Abby Bader

It's just a master file with the transform disabled, point is to future proof the archiving.

This course walk you through several alternatives, worth watching:

Excellent course Josh!

There are two files in the ZIP-folder, import the "DRX" into your still album and the node tree will be available to you.

Apply the transform first, then adjust exposure and balance in a prior node. Again, watch the pro training with Kevin to understand how to set up this workflow. If you already have, watch it again.

Apply the transform first, then adjust exposure and balance in a prior node. Again, watch the pro training with Kevin to understand how to set up this workflow. If you already have, watch it again.

People have different ways of working, I think it's about finding a workflow that you feel comfortable with. Personally I prefer to start with global exposure and balance prior to the transform and build from there if needed. Also, look into what color management (RCM/ACES) can do for you. It can take you to a nice place pretty quick.

People have different ways of working, I think it's about finding a workflow that you feel comfortable with. Personally I prefer to start with global exposure and balance prior to the transform and build from there if needed. Also, look into what color management (RCM/ACES) can do for you. It can take you to a nice place pretty quick.

Might be, but the point is that the curve of the transform should be the main component to decide where your corrections should fall on the tonal range. Applying corrections after the curve will have no component to decide where your colors will fall, how your highlights will bend etc. I can't stress enough to set up a good workflow. You will get better continuity between shots and scenes, and professional looking result. Watch the professional color grading training with Kevin to understand this concept better.

Might be, but the point is that the curve of the transform should be the main component to decide where your corrections should fall on the tonal range. Applying corrections after the curve will have no component to decide where your colors will fall, how your highlights will bend etc. I can't stress enough to set up a good workflow. You will get better continuity between shots and scenes, and professional looking result. Watch the professional color grading training with Kevin to understand this concept better.

I think it's safe to say that the transform is happening at the end of the node stack in most professional workflows. Most of the grading controls are designed to be applied in camera space and the results of their corrections are designed to go through a transform. That said, there are no rules in creativity.

I think it's safe to say that the transform is happening at the end of the node stack in most professional workflows. Most of the grading controls are designed to be applied in camera space and the results of their corrections are designed to go through a transform. That said, there are no rules in creativity.

Yes!

Timeline color space only affects how your color controls works, not the end result or anything else. I prefer to leave it set to Arri Log C when working with any type of footage. For Red Workflow in general, watch this course:

Unzipping?