Comments on: Color Correction: Put Your Best Foot Forward

By: Using CineStyle for “Grand Canyon Winter” with the Canon 5D Mark II

Using CineStyle for “Grand Canyon Winter” with the Canon 5D Mark II — Sun, 22 Jan 2012 20:48:52 +0000

[...] When Hurlbut first used the Canon, he said, “I treated the 5D like I was exposing reversal film stock, you had to get it close to what your final product would be.” (http://www.hurlbutvisuals.com/blog/2010/03/30/color-correction-put-your-best-foot-forward/). [...]

By: Shane

Shane — Sat, 19 Nov 2011 01:20:41 +0000

darren genet, Cinnafilm, check out my blog about this process. It will make your 5D footage shine. Bandito Bros bought the Dark Energy tower so they can manage your compression noise as well. They will work with your budget. Great people.

By: darren genet

darren genet — Sat, 19 Nov 2011 00:44:50 +0000

thanks very much for the reply. Our producer is swinging us to i/o films and I have insisted that we at least project the film on a big screen to check our coloring in terms of noise and contrast. We are pretty low budget on this one and I’m hoping that the work we did in prep and testing will prevent any issues in final color correction. If we do run into any noise issues, what fixes would you suggest?

thanks

By: Shane

Shane — Thu, 17 Nov 2011 05:08:51 +0000

darren genet, I would call Bandito Bros. They have there own Davinci Resolve and 12 ‘ screen color bay with a 2K Christi projector. I think they will be the perfect place for you. Call Jacob Rosenberg at 310-559-5404. Tell him I sent you.

By: darren genet

darren genet — Tue, 15 Nov 2011 17:51:57 +0000

Shane-

We spoke a few months ago as I was prepping a 5d/7d feature and your input was invaluable, so let me just say thanks for sharing your time and expertise. We have now locked picture and are getting ready to do our final color timing and I am most concerned with projection in a theater environment. This is a low budget project and we may not have the resources to go to one of the premiere houses for color timing-do you have any advice or wisdom to offer in terms of approaches and/or houses that do a good job with DSLR footage translating to projection on the big screen?

Thanks very much
Darren Genet

By: Andreas

Andreas — Sat, 05 Nov 2011 18:14:55 +0000

Hello Andrew, check this out for great results:

http://cineform.com/neoscene/

Regards and success.

By: Nish

Nish — Sun, 30 Oct 2011 18:26:26 +0000

I’m curious about even though Adobe Premiere CS5 can edit H.264 files, is it still worth uncompressing them to 4:4:4

By: hofda

hofda — Thu, 13 Oct 2011 11:29:15 +0000

There seem to be so many recommendations on picturestyles but none on how to then work with em. After shooting with a “flat” setting, getting a big dynamic range I have problems finding tutorials on how to get the best out of that material in postproduction. Any suggestions on good settings and workflow in Final Cut Pro? As soon as I start to tweak the saturation and blacks, the exported movie really lacks the quality from the original shots… And I haven’t even dared to touch Unsharp Mask.

By: Joe

Joe — Mon, 12 Sep 2011 14:06:39 +0000

Anybody know how to color correct footage shot in daylight with the white balance set to tungsten ie blue cast?
With stills this is quite correctable but not sure how this would work with 5D footage.

thanks

By: Andrew

Andrew — Mon, 01 Aug 2011 21:00:57 +0000

When you say you went back to 444 RAW cineform. What do you mean exactly? What are you doing to avoid the H.264? Sorry, I’m a novice!