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Grain is one of the key components of the film look but few things are more distracting than seeing clumps of film grain dancing around on the talent's face. One solution is to use the HSL qualifier to isolate skin tones and use the keyer to de-emphasize the grain. An even easier way is to... Continue Reading →
During an appearance on Cullen Kelly’s Grade School, the brilliant colorist Jill Bogdanowicz revealed a secret to accenting texture without it looking over-processed. While working on Joker, the colorist used Live Grain - which separates out the red, green and blue channels, creating grain that resembles scanned film - to accentuate texture in the cooler,... Continue Reading →
This video is the culmination of the many changes we've made since around the time we switched over to P3-D65 - some tiny, some significant - from shooting S-Gamut3.cine rather than S-Gamut3, avoiding yellow in the false color guide of the Ninja V for anything but specular highlights, monitoring with video levels instead of full... Continue Reading →
Video details: Sony a7s III, Sony FE 50mm f/1.2 GM, ProRes RAW, S-Gamut3.cine/S-Log3, ISO 640, f/2.8. Edited in DaVinci Resolve 17 Studio HDR Rec.2020 PQ (P3-D65 limited) using an LG 55CX and MacBook Pro (late 2021). https://youtu.be/zq4aY8KpqSg Grain adds texture to an otherwise squeaky clean, sterile digital image and, as HDR is rather unforgiving, is... Continue Reading →
The Daejeon Chronicles 