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The Tao Colorist

Issue CXIII                                                           Brought to you by: Tao of Color.com

 

Editor's Note: I'll have a full blog post about this... but this week colorists Robbie Carman, Dan Moran and myself announced a new joint venture: MixingLight.com. It'll go live in 2Q2012. It's a monthly color grading membership site, delivered in small bites from a roster of experienced professionals covering a full range of apps, plug-ins, techniques and the business of being in business. 

 

Currently there's a landing page where you can sign up for the launch Newsletter - which itself will have a few tips and tricks (and perhaps a few secret podcasts and video tutorials) delivered every week or three.

 

You can find it here: MixingLight.com

 

Oh - and if you're going to be at NAB, the three of us will be doing a full day of color grading training plus a Tao of Color / Mixing Light mixer at a location and time to be announced. Colorists unite!

 

Oh, oh, oh... and scroll down to Edumate Yer'self if you want to spend a day learning color correction . . . in Mexico at the end of February. Just BYOL (bring your own laptop).

The Craft

• Resolution vs Alias: Implications for Motion Capture - Besides the topic being addressed, a few good examples of aliasing and what it looks like. Every good colorist should be able to identify these artifacts. (red.com)

• The Bayer Sensor Strategy - RED.com lays out why they prefer using Bayer Sensors and its advantage over alternative approaches. Integral in this discussion is the theory of how Green contributes to our perception of brightness and why it's oversampled. Good stuff. (red.com)

• Blackmagic Cinema Camera Post Workflows - Various workflows for working with the BMCC in different apps. (digitalfilms.wordpress.com)

• Progressive, Interlaced, PsF. . . How did we get to this? The difference between these scanning standards plus a bit of history. (redsharknews.com)

• What Is A LUT? - A nice summary of the theory behind LUTs culled from a variety of sources... many of which long-time readers of this newsletter will be familiar. At the end of the article are links to the various source material for further reading. (FallenEmpireDigital.com via @Noctylux)

The Tools

• [PDF] Avid: Digital Cinema Camera Workflow - An in-depth white paper on everything from working with RED to relinking to DNxHD to ARRIRAW to 2K workflows. (Avid.com via NotesOnVideo)

• Node Chroma enables users to replicate the color of objects - Could be useful for commercial clients, allowing you to scan an object and get back its RGB values. It's a Kickstarter project. (psfk.com via @tparish)

• How to create Day for Night in After Effects in 5 Minutes - Shoot in the day. Make it look like night. It's a fun watch. (filmmakeriq.com) 

• FilmConvert: The best film stock Emulator you've ever seen - The developers shot tests using different sensors and different film stocks. Then they build Look-Up Tables to move between specific sensors to emulate the response curve of specific film stocks. Interesting. (nofilmschool.com)

• NUKE 7.0 is out - New features include GPU processing and redesigned roto tools. (provideocoalition.com)

• Working with Dual Viewers in FCPx - I suspect this isn't quite what most editors had in mind when thinking of dual viewers. Kudos MacBreak Studio for figuring out how to save off a grade - even if it is a ridiculous workaround. Like Oliver Peters says, very much a v1 app. (ProVideoCoalition.com)

"Cinema is truth 24 times a second and every cut is a lie." Jean-Luc Godard 

(via @ColoristBoy)

 

"Watching @patInhofer Grade Along on the train home. He's like the Bob Ross of video.  #relaxing" (via @pepijnklijs)