How a Senior Colorist Color Grades a Film | Mock session with Paul H. | Film Color School (Part 7)
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- Опубликовано: 8 фев 2025
- 🎨 Welcome to Film Color School! This series is designed for filmmakers and aspiring colorists looking to sharpen their skills and master digital color grading.
🔥 In this episode, Paul Hanrahan, a veteran colorist with over 30 years of experience, walks us through the real-world process of color grading a film. You'll get an inside look at the decisions a pro makes, from balancing exposure to crafting a cinematic look. Whether you're a beginner or an experienced grader, this session will help you understand the art and science of film color.
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Thank you, Sir, for this masterpiece, ❤❤
This was a great watch !, ive only done minimal color grading on personal projects before as im a 3D artist. Definitely gonna go through more of your vids
Going into the topic of negotiation with clients is super interesting. I thought you would be grouping shots by similarity first, then edit the hero shot per group, ripple the grade through, but obvisously if you are doing versions for the client first. Looking forward to the next part. Great work!
Yes on longer jobs i would do grouping by layers, colors or groups. Didnt really touch on that at all.
loved the video. This guy is a very nice teacher and very prepared. However would have been fun to see the grade being pushed even more into the DUNE look when it's pretty much all orange, that would have been fun.
always great to see someone else's workflow, thank you!
I do keep it pretty simple.
This was very interesting! I loved the 'fake highlight peaks creation' technique - very clever. I'd be curious to find out why you prefer to keep your grading on a clip-level instead of in the Group Post-Clip. Thank you, Paul (and Colorist Foundry, of course)!
For short jobs i do it like this. For long form I usually put my disply transform on the timeline level. I use video layers and clip colors to group clips, but also occasionally use the grouping function. I guess my approach has grown out of the telecine mindset so i like to have it all on one page so i can see it. Grouping is a great way to go if its your preference.
Love that he is using windows
Amazing
I’m very intrigued by the technique you used to key the skin tone. Where could I learn a bit more about this method please?
I’m an enthusiastic hobbyist with a desire to improve my little RUclips projects. For me, your channel is right up there with two other colourists that I follow called Darren Mostyn and Cullen Kelly.
To be honest, basic HSL keying like that most people might not use so much. They might prefer newer tools like the 3d keyer or some magic masking. I rely on HSL heavily though.
We can include more detail on keying in future episodes.
@@Color.Mentor Some people may prefer newer tools like the 3d Keyer, and I'd love to learn how to use those tools.
Maybe some of the older tools seem to stick around because they work.
When doing Noise Reduction, I've learned to click on the "Highlight" tab and then click the "A/B" tab. This gives me a black and white image which helps me to dial in noise reduction. I've only ever spotted a very old Tutorial showing how to use the technique. Its better than eyeballing and over cooking noise reduction to a plastic mess.
I just thought that your use of Keying would give similar subtle yet powerful results to learn about.
Another great tutorial Paul. Thank you so much. Been following your tutorials. Learnt a lot. I have a question regarding DCI P3 color grading. Can you please guide us all on the workflow for film color grading settings? I tried using DCI P3 with Gamma 2.6, rendered out 4K DCI Prores 4444 with Full Range. But the DCP is looking a bit different. I'm on a Mac, cau you guide us all about the proper settings in Resolve for DCI P3 grading?
Before the P3 DCI output transform options came out I always used to use the P3 D60 ones. I still do actually. What monitor are you viewing the image on for the initial grading and then when you check your DCP?
@Color.Mentor Sorry Paul for late reply. I view on Asus Pro Art which is connected to my Mac Studio. I normally check my DCP at a theatre near me. I have another question, what is the proper settings in Resolve to convert a Rec 709 clip to P3 DCI to make DCP? Normally the grading is done in Rec 709. We all would like to request you to guide us on proper P3 setting from start to finish.
Hey! Thanks for the video! What options are there for color space in raw settings? Maybe there's an option that can open up these blown highlights? HLG and Rec2020 sometimes looks clipped to me.
Each camera manufacturer will have its reccomended debayering settings. For Nikon Raw its Rec202 Gamut and Nikon N-log Transfer funtion. HLG is a dispplay format so not ideal for debayering raw files directly into. Unless you have a simplified pipeline and dont have time for detailed grading, for example on a reality tv show.
What's the difference between Filmverse Lite and Pro?
Filmverse: Full-featured, pro-grade film emulation with advanced controls. Build unilmited "looks" with it. + a separate texture plugin - broadly aimed at colorists and DPs
Filmverse Lite: Simplified, retains core film emulation, easy to use. Gives access to texture features as well - broadly aimed at content creators.
Fantastic video. Thsnk you for making