Color grading Thu, 30 Mar 17 00:54:40 -0600 Color grading en-CA Automated color grading Fri, 10 Feb 2012 00:10:13 -0700 pwc 2237@/talks/discussions A while ago I came across a technique to transfer the look of one photo onto another.

It was described in the following paper "Automated Colour Grading using Colour Distribution Transfer” by F. Pitié & al.

Although there already were other similar techniques, none of them seemed as promising as this one because not only was the color palette of the source image transferred to the target image, but also its average luminance and contrast. I decided to give it a try. I programmed the algorithm with of few tweaks of my own and applied it to a bunch of random photos taken from the Internet.

Below is a Vimeo video showing the results of the experiment:

  • in the first part I applied the look of 70 different source images onto the same target image,
  • in the second part I did the opposite: I applied the look of one unique source image onto 70 different target images,
  • finally in the last part I cross-processed a few pairs of images, exchanging their roles as source or target,
  • all photos were processed with the same standard parameters and the results are raw without any post-processing.

Bottom line: although the technique doesn’t work every time, it has a high success rate and delivers very convincing results on stills.

Next step: see if it holds up on real footage.

Vimeo clip (password: photolook) :


DaVinci 12 and 12.5 Mon, 13 Apr 2015 18:00:03 -0600 MikeLinn 12799@/talks/discussions

DaVinci Resolve 12 features a new, modern interface with a lighter overall color scheme and new fonts that help reduce eye strain and make it easier to work for long sessions. The new interface is scalable and has been designed to look great on high DPI monitors, such as retina displays. New top down navigation speeds up layout selections and also gives users more flexibility to customize their workspace.

The new multi-camera editing feature of DaVinci Resolve 12 lets editors cut programs from multiple sources in real time. DaVinci Resolve 12 can synchronize camera angles based on timecode, audio waveforms, or in/out points. The source monitor displays a grid containing the camera angles and plays them all back in sync while the editor makes cuts to the audio and/or video.

In addition to multi-camera editing, DaVinci Resolve 12 also features several enhancements to the core editing tools. All trim modes, multi-slip, slide, ripple and roll have been extended and editors can now select multiple points for dynamic trimming and asymmetric trimming of clips, even if they’re on the same track. Timelines can be nested, edited together and expanded or collapsed in place to greatly simplify editing of large multi scene projects. New transition curves let editors create and edit custom curves for transition parameters and new on-screen controls let editors see and adjust motion paths directly in the timeline viewer.

DaVinci Resolve 12 includes an entirely new, high performance audio engine that offers higher sampling rates and greatly improved realtime audio playback performance, including reverse playback and tape style slow motion scrubbing during dynamic JKL trimming. Both VST and AU audio plug-ins, along with their custom interfaces, are now supported and can be used on individual clips or entire tracks. Audio parameter adjustments can be recorded and now contain editable automation and full curve editor support. For the first time, editors will be able to export projects directly to ProTools via AAF for audio finishing.

Media Management in DaVinci Resolve 12 has been redesigned to accommodate editorial workflows. Customers can now manage projects and media using new copy, move, transcode, relink and consolidate tools. Whole projects, including media can be archived and restored with ease. Resolve 12 makes it easier to find media in large projects by letting users create smart bins that can display footage based on metadata tags. Users can now import media by simply dragging it in from the Finder or Windows Explorer, or by using new “Favorites” for one click access to commonly used media folders on disk.

DaVinci Resolve colorists will find incredible new tools that give them even more creative grading options than ever before. Resolve 12 improves upon DaVinci’s legendary advanced color science by adding support for DaVinci’s own color managed timelines as well as ACES 1.0 transforms, making it easier to get consistent results, especially when working in facilities with managed pipelines.

The core grading and color correction tools have also been improved with a new, easier to use curves interface, automatic color analysis and matching between two or more clips, an incredibly accurate 3D perspective tracker, and a new 3D keyer with improved matte finesse options. Colorists can now define their own smart filters, convert any window to a bezier, collapse multiple nodes into compound nodes to simplify their view, ripple grades across multiple clips, and flatten pre and post-group grades into a clip’s individual grade.

DaVinci Resolve 12 also now supports remote rendering so customers working in larger facilities can distribute rendering jobs to other Resolve systems that are on the same shared database and shared storage.

