Uploaded July 2024 | Updated September 2026, 2 weeks ago
This week's live is a make up session covering your toughest questions around DaVinci and developing your coloring practice.
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Grab my Voyager LUT Pack. 17 LUTs to provide beautiful looks for any type of project so you can grade faster, take every image further, and attract better and better jobs.
http://procolor.ist/voyager-lut-pack
Get my free Kodak 2383 film print LUT for DWG and ACES here:
http://procolor.ist/freelut
Check out my ebook, The Colorist's 10 Commandments:
http://procolor.ist/ebook
0:00 Introduction
2:13 Where do you place SatShaper, High/Low Trim or Contrast DCTLs in the node tree?
15:53 How to deal with live concerts as there might be extreme saturation values that change constantly?
20:27 Is there a ‘’correct’’ way to approach color balance?
26:06 Can you explain how to approach split toning using the LAB color space?
30:34 Why is it important to evaluate our grading on a grayscale ramp? Is there something similar to color volume in 2D?
37:55 Is there a way to convert a theatrical release to REC709 without affecting color perception that much?
43:00 Exporting for social media and TV. The advanced tab in the delivery settings.
48:58 Exporting Apple ProRes for social media rather than H264 or H265
50:18 What is your workflow for working with CDLs from the DIT made on set?
51:12 Do you grade stills on projects inside Resolve as well?
52:32 How do you handle projects that require Black and White when your timeline grading contains something that adds color such as split toning?
57:50 Can you interpolate between a film LUT and an HDR rendering?
1:01:48 Conclusion
This week's live is a make up session covering your toughest questions around DaVinci and developing your coloring practice.
---
Grab my Voyager LUT Pack. 17 LUTs to provide beautiful looks for any type of project so you can grade faster, take every image further, and attract better and better jobs.
http://procolor.ist/voyager-lut-pack
Get my free Kodak 2383 film print LUT for DWG and ACES here:
http://procolor.ist/freelut
Check out my ebook, The Colorist's 10 Commandments:
http://procolor.ist/ebook
0:00 Introduction
2:13 Where do you place SatShaper, High/Low Trim or Contrast DCTLs in the node tree?
15:53 How to deal with live concerts as there might be extreme saturation values that change constantly?
20:27 Is there a ‘’correct’’ way to approach color balance?
26:06 Can you explain how to approach split toning using the LAB color space?
30:34 Why is it important to evaluate our grading on a grayscale ramp? Is there something similar to color volume in 2D?
37:55 Is there a way to convert a theatrical release to REC709 without affecting color perception that much?
43:00 Exporting for social media and TV. The advanced tab in the delivery settings.
48:58 Exporting Apple ProRes for social media rather than H264 or H265
50:18 What is your workflow for working with CDLs from the DIT made on set?
51:12 Do you grade stills on projects inside Resolve as well?
52:32 How do you handle projects that require Black and White when your timeline grading contains something that adds color such as split toning?
57:50 Can you interpolate between a film LUT and an HDR rendering?
1:01:48 Conclusion
