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Masterclass in Color Grading with Derek Hansen

Derek Hansen

xap3.145.40.234

 

Derek Hansen is one of the most successful colorists in Los Angeles, with experience from high-end commercial work at MPC, The Mill and Arsenal Creative. In this masterclass you are invited into his color suite to watch how he creates great looking images and discuss workflow, techniques, creativity and strategies that will help you become a better colorist.

The course is about the art and craft of color grading and is not designed to teach the operations of a specific software.

The footage used in this course is available for download.

About the instructor

Derek Hansen is a world-renowned colorist with background from MPC, The Mill and Arsenal Creative. He has crafted images for many top directors such as Gia Coppola, Young Replicant, Luke Monahan and Brian Buckley, and graded music videos for artists such as Miley Cyrus, St. Vincent, J. Cole and Mehan Trainor to name a few.

Who is this course designed for?

  • Colorists
     

COURSE OVERVIEW

 

LESSON 01: COLOR SETUP AND ANALYZING THE SCENE

Derek is setting up the color workflow and analyzing the scene.

LESSON 02: PRIMARY BALANCE

Starting with the primary balance and discussing the importance of it.

LESSON 03: ORGANIZATION AND RIPPLING 

Discussing layer organization and grade rippling.

LESSON 04: BALANCING 

Balancing and discussing all the decisions to be made when it comes to brightness and exposure. Dealing with challenges such as thin images and sharp highlights.

LESSON 05: REFERENCES

Analyzing the references from the client and preparing for the look creation.

LESSON 06: CURVE MANAGEMENT

In this lesson Derek recreates some of the characteristics of Kodak Eastman, and use techniques to compress the midtones and control the highlights.

LESSON 07: DEEP SATURATION

Continuing the work of recreating the Kodak Eastman look, compressing the image with hue curves and creating deep rich saturated colors.

LESSON 08: HUE SHIFTING

Pushing and hue-shifting the individual colors to bring the colors into harmony and create a stronger look.

LESSON 09: RED TONES

Finessing the look by bringing in the red film tones.

LESSON 10: SECONDARY WORK

Finishing it all up with some shadow, highlight and skin keys to create a better match.

 

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Kevin McCormack

I want to thank the team at Lowepost for this tutorial. I think that this format is very constructive.  Lots of tutorials show you what buttons to press, but when learning anything, I feel that getting to know the principles and the whys of a process or technique is always the most enlightening and engaging.  Having Derek walk us through his process was a real treat. 

I do wish there were more details, having shots that got a little more specific with the details of what he was doing, but apart from that, I thought this was an excellent tutorial. 

Again, thanks for this, and looking forward to the next one.  

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Jesper Hammarbäck

Hi, The input color space should be Arri Log C and Timeline Color should be Rec.709 Gamma 2.4 (In Davinci Resolve)

Edited by Jesper Hammarbäck
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Sander Ges

Can Someone elaborate how Dereks approach under 'deep saturation' applies in Davinci Resolve? Is this a luma vs saturation curve, brought down as a whole? And does this come after the (luma) curve?

I don't understand the theory behind this, what is the difference of bringing down 2 stops with the luma vs sat, in stead of a general exposure / offset adjustment?

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Vittorio Ricagni

Hello. You could change the streaming bitrate to something lower. The videos of all the master classes are quite cut and lagging. I have an internet connection of 100 Mbps. The other courses are fine

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