With dramatically improved editing, DaVinci Resolve 12 now has the ability to integrate with other NLEs even better. Edit timelines can “round trip” to other editing software and more of settings, plug-ins and edits are preserved. For example when importing XMLs from Final Cut Pro X, DaVinci Resolve 12 can now import multi-cam clips and preserve all the original camera angles. Also, audio support is greatly improved to match the audio timeline in Final Cut Pro X. This makes collaborative workflows better and allows different people in a facility to use the tools they prefer instead of being forced into an inflexible company wide platform.

“DaVinci Resolve 12 is an incredible release that we think both editors and colorists are going to love,” said Grant Petty, CEO, Blackmagic Design. “We’ve built in the features customers have been asking for and, with the addition of multi-cam and some of the other great new editing features, we think that Resolve is perfect for both creative editing and finishing. It’s still the only system that lets customers switch from editing to grading with the click of a button, giving them the fastest, highest quality no compromise workflow. Best of all, customers can install DaVinci Resolve Lite and use it on real projects for free. There is no monthly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware!”

Has anyone else had problems with VisionColor's after-sales support? Mon, 27 Mar 2017 08:50:03 -0600 a_fulda 16646@/talks/discussions I am posting this since I am really frustrated with the after-sales support from VisionColor. I bought their product ImpulZ - Ultimate for €99 in January 2015. Since I got a new MacBook Pro with macOS Sierra I can not reinstall ImpulZ. When contacting VisionColor for support on 17 March -- which is ten days ago -- I received an automatically generated email that read

"Your request (xxxx) has been received. Due to our current development schedule response time can be up to 21 days. If your request is urgent please go through our knowlege base articles or post to our forums at To add additional comments, reply to this email."

Based on comments on their website other users have encountered the same problem ( It is difficult to understand why it should take three weeks to email out a link to a properly functioning working installer for ImpulZ. Btw, my follow-up email from 21 March was ignored.

So be mindful that when you buy software from VisionColor. If you are bit unlucky -- just like me and many other users who upgraded to macOS Sierra -- you may not be able to use your product very long.

Logarist Color Correction for DaVinci Resolve, Vegas Pro, and Final Cut Pro X Sun, 01 Jan 2017 12:32:20 -0700 balazer 16259@/talks/discussions Logarist is a color correction system for video editors. Logarist enables the same types of corrections that you can achieve using raw images in Adobe Lightroom, but without the need to shoot in raw, and right inside your video editing application. Logarist uses look-up tables (LUTs) to transform your camera's video into a color space optimized for exposure compensation, white balance correction, and contrast adjustment, and then renders it for display on a standard computer or HDTV monitor. Logarist makes basic color correction easy and accurate, and enables advanced corrections that are difficult or impossible in standard camera color spaces. Logarist is free, and you can download it from .

Watch the Logarist introduction and demo/tutorial video on YouTube:

Logarist supports these camera color spaces:

Cheap ColorChecker chart alternative Mon, 30 Jan 2017 04:40:14 -0700 Vitaliy_Kiselev 16385@/talks/discussions image

  • ColorChecker like colors
  • 24 colors
  • 21.5cm x 14.7cm
  • Package weight - 146g
  • $18 only including shipping

Note - do not use ColorChecker references for this, but for matching shots across different takes, places or cameras it works perfect.


Color Grading Discussions Tue, 07 Feb 2017 12:19:29 -0700 shian 16428@/talks/discussions So I've been put in charge of the color grading area of this forum... I only accepted because VK and I share a vision about the discourse of this particular portal. So let me "lay down the law" so to speak.

I believe in free speech, the open exchange of ideas and information. I believe in a free market, and competition. And I value those who are unafraid to challenge established methods and platforms; ColorGHear would not exist without these windows of freedom. I came out of the dark with a lot of crazy ideas and techniques that many scoffed at, but were again and again proven effective. As have others with their ideas.

That being said; the downside of free speech is that everyone believes their opinions and ideas are just as valid as everyone else's, and should carry equal weight. But there are such things as bad ideas and bad opinions. Add in trolls and those whose aim is not to add to the discussion, but to just fan the flames of discourse, and the result is a frustrating forum and a lot of bad information you have to waste time sifting through.

I hope to change that. I won't act against anyone just because they disagree with me, only if I feel that the posted information is counter productive and will erode the integrity of the discussion. In the past I have myself engaged in inflammatory posts in an effort to get people to really question things. I can't say I won't ever do that again. If you allow yourselves to get locked into one dimensional thinking, then I may become inspired to pry your minds open again. :) But for the most part, I'm passed that.

Let's try to make this category a valuable and reliable resource people can count on for solid info and techniques along with the crazy ideas that push the envelope. Just be able to back up your crazy idea(s) with some evidence that it is actually effective... or you'll likely meet with some pushback.

