Tom Evans

That's not your problem, they will apply whatever transform is necessary before they do their keywork and remove the transform when sending the file back to you.

Deliver the log image, original file or flat pass render.

Watch Jason Bowdachs color grading training on Lowepost, it covers it quite well.

Always try to get your skin tones where they should be with your overall global grade. Balancing an image with the skin tones in mind often gets the rest of the image where it should be. When doing secondary work on skin tones, try the broadest brushes first. Personally I try to reach for the hue vs. sat and hue vs. hue curves. If that does not work, I will key.

Arri Log C to Rec 709 and then create an offset node with some global adjustments for better matching?

So you have two files right, one with the background and one with the foreground? And the foreground video file has alpha channels? if that's so, just bring both the files in and stack the foreground shot on top of the background in your timeline. Or did they provide you with the final comp shot and an external matte? More info please.

I just want to say I got the Mira PowerGrade Collection today and they are amazing, this takes my grading to the next level. Thank you Lowepost and Ravengrade for always backing our work with insight and great tools.

Love this, thank you Mark and. Lowepost.

Love this, thank you Mark and. Lowepost.

The color space and gamma should be set to match your camera, so if you work with Alexa it should be set to Arri Alexa + Arri Log C. If your timeline is set to Alexa you don't have to change, but if your project is set up to something else you need to change.

I actually got mine today!

I usually works with HQ files from ARRI / RED and that works perfectly fine on my setup. However, there are files such as those from Venice that lags without transcoding but that is also true on the much more expensive Mac Pro.

My take on this is to grade the documentary on your X300, and do the theatrical pass in the same suite. You know the audience will watch the documentary in a dark room so that might allow you to go deeper and darker on some scenes and earn you a few more dollars.

I do recommend the Professional Color Grading Course by Kevin. You need the very basics there as well, but it takes you through how to best approach exposure and balance and that's what you need to get started. If you have no clue about how to ingest footage, what the different wheels does etc, you should go see the basic training videos released by BlackMagic Design.

Thats how it should be.

You should be able to get the same color space and gamma whether you output directly from your camera or through your external device. The container and amount of data could vary of course.

You are right, this is a complete setup for most needs. Apple have rethinked how components work inside their machines, and the way DaVinci Resolve on my Mac M1 is performing at the moment makes it seem closer to 64gb. Even for Fusion work.

I don't want to talk Dehancer down, but it's not accurate film profiling and that's why I call it guesswork. Ravengrade doesn't claim to emulate film but you can easily tell that the looks are built on some advanced algorithms and there is some very interesting color channel cross coupling going on. I'm also one of those who downloaded Mitch Bogdanowicz Kodak LUT's when they were available on Lowepost a couple of years ago and as far I can tell the "Niran" look in Ravengrade matches quite accurately. Mitch is not on their contributor list, but they state there are color scientists involved in creating their looks. ARRIs color scientist Florian Utsi is also on their contributors list and he is known for using some complex film print data from ARRI in his look creation so that might explain why Ravengrade feels much more cinematic than anything else I have tried.

This is an unbelivable line-up of colorists!

Agree, Dehancer is guesswork at the best. I beta tested Ravengrade over the weekend, it seriously put all the "film profiling" apps to shame.

Very detailed and crisp here, sometimes Safari blur videos a bit. Can you check Chrome?

Agree with Nicolas, you probably judge the black level on your desktop inside of the Resolve UI when working. When you output and tag your QT with "legal" it will seem washed out. You need a rec709 monitor that remap the full range signal to legal and when you output your file it will look identical to what you have on your monitor.

You can download @Walter Volpattos node tree here

Great guide, the mesh tracker looks fantastic!

That's a very debatable panel and is missing on the list for good reasons.