Masterclass in Color Grading with Douglas Delaney

Outstanding and down to Earth way of thinking about color in a world of 25 nodes.

Thank you, Doug, for passing on your knowledge and skill.

Could someone expand on how your default colorspace can be different from what it's recorded in?  For example, when he said he always likes to work in LogC and he mentioned something being  shot on Venice.  Do you just use a DRT to get the Venice into LogC and go from there?  

Thanks in advance.

4 hours ago, Jeremy Miller said:

Could someone expand on how your default colorspace can be different from what it's recorded in?  For example, when he said he always likes to work in LogC and he mentioned something being  shot on Venice.  Do you just use a DRT to get the Venice into LogC and go from there?  

Thanks in advance.

Lots of reasons to work in a specific colour space but I tend to do this because you get to understand how a single colour space responds. Means you know how colours are mapped or can be mapped to create the look/changes you want. But to answer your question yes you can map SLog into LogC with a CST or similar. It's important to stay in scene ref space so you can make the most of the signal captured hence Slog to LogC. Then when you output you remap it again to the (normally) smaller colour space for delivery. I sometimes just play around with the different colour spaces to see what it's doing to the footage but most of the time I'm remapping everything to either LogC or DWG these days.

6 hours ago, Jamie Neale said:

Lots of reasons to work in a specific colour space but I tend to do this because you get to understand how a single colour space responds. Means you know how colours are mapped or can be mapped to create the look/changes you want. But to answer your question yes you can map SLog into LogC with a CST or similar. It's important to stay in scene ref space so you can make the most of the signal captured hence Slog to LogC. Then when you output you remap it again to the (normally) smaller colour space for delivery. I sometimes just play around with the different colour spaces to see what it's doing to the footage but most of the time I'm remapping everything to either LogC or DWG these days.

I was reading the new Resolve 17 manual last night after posting this and came across exactly how to set it up in Resolve.  Between your answer and reading that it all makes sense now 

17 hours ago, Jeremy Miller said:

I was reading the new Resolve 17 manual last night after posting this and came across exactly how to set it up in Resolve.  Between your answer and reading that it all makes sense now 

Great stuff, glad I could help a little.

As an example... Whilst setting up a job recently I had a problem with a blue coloured shirt that the main character was wearing when working natively with DWG and SLog. I tried LogC instead and the colour started to behave itself and I was able to get much better starting point.

I'd definitely encourage you to play around with the controls in different colour spaces, never know when you might need to switch to suit the footage your sent to get the best result.

On 5/9/2021 at 3:21 AM, Thomas d'Auteuil said:

As always, I really appreciate the masterclasses here at Lowepost. However, I feel that, in this one, a huge chunk of the work was done in preproduction and we don't get to see that part.

I wish we could have been given more insight into how that show LUT was elaborated.

Also, the footage was shot so incredibly well that little had to be done in post. I'm on Lowepost because I'm starting out and, so far, I've had to fix the colors and exposure on every single shot thrown at me. 

In other words, this masterclass felt more theoretical than practical.

🤟🏻

Very nice. On the look example you add cyan and Yellow saturation separatly. How do you do that in Resolve?

47 minutes ago, Fernanda Balestro said:

Very nice. On the look example you add cyan and Yellow saturation separatly. How do you do that in Resolve?

Add. Cyan in one node then add a serial node and make the yellow adjustment. This is assuming they are on the same color wheel (shadow, midtones or highlights, etc)