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Introduction and salutations
How do you anticipate the new ARRI 35 17 stop dynamic range to impact workflows and professional images? Will the standard still be to replicate the film look or something more like HLG?
Any advice or tips for grading animated series?
How do you negotiate the inevitable compression that happens with online deliveries with your clients?
Do you have any tips on shot matching?
Can you share something new you’ve learned recently?
How long do you think it takes to become a professional colorist? Which books on color science do you recommend for beginners?
How can we achieve REC 2020 limited to P3 D65 in a node based color management workflow? Is Gamma 2.4 and BT 1886 the same?
How does one create a color reel if you don’t have any footage to work with or that many projects to show on social media?
How do you deal with clients that fall in love with a simple 709 Conversion from LOG or even the LOG footage and when they see the actual grade they think it’s too much?
Do you use zoom for remote grading? Is there any special consideration before doing so?
What is a viewing LUT for VFX? How do I send it properly, what can I include and what I cannot? What is the best approach to replace VFX stuff with the original footage?
Can you explain EXR workflows? No matter how I receive them from VFX artists they never grade as well as the raw footage.
How do you approach footage that is poorly recorded and your job becomes more of a rescue job instead of enhancing the footage?
Where is the line between changing VS enhancing the photography? Should we ignore what looks like mistakes from the set?
Final thoughts and conclusions
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