see why you guys ask for mattes so much haha. Thanks for uploading!
The cinematographer had to convince george to overexpose the footage. He said that he had done many DI films in the past and that the process lowered the exposure by more than a stop. and that even though george thought he had daytime detail in the shadows he would lose it after the digital intermediate process. Talks about this in one of his lectures on youtube.
1996 we used the original first Davinci Resolve working at Rainmaker in Vancouver Canada. Hi what you guys are getting now in todays software is everything we could not imagine back in the first days of this product. When I was a telecine assistant colorist in 1996. Each room we had was 500, 000 dollars to set up back in 1996. If you don't know what telecine is its how we had 35mm film from feature films which looked through a telecine rank so we were scrolling film (not digital media in a computer) to look at the footage. In a 8 hour shift we did basic correction on two feature films a day and two series tv shows. Then we mastered corrections to Digital Betacam and sent the tapes to LA on a flight with a bunch of fish. We had 5 rooms each on 3 shifts per day. Billing $24,000 per 8 hour shift. It was intense like going to battle every time we sat down every second counted. I was 9 pm to 5 am. Other shifts were 5 am to 1 pm shift , 1 pm to 9 pm. What I miss was the DOP's sitting with me and teaching me about lighting and telling stories. I miss film.
Holy S*t .. how the hell this video has only 8k views! amazing stuff.. i will revisit and see how those number sky rockets! Amazing piece of knowledge! thanks!
Hey Qazi, I really love your Channel. And I'd love to listen to these interviews but the insta quality makes it very hard to listen. Is this kind of show really good for instagram anyway? Would be so great so watch it in a great quality! All the best
Great interview. The thing that annoys me most about 3D with the glasses is that the glasses act as ND filters. They need to pump the exposure a little bit for the 3D version to compensate
Thanks for the informative interview. Is the original 2015 SDR version the same as the SDR included in the 2016 HDR UHD disc? In other words, is the SDR in the 2016 UHD disc derived from Dolby Vision HDR version, different from 2015?
I do skyreplacements in resolve (not fusion) all the time and it's easy... but yes... once the clients knows you can do it they want it all the time... so just let them know that you'll charge extra then they'll think twice about it.
@@johnthangminlun This Tutorial covers it pretty good. You need a sky that looks realistically to beginn with though... ua-cam.com/video/dzp7RNkR0Ns/v-deo.html
Those decisions aren't made by the colorists. Costumes, props, sets.. are chosen by the art department of the movie, whose heads are the production designer and art director and work with the director to achieve their vision. On the other hand, the cinematographer (also called director of photography) is in charge of deciding the lighting (among many other things...). Sometimes colorists can make suggestions or be on set to grade the footage from the day, so the director and his team can get an idea of how it is going to look. But most of their work comes after the filmed has been shot. As far as I know, this is more or less how it works... But maybe someone else who works in the movie industry can give a more detailed and accurate explanation. Best!
Hey guys you should definitely check out the cinematographers side of Fury Road. The two hour long masterclass with John Seale and David Burr is also on UA-cam and is a must see : ua-cam.com/video/v1vc3KrJ-BU/v-deo.html
Really looked forward to this interview BUT THE AUDIO IS SO UNFORTUNATELY BAD THAT IT IS VERY DISTRACTING IN ITSELF. Had to hang up on this one. I realize tech setup is always a challenge but thumbs down on this one.
This is incredible, I'm learning much! Madmax is clearly an important film, not just with Color, but cinematography and story telling as well.
Fascinating interview. So impressed with your ability to find the top tier creators in the film industry, and bring so much depth to your interviews. My favorite tip was flipping a shot to see how I respond to the look and colors from that perspective. It sounds simple, but I can see how it would bring a whole other reaction to the shot, and help me bring the best work to each shot. Thanks for bringing real professionalism to your channel. Great work.
Need more of these incredible interviews 💪
Thank you! This is awesome. I was just wondering these days about the creative aspect of the grading of Mad Max FR. And I was just about to comment in your channel about it and you come out with this video, what a beautiful coincidence :-) MMFR seats so far from the obvious dark, grayish, gritty grading, and yet somehow it is like like it always was this way. I mean, it's as perfect as it's unexpected. So I wondered what was the thinking process behind that... It breaks my brain to think about what exactly makes a grading work, at an emotional, subconscious level.... how does all these color subtleties add up and do something in our brains...
Thank you again for sharing these treasures with all of us!
You 're both awesome.
This is awesome! Can you be next to each other next time if you have an interview? I believe would leave lot less blank space on our screen.
What an amazing interview! I fell in love with color grading when I realised how important it could be as a storytelling tool. This conversation came back to that point over and over. Brilliant!
I met Eric when he first moved to Toronto. What a brilliant and nice man.
Qazi, you are the best, you really help me to get inside the industry and know different things, I donot know how to thank you , but if I'm gonna be an important figure in industry. Definitely gonna mention you as the Godfather .
This was really interesting to watch! I work in vfx so it's an eye opener to see just what a colorist is thinking as I have no idea. Especially when he referenced Transformers, because that is one of my favorite movies visually (and the reason I got into vfx), but that's me looking at it as a visual effects artist. I never once looked at the grade. I also see why you guys ask for mattes so much haha. Thanks for uploading!
That's awesome. I know right. Matte out everything.
