This includes Color Match, Color Wheels, RGB Mixer, Curves, Windows, and more. In the Color tab, you will be presented with a variety of tools. Diving into all the specific tools requires an article much more in-depth than this, but here are a few tools for basic color grading. Blackmagic wants to become the go-to place for all things post-production, and they are well on their way to making DaVinci Resolve a major program outside of color circles.ĭaVinci Resolve can be intimidating, as the color work is node-based - but there are a ton of tutorials online, and the amount is growing. The reason it makes the list for video editors - the latest version (12.5) includes a built-in NLE. DaVinci Resolveīlackmagic’s DaVinci Resolve is one of the industry standards for color work. Here are some of the best programs and plugins for video editors to make a quick color grade. You’re probably just looking for a quick way to get results that make your client happy. If you aren’t a full-time colorist, odds are you won’t be diving into the likes of FilmLight’s Baselight, AutoDesk Flame’s Lustre, or specific programs like REDCINE-X. These programs and plugins make the process faster and easier than ever. It is very important not to apply it as an Input LUT or else grading flexibility will be extremely limited.Color grading doesn’t have to be a mystery. Using Adobe’s Lumetri Color, apply the LUT generated from REDCINE-X PRO as a Creative Look. For standard dynamic range delivery, use a LUT as configured below: Generate a 3D LUT using the IPP2 LUT Generator found under the File menu in REDCINE-X PRO. SAMPLE COLOR WORKFLOW Step 1 - Create a 3D LUT An example color workflow is shown below. If simply assembling a timeline, as the footage comes in by default will probably suffice.įor color grading, it is recommended to bypass the Output Transform settings by selecting REDWideGamutRGB and Log 3G10, so that color and tonal adjustments can be made on the logarithmic footage before the LUT. If footage is going to be color graded in Adobe Premiere Pro, it is most common to work in a logarithmic space, and the displayed settings are recommended. To override these settings, each clip can be configured manually under the Master Effect Controls. How R3D clips are viewed by default in Adobe Premiere Pro is determined by how it was viewed in-camera during capture or later if modified in REDCINE-X and written to an. Footage can either be imported by option-clicking single or multiple selected clips then choosing Import or they can be ingested using Adobe Premiere Pro’s Ingest process. Assure that the Directory Viewer has RED selected for the easiest workflow. RDM folder above all clips will index the entire card and allow for easy import. To assure that these portions are imported as a unified clip, import all R3D footage through the Media Browser in Adobe Premiere Pro. R3D clips are broken into 4GB portions during camera record. However, with such flexibility can come perceived complexity, so it is recommended to follow these best practices if unfamiliar with RAW workflows. R3D’s are always smaller than their ProRes, DPX, or OpenEXR counterparts. REDCODE RAW is an innovative compressed RAW format that allows for ultimate creative flexibility with minimal data footprint.
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