Demystifying Post Production Color From Set To Post and back! (Part 3 of 4)

Video Of The Day
Join us every Monday in July, where the Maxon Color Team will cover a range of grading techniques, including how to construct a consistent look that honors the vision of the director and cinematographer, a practical session demonstrating how LUTs can be used in camera to allow filmmakers to see their creative vision on set, with a post-production follow-along grading session, including how to set up an ACES workflow in DaVinci Resolve.

We’ll finish up the month with a creative investigation of film effects, with special guest Stu Maschwitz (Director, Post-Production Supervisor & Chief Creative Officer at Maxon), with practical tips and how the Magic Bullet Film tools were specifically designed to create accurate filmic treatments.

We’ll be providing footage, project files, LUTS, presets, node recipes and PDF reference documents, as well as footage to follow along with. Techniques shown in the session can be used in multiple NLEs and host applications including Resolve, Premiere Pro, After Effects, Avid Media Composer, and Final Cut Pro.

Links mentioned in the webinar:
Cinematic Color: https://cinematiccolor.org/
What’s new in ACES 1.2: https://www.youtube.com/watch?v=jKCHqQa7yjY&t=2167s

Contents:
00:00 Intro
06:00 Color Management
12:00 Scene Referred Workflow
15:00 Walk through Scene Referred Workflow
21:00 ACES
23:00 ACES and Scene Referred Workflow
28:00 AP0 Lin and AP1 Log
29:00 ACES Pipeline
34:00 Simulating ACES IDT and ODT in DaVinci Node
40:00 Question: Why logarithmic?
44:10 Solving Blue Highlight Clipping when using ACES setup in Node tree
46:00 Setting up ACES in DaVinci Project Settings
56:00 Solving Blue Highlight Clipping using OFX and LMT
01:00:00 Summary
01:01:00 Tip: Cinematic Color
01:02:00 Outro

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