The cinematographer had to convince george to overexpose the footage. He said that he had done many DI films in the past and that the process lowered the exposure by more than a stop. and that even though george thought he had daytime detail in the shadows he would lose it after the digital intermediate process. Talks about this in one of his lectures on youtube.
1996 we used the original first Davinci Resolve working at Rainmaker in Vancouver Canada. Hi what you guys are getting now in todays software is everything we could not imagine back in the first days of this product. When I was a telecine assistant colorist in 1996. Each room we had was 500, 000 dollars to set up back in 1996. If you don't know what telecine is its how we had 35mm film from feature films which looked through a telecine rank so we were scrolling film (not digital media in a computer) to look at the footage. In a 8 hour shift we did basic correction on two feature films a day and two series tv shows. Then we mastered corrections to Digital Betacam and sent the tapes to LA on a flight with a bunch of fish. We had 5 rooms each on 3 shifts per day. Billing $24,000 per 8 hour shift. It was intense like going to battle every time we sat down every second counted. I was 9 pm to 5 am. Other shifts were 5 am to 1 pm shift , 1 pm to 9 pm. What I miss was the DOP's sitting with me and teaching me about lighting and telling stories. I miss film.
Thank you Qazi, I didn't know Andres Iniesta was a Colorist!
Amazing interview and tips, so inspiring, thank you so much...
This is wonderful, Thanks Qazi.
Holy S*t .. how the hell this video has only 8k views! amazing stuff.. i will revisit and see how those number sky rockets! Amazing piece of knowledge! thanks!
Hey Qazi, I really love your Channel. And I'd love to listen to these interviews but the insta quality makes it very hard to listen. Is this kind of show really good for instagram anyway? Would be so great so watch it in a great quality! All the best
awesome interview ❤️
Qazi, thank you so much for your videos. My work way better and cant wait to take your master class. You rule my friend!!!!!!
Thanks for getting us this insight Waqas...
You're welcome
Great interview. The thing that annoys me most about 3D with the glasses is that the glasses act as ND filters. They need to pump the exposure a little bit for the 3D version to compensate
omg I learned so much from this, thank you, thank you, thank you!
You're welcome
Yo Qazi
You're the best 😘
When I have purchased a new tv or new computer display If Mad Max produces great it was a great purchase then I go from there.
Thanks for the informative interview.
Is the original 2015 SDR version the same as the SDR included in the 2016 HDR UHD disc? In other words, is the SDR in the 2016 UHD disc derived from Dolby Vision HDR version, different from 2015?
Good stuff.. Mad max coloring was great
What a great video.
Sick! 🤟
Find yourself someone who looks at you the way Qazi looks at crucial Color grading tips 47:20
I do skyreplacements in resolve (not fusion) all the time and it's easy... but yes... once the clients knows you can do it they want it all the time... so just let them know that you'll charge extra then they'll think twice about it.
...and no.. the day2night looked super fake. it bothered me in the cinema right away. only flaw in an otherwise gorgeous looking movie imho.
Would you please tell me about this - an explanation or a vid link, if and when you're free to?
@@johnthangminlun This Tutorial covers it pretty good. You need a sky that looks realistically to beginn with though... ua-cam.com/video/dzp7RNkR0Ns/v-deo.html
@@mpeg2000 Thank you, that's fairly easy and quite handy in most cases. Again, thanks, now I know how to!
It would be especially awesome if they'd be able to actually show the color grading process. Nevertheless, thanks, awesome and congrats!
Dude, this video reveals many wonderful secrets, you don't have to look at the nodes to learn a lot of stuff...
As a colorist, do you plan the lighting and costume design or do you come in after the project has been shot and fix colors?
Those decisions aren't made by the colorists. Costumes, props, sets.. are chosen by the art department of the movie, whose heads are the production designer and art director and work with the director to achieve their vision. On the other hand, the cinematographer (also called director of photography) is in charge of deciding the lighting (among many other things...). Sometimes colorists can make suggestions or be on set to grade the footage from the day, so the director and his team can get an idea of how it is going to look. But most of their work comes after the filmed has been shot. As far as I know, this is more or less how it works... But maybe someone else who works in the movie industry can give a more detailed and accurate explanation. Best!
I still learning.
Hi Qazi... Is this another episode or the same one we once saw on your Instagram live?
Pretty sure the same one
Great..thanks!
ഒരു മണിക്കൂര് വീഡിയോ കണ്ടപ്പോള് എങ്ങനെ കാണ്ടു തീര്ക്കും എന്നായിരുന്നു തോന്നിയത്... 👌
Which monitor do you use for color grading qazi?
Bvm-hx310
The vertical format made it difficult to watch.
im wondering on how are you going to reply all questions if you'll reach a million subscribers
Hey guys you should definitely check out the cinematographers side of Fury Road. The two hour long masterclass with John Seale and David Burr is also on UA-cam and is a must see : ua-cam.com/video/v1vc3KrJ-BU/v-deo.html
Really looked forward to this interview BUT THE AUDIO IS SO UNFORTUNATELY BAD THAT IT IS VERY DISTRACTING IN ITSELF. Had to hang up on this one. I realize tech setup is always a challenge but thumbs down on this one.
a hour hour to say he applied the cliche hollywood mexico orange filter. that's all it is.
1st comment here :)