What do colorists do?

Adding a Look

Examples of color grading

Intro

FREE 1-hour training teaser

Talent Spotting

Beginner's Look

Pro's Look

Look Recap

Final Look

Conclusion

Intro

Where does your knowledge come from?

Achieving the Look

Final Thoughts

Caravaggio's Influence

Collaborating with Creatives

Favorite Cameras

Commercial vs. Long Form

IOS vs Android

Conclusion

What is Clipping?

In-Camera Clipping

Clipping Example

Clipping in terms of colors

What is color grading?

Hyperion

Applying Clipping to Saturation

How to avoid clipping

Applying Saturation

Final thoughts

Intro

Context

Colorist Path 1: Conventional

Colorist Path 2: Autodidact

Step 1: Master The Skill

Step 2: Branding

Opinions

My Clients

New Year Resolutions

What This Session Is All About

The Amazing Physiology Of Vision

Physiology & Color Grading

Adaptation: The Scary Part For You

Controlled & Correct Lighting

Reference Monitoring

A Word About Computer Monitors

Learning To Creatively Evaluate

Interpreting Client Direction

The Blessing & Curse Of References

Not a great start!

Unboxing Pt 1

Hardware for Colour Grading

Extra bits of hardware

Brighton and F45 for well being.

Extras hardware/gadgets and furniture

Getting client friendly

Stand Up Desk

Asus StudioBook Laptop

Random Furniture/Storage & Book recommends

YouTube Set Up, Lighting, Camera/Lens, Microphone and other kit.

Software

Outtakes

Project intro

Applying color management

Setting the overall look

Creating a fixed node tree for the project

Project level settings

Q: Why use a previously built preset/LUT/look instead of building from scratch with each project?

Finalizing node tree/setting up linear adjustments

Making shot level adjustments

Q: Does the HDR tool provide photometric exposure?

Q: Primary or HDR wheels?

Q: Why place noise reduction at the end of the node tree?

Back to shot-level adjustments/rippling grades

Why Cullen will rely on the same tools over and over

Shot-level adjustments

More about the node tree and overall process

Q: Do you still use printer points or only photometrically accurate adjustments?

Q: How do you handle color spaces for exporting when working with a VFX team?

Shot-level adjustments and a discussion on using Kelvin and cooling/warming footage

Q: Do you use printer points in linear?

Q: How do you evaluate that contrast is the same between two shots?

Q: Is it okay to clip the blacks?

Q: Do you do heavier light reshaping on projects that give you more time, and how do you approach it?

Q: Where did you start with grading and what are your favorite resources?

Introduction

What method do you recommend to control contrast and the roll off?

I’ve heard that using curves to create a Look might be problematic. Can you explain why and how to avoid it?

Do you usually do your look development before the per clip adjustment? If so, what do you do with a timeline that has been exposed to the right?

Do you lock up your middle stops and then compress the highs and low values?

How do you go about working with titles and logos? Is using groups a good solution?

Can you use LUTs in DWG that don’t expect DWG if you use a CST before and after the LUT?

If LUTs can have up to 65 points, how many points does a CST have?

When and how should we use the input DRT at the project settings? Should it be always set to ‘’none’’?

Can you explain the DRT in depth?

How would you fix over saturated colors in 8 bit footage?

How to produce a show lut for any camera if you’re working in DWG?

Is there any best practice to apply film LUTs while working on DWG? Cineon sometimes produces oversaturated values

Conclusion