So here's a few things I think are important to focus on to keep the art of color grading moving forward:

Reliable and consistent ACES workflow ideas.

Reliable and consistent V-log and S-log (and any other log) Workflows.

Complete abandonment of outdated linear video capture for Log.... and accordingly; complete abandonment of platforms and capture systems that don't utilize LUT viewing technology.

Complete abandonment of 8 bpc and 16 bpc workspaces for 32bits per channel workspaces.

Abandonment of H264 codecs for H265 and better.

Abandonment of rec709 for rec2020.

Abandonment of 422 8bit capture and delivery, for 10bit 422 and better capture and 444 delivery.

I'd like to see the focus of this category pushed heavily into these areas, as they are the future of what we do with regards to color.

My reasoning for such high quality workflows is that you want to start your delivery with the highest quality file you can possibly produce and then downgrade only as necessary.

Panasonic Vlog: matching non-Vlog footage Mon, 13 Feb 2017 10:40:50 -0700 Brian_Siano 16451@/talks/discussions I'm working on a project where we shot with three Panasonic cameras: a GH4, a GH2, and a GX7. On the GH2 and GX7, we used the Standard setting, but I decided to try using Vlog on the GH4.

Obviously, my question's about matching the color grades. I can't see to find a set of settings or a LUT that would take my GH4 footage and conform it to the standard Panasonic curves in any consistent way. The LUTs that are closest-- the standard Vlog to v35, Balazar's luts-- have two faults: they're a bit greyish in the low end, and they're actually kind of dim, so I have to adjust the floor and boost the low-to-midranges.

Seems to me that there ought to be a LUT that accurately brings the Vlog footage to something very close to Standard. Any suggestions?

Reference level white card Mon, 30 Jan 2017 04:54:52 -0700 Vitaliy_Kiselev 16386@/talks/discussions image

Among everything you can use for white balance card PTFE is usually best. Just make sure that it is not too shiny to reflect light spots.

Reason for this is


In visible range it has exceptional uniformity, so it reflect exactly only light source spectrum, contrary to most white paper that can play trick due to UV agents added to boos perceived whiteness. Here is sample of paper (they are all different, btw):


Do not use too thin PTFE items - use 2mm or more.

Price is around $6 for 100x100 sheet.

Using Neat Video on GH4 VLOG footage Tue, 13 Dec 2016 10:08:42 -0700 Brian_Siano 16173@/talks/discussions I have some V-log footage where color grading and applying a LUT has made it a bit grainy. I'd like to reduce that with Neat Video. But my question is, which do I apply first?

Do I apply Neat Video on the V-log footage, and then apply a LUT? Or, do I apply a LUT and color correction, and let Neat go to work on the more visible grain and noise?

Seeking feedback for a new video color correction system [closed] Mon, 28 Nov 2016 14:22:03 -0700 balazer 16114@/talks/discussions The early feedback period has closed. Thanks to everyone who participated. The system will be posted publicly when it is ready.

I'm working on a new color correction system, and looking to do a bit of market research and get user feedback. Participants will get early access to the system.

Please send me a private message to participate.

ColorGHear [PART 2] Sat, 01 Dec 2012 16:40:03 -0700 shian 5346@/talks/discussions The old thread had grown too large so here's the new one.

To access the old thread - go here:

So as not to be misleading, ColorGHear is a system, and not so much a plug-in... a school of thought supported through the ColorGHear Toolkit -which is a set of MODULAR PRESETS for After Effects and ColorGHear Pro - which is a set of MODULAR LUTs for Davinci Resolve, FCP7, Premiere Pro, and Adobe Speedgrade, and is not what you'd consider a classical style plug-in.

The toolkit isn't a collection of drag and drop "looks" like Magic Bullet. It is a series of nodes which contain a set of grading instructions or "macros" (a set of operations), specially designed to work with each other to speed up your workflow. Along with these nodes, comes a system of grading which replaces having to perform the minutia of individual corrections by hand. Learned through the online tutorials, this system will give you speedy and precise grades. It is this precision that prevents you from "bending" your images like with standard methods which is what allows me to get such drastic and dramatic grades from normally flimsy DSLR codecs.

As a professional colorist, I noticed that because of the way the color channels in RGB video are tied together; that typical methods like the Color Balance tool, and the 3-way Color Corrector will actually bend an RGB image out of shape. So in order to maximize the full potential of any given image, I had to learn a method of grading that would avoid damaging the footage. I called this method "precision grading."

