Part I: Project settings

Part II: Color correction

Part III: HDR Palette, project render settings

Part IV: RAW

Part V: The Grade

Part VI: Addendum

In Part I of our HDR 10 workflow, we covered project settings. In Part II, we go over color correction using the X-Rite ColorChecker Passport Video – the fastest, most reliable, most consistent method we know of for achieving accurate color. Be sure to record both the white balance target and the pages with the white, gray and black bars and color chips on every shoot – and repeat each time the lighting changes.

The first step is dialing in the proper color temperature.

The next fundamental to grading photographically is to think in terms of objective color temperature. This is a far cry from our normal approach to warming or cooling an image, which tends to be very subjective. It involves us free-handing our RGB balls until we arrive at a pleasing result. So what’s the problem with that? First, it’s imprecise, often introducing subtle, unwanted pink or green shifts into our image. Second, it’s inefficient. Because we’re using a single image as the sole basis for our adjustment, whatever unique solution of red, green and blue we arrive at is unlikely to work on any other shot without requiring further manipulation. By contrast, if we can start with a foundation of dialing in our color temperature using non-subjective math we get quick, accurate and consistent results – the same ones we would have gotten if we’d rated our camera for a higher or lower color temperature on set. From here, there’s far less left for us to do by hand and more time for us to do it well.Cullen Kelly

6 thoughts on “Comprehensive Workflow: Sony a7s III S-Log3 HDR 10 in DaVinci Resolve Studio 17 (Part II)

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