Why do different color wheels in different pieces of software and applications act differently?
How does that answer effect our approach to color grading?
Those two thoughts came to the top of my mind when reading Oliver Peter’s excellent post, Grading with Color Wheels. Why don’t you head over there and read that post? It’s very informative and helps build the foundation for this post. I’ll wait…
Understanding how the color wheels in your NLE process the image has a huge impact on how you approach your color correction. In this post we’ll build out the concepts introduced in Oliver’s article to give us a working methodology.
Quick note to those of you that still have me in their feed. First, Thanks! Second, I’m moving off my old platform onto WordPress. I suspect when I import all my old posts they’re going to overwhelm the feed.
If that happens, my apologies. Just mark everything read. A day or two later I’ll refresh the 3 latest articles and then everything will run fresh from there.
I just wrapped a 14 minute interview on Digital Production Buzz with Larry Jordon and his trusty sidekick Michael Horton. It seems I’ll never kick those pre-stage jitters that always haunted from the earliest time I acted on stage in junior high.
I’ll update with a link to audio once it’s up.
UPDATE: Here’s the iTunes feed - the interview is March 18, 2010.
UPDATE 2: Here’s the link to my specific interview.
I’m pleased to announce that Fini is (finally) rolling out “PrimaryShots” (PS).
PS is an idea that’s been rolling around my noggin’ for a while. It answers my question: How do I help filmmakers who can least afford me, yet most need me?
The PS concept is simple: You’ve locked picture on your film, you’re happy with the story but you know both sound and visuals need help. You’re on a shoestring budget so you can’t afford a company like Fini. You’d love nothing more than for a professional colorist to come in, color correct a few shots for you (kickstarting your color correct) and give you some pointers on how to proceed. After that, you’ll take it from there.
That, my dear reader, is the essence of PrimaryShots!
A Fini favorite from 2009 (not just the film, but the people), “Beyond Ipanema” is screening on March 18 at South by Southwest.
A passion project from Guto Barra & Beco Dranaff, the film had it’s world premiere at the Museum of Modern Art last summer. It was a great projector (rolling off of HDCam), a fantastic crowd, and featured a live drum line of high school students playing Brazilian-style as the credits finished rolling.
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Meet Your Colorist: Patrick talks Color Grading, Finishing, Workflows, Final Cut Color
via Digital Production Buzz