Demystifying Post Production Color From Set To Post and back! (Part 3 of 4)

Come along every Monday in This summer, in which the Maxon Color Team covers a variety of grading techniques, including how you can create a consistent look that honors the vision from the director and cinematographer, an operating session demonstrating how LUTs may be used in camera to permit filmmakers to determine their creative vision on set, having a publish-production follow-along grading session, including how to setup an ACES workflow in DaVinci Resolve.

We’ll finish off the month having a creative analysis of film effects, with special guest Stu Maschwitz (Director, Publish-Production Supervisor & Chief Creative Officer at Maxon), with practical tips and just how the special moment Bullet Film tools were particularly made to create accurate filmic treatments.

We’ll be supplying footage, project files, LUTS, presets, node recipes and PDF reference documents, in addition to footage to check out. Techniques proven within the session may be used in multiple NLEs and host applications including Resolve, Premiere Pro, Consequences, Enthusiastic Media Composer, and Final Cut Pro.

Links pointed out within the web seminar:

Motion picture Color: https://cinematiccolor.org/

What’s new in ACES 1.2: https://world wide web.youtube.com/watch?v=jKCHqQa7yjY&t=2167s

Contents:

00:00 Intro

06:00 Color Management

12:00 Scene Referred Workflow

15:00 Walk-through Scene Referred Workflow

21:00 ACES

23:00 ACES and Scene Referred Workflow

28:00 AP0 Lin and AP1 Log

29:00 ACES Pipeline

34:00 Simulating ACES IDT and ODT in DaVinci Node

40:00 Question: Why logarithmic?

44:10 Solving Blue Highlight Clipping when utilizing ACES setup in Node tree

46:00 Establishing ACES in DaVinci Project Settings

56:00 Solving Blue Highlight Clipping using OFX and LMT

01:00:00 Summary

01:01:00 Tip: Motion picture Color

01:02:00 Outro

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