I also noticed that in executing these precision grades, I was performing the same operations over and over. I began taking notes on what these operations were, and trying to determine if it were possible to create a set of interacting preset nodes that would save me time in having to repeatedly perform these operations.

I soon discovered 37 distinct sets of operations that would serve to correctly grade any, and all footage. 6 of these macros cancel each other out, and only 1 of those 6 could be effectively used at any given time leaving me with 32 nodes - giving me 1,024 possible combinations. Over a thousand distinct grades. Over time, I added some other tools to the set which now sits at 74 nodes all of which are designed to be used in conjunction with the other nodes. (69, if you subtract the 5 canceling nodes) which brings the total to 4,761 distinct grades.

The precision method I mention above is demonstrated here. Along with how the 3-way Color Corrector damages your footage.

The power of ColorGHear is presented in the video demonstrations below.

ColorGHear is available at

(ColorGHear Pro not yet available to the public)

3D LUT Creator Thu, 14 Nov 2013 20:02:49 -0700 maxr 8783@/talks/discussions In my never-ending search found this nice application by Oleg Sharonov and though it was worth sharing

I really like the concept of this plugin / standalone and how easy to use it seems. As far as I know exist integration with photoshop, lightroom and AE. Here's the AE version at work (русский)

3D LUT Creator is color correction software. It can transform colors in LAB color space and save corrections as 3DL file, that can be loaded to Photoshop CS6 or other image and video editing software.

3DLUT Creator is a standalone program, that can load images in TIFF, JPEG and other formats, and can save TIFF, JPEG, 3DL files. It requires a PC with Windows x32 or x64 installed. MacOS users are known to be able to run it with Wine and Crossover. 3DL files are platform-independent and can be used in variety of image and video editors, such as Adobe Photoshop, After Effects, DaVinci Resolve and others.

and some photoshop action and explanations (русский with subs)

3D LUT Creator is currently in a closed beta testing stage. If you want to try beta version with limited functions, contact me at 3dlutcreator at gmail . com You can preorder the full version for $50 and you will also be getting current fully-functional beta versions.

Funny enough I found this through VK ;-)

Color grading in FCP X with Color Finale Wed, 02 Nov 2016 19:09:14 -0600 MikeLinn 15985@/talks/discussions

Cost of Grading a 90 min feature Sun, 30 Oct 2016 23:00:48 -0600 zcream 15964@/talks/discussions So I tried for pretty much this last year to CC and grade my feature. But I have realized its better to get it done from a professional. Have to warn you - about 6 mins of the film use footage that is incorrectly exposed and WB'ed.

So what will it cost me ? I would have to send you the hard disk and then get back the finished film.

8 bit vs 10 bit Cameras from Two View Points Fri, 21 Oct 2016 21:59:13 -0600 MikeLinn 15918@/talks/discussions

Boomerang Thu, 13 Oct 2016 15:44:25 -0600 shian 15881@/talks/discussions It's nice to finally be getting clients who are educated in the realm of color, and just want to turn you loose. In this case JW had a very specific vision and a 40 page PDF that scared away every other colorist... I had fun with it. Shot on A7S, 1080, graded using ColorGHear in Resolve 12.

Sorry there's no vimeo or youtube link to embed yet... exclusive world premiere nonsense.... as soon as there is a link, I'll embed it.

Any tips on getting this look? Sat, 24 Sep 2016 13:45:22 -0600 suresure123 15789@/talks/discussions If you don't know the show I recommend it. The Night Of has a great credits intro. I know some is slowed down and is mainly a slider. But how do you think it could be replicated in editing? The things I like are the uneven moving light and the snowflake effect going on. I assume they used a plugin and was wondering how I might get at least 90% of the look in post and does anyone recommend any plugins.

The ColorChecker Video Workflows Mon, 11 Jul 2016 18:33:54 -0600 MikeLinn 15345@/talks/discussions The ColorChecker Video Workflow - Premiere, FCPX and Resolve

The ColorChecker Video Workflow with DaVince Resolve

The ColorChecker Video Workflow with Premiere Pro

The ColorChecker Video Workflow with FCPX

About LUTs - VLOG - SLOG2 - SLOG3 - CLOG Thu, 25 Feb 2016 00:40:41 -0700 apefos 14650@/talks/discussions while hdr video is not real, it seems the best way to increase dynamic range is to use slog, vlog and clog.

When we record video using vlog, slog or clog, does sony, canon and panasonic provide luts for we apply in post production? or we need to develop our custom luts? or we need to buy luts?

