COLOURING CHURCHILL'S DARKEST HOUR
23rd February 2018
"They set about to build a philosophy of what the on-screen vision of the film would be. That turned into a “style guide” manifesto of actually how to get that on screen". Some interesting info from Peter Doyle through this link
INTERVIEW TO IAN VERTOVEC
23rd February 2018
I found this interview to Ian Vertovec (co-founder and senior colourist at Iron Light). He talks about many things, like:
- Coloring David Fincher films and working with extremely dark images
- The challenges of working on VFX heavy projects
- Making HDR look both cinematic and realistic
- The difference between working on TV and films
- Bringing life to images using texture
- Using film emulation LUTs in his workflow
- Comparing different cameras as a colorist
- Using ACES in a color managed workflow
- Keeping grades simple, clean, and efficient
CREATING A VINTAGE LOOK IN THE DIGITAL WORLD
15th January 2018
"People come up to me all the time and say, ‘Fargo reminds me of this street I used to live on in the ’70s without knowing why.’ Well, a lot of that feeling has to do with the color of the light."
A double insight on how to create a vintage look, from the creators of Fargo and Stranger Things. Through this link.
ARRIVAL GRADING WORKFLOW
7th December 2017
An interesting interview to Joe Gawler on "Arrival".
DAVINCI RESOLVE 14 (OUT OF BETA)
9th October 2017
Major new release from Blackmagic Design. Beside adding an audio page, apparently massively improving the behaviour of the edit page (that's pretty good news), there are some good news also on the color page. Personally I really look forward to trying out the new "face refinement" tool in the OFX tab. Even if there will be some waiting time while the software is analysing the image, it's a promising new feature that can help speeding things up when you want do some secondaries on eyes, skin, and mouth without having to draw and track five masks for that.
AN INTERVIEW TO PETER DOYLE
10th June 2017
Being a colourist, among the other things, means dealing constantly with the dichotomy formed by the technicalities of video formats and the creative input that leads to the "right" atmosphere for the film. Peter Doyle (supervising colourist at Technicolor, London) is one of those colourists who can perfectly handle both aspects of the job. Always interesting to hear him talking about colour grading. Here in an interview to Peter Doyle on Vimeo.
WHY TV SHOWS GOT SO DARK AND HOW DIGITAL CAMERAS AND DIGITAL COLOUR GRADING MADE IT POSSIBLE
10th Sept 2016
I recently read this illuminating post (no pun intended) on the production and post-production zeitgeist of going dark. TV shows used to be bright, with as little shadows as possible (and some still are...). It all started as a way to keep the production cost within the budget - shooting more, spending less - and then it became the normal aesthetic for a TV series: you see everything.
In the recent years we saw TV shows going darker and darker, thanks to digital camera and colour grading. Sopranos (where it all started), Boardwalk Empire and Games Of Thrones are perfect examples for this tendency. The new technology allows film makers to go as dark as they wish without having to spend more in hours of tests.
In my opinion this is once again ending up affecting the general visual taste of film makers. And more than ever before I've heard this mantra in my colour grading sessions: "can you make it darker... a little more... a little more...".
DAVINCI RESOLVE 12.5 - PUBLIC BETA
16th May 2016
I've not always felt completely satisfied by the new releases of DaVinci Resolve. I often felt the Blackmagic guys were working too much trying to make Resolve a sound editing software and - in my opinion - way too little making it a full finishing software, which I believe is a much more important goal for a colour grading system.
A first step in that direction was made when Resolve became able to import OFX plugins. Now, finally, Resolve has its own effect tab.
This is only one of the many new features (250) available in version 12.5. Check out what's new in here.
EVERYTHING YOU WANTED TO KNOW ABOUT HDR
15th May 2016
HDR is the new big thing in the colour grading world, and it feels like this is not just a trend people will get tired of (like and 4k screens foe example), but a real revolution in the way we experience moving images.
Alexis Van Hurkman published an in-depth article that looks like a manual on what HDR is and to work with it on Resolve. Quite an interesting read...
THE REVENANT - TECHNICOLOR'S WORKFLOW
23rd March 2016
Technicolor recently released an article offering a behind the scene on the workflow used for Iñárritu's new film, The Revenant.
It's an interesting article that, once again, shows the amount of the time and money that has to be spent on creating proper dailies work (backing up, on set grading on a Lustre system, various ad-hoc exports) in order to ensure a smooth flow of the post production work.
HOW TO BUILD A COLOUR PALETTE IN PHOTOSHOP
21st March 2016
Justin Mezzel is a designer and illustrator. In this article (10 minutes read, as he states) Justin gives us an interesting insight on how he sets up a colour palette for an illustration: he starts with the basic colours from colour swatches in Illustrator and then he modifies them in Photoshop. Colour grading of a colour palette...
5 BASIC THINGS A DIRECTOR SHOULD KNOW WHEN WORKING WITH A COLOURIST
3rd March 2016
"Technicolor colorist Roy Vasich (True Blood) shares tips for beginning directors about to work with a colorist". It all comes down to having a basic understand of what a colourist does and doing your own homework. Totally spot on. Read it here.
© 2018, Antonio La Torre