I ask this because I think if we need to develop luts it will be a long waste of time... and if we use third part luts maybe it will not have the look we want...

so main question is about if manufacturers provide luts for post production. and, if not, what would be the easy solution...

if someday I surrender myself to slog, vlog or clog, I would like to have easy solution for luts in post... not a waste of time in each scene...

please share your experience with luts,

thanks in advance!

(observation: when I say luts I just what to recover the correct look from the log image, not different grading)

Vigilante Diaries Sun, 24 Jul 2016 19:56:27 -0600 shian 15415@/talks/discussions As a colorist, your work does not often get reviewed... but if it does it's usually cuz you did something really right, or really wrong. In this case I smiled and gave ColorGHear a little punch in the shoulder.

Discs like Vigilante Diaries are why people will spend tens of thousands on their home theater. It’s an in-your-face demo with perfect contrast and amazing color saturation. "

Color matching of two cameras Wed, 29 Jun 2016 01:50:59 -0600 MikeLinn 15294@/talks/discussions

How could I replicate this look? Tue, 21 Jun 2016 08:26:43 -0600 Gardner 15259@/talks/discussions I've seen a lot of films with this type of grade. Does anyone know how they pull this off? Everything is sort of a tan color and the skin tones are lovely.

Matching a7s and gh4? Mon, 15 Sep 2014 20:59:07 -0600 kupchenpo 11293@/talks/discussions Is anyone else using these 2 cameras together? If so, what settings are you using to get them as close as possible for post? What post processes are you using to match?

Best Practices for Color Grading with LUTs Mon, 06 Jul 2015 23:46:35 -0600 MikeLinn 13335@/talks/discussions

Jericho Color Grading Sat, 19 Mar 2016 01:58:13 -0600 MikeLinn 14829@/talks/discussions

memPICKER: memorize screen changes for individual points of color Mon, 25 Jan 2016 09:14:41 -0700 tida 14484@/talks/discussions Please look at:

Would appreciate some feedback if it works well on your (Win or Mac) platform.


memPICKER is a pixel picker tool useful for color correction, color grading and color analysis. memPICKER is able to track screen changes with up to 50 individual points and save them into a data file. Download memPICKER as Donationware for OSX and Windows platforms.

  • Press 'a' on keyboard to add new pixel location, memPICKER dialog has to be selected
  • Double-Click onto displayed values to delete all pixel locations
  • Click onto Graph to select pixel location and display its color values
  • Click 'Append' button to add RGB values and X,Y location into Data.TXT file.
  • Click 'Save' button to save Data.TXT file onto same folder where the application is located.

Below you can see just a quick demonstration about evaluation of Colorchecker Charts (24 pixel points) in Excel for different Camera types.

Source: Studio Test Scenes for different Cameras by dpreview at


SpeedGrade Fri, 30 Mar 2012 23:33:45 -0600 stonebat 2735@/talks/discussions I'm getting curious how this wonderful colorgrading tool would be integrated into the upcoming CS6. It would be really nice if it can import PremierePro project and preserve PP timeline composition. Sorta mimicking how AE CS5.x imports PP CS5.x project. Adobe FTW!!!

GH4 vlog and ImplulZ LUT workflow Sun, 25 Oct 2015 13:19:10 -0600 Alexauwa 13983@/talks/discussions I have seen some pretty good results with VisionColors LUTs specially ImplulZ.

I'd like to open this thread to share experience. Specially on the gh4 workflow with vlog.

LOG vs. LINEAR vs. LUTs vs. Math: Battle ROYALE!!!!! Tue, 08 Sep 2015 05:23:21 -0600 shian 13674@/talks/discussions Soooooo..... lotta debate going on, lotta maths and such being tossed about, lotta newbs trying to wrap their heads around the new color space. So let's get it on.

Wreck this 709!!! Begin!!!

So when grading @driftwood's V-log Shogun footage, I discovered that the Panasonic provided Varicam V-log LUT did an ok job of remapping the luminance and color values into a linear space, but didn't put the highlights quite where i though they should go. (unless of course the footage was really that grossly underexposed, which might be the case, but maybe no)

So I remember Panny saying something about V-log being very close to Cineon, so I tried that, and it delivers a very nice image with a lot of density in the image, but pretty dark. (Again might be underexposure)

S-log did a really nice job of mapping out a full range, but until I shoot bracketed footage and determine just where the sweet spots are, there's no way to tell which LUTs are best for putting V-log L into Linear to begin grading.

Where's a good explanation of v-log? Tue, 01 Sep 2015 13:04:08 -0600 Brian_Siano 13641@/talks/discussions I think I'm misunderstanding something about the virtues of v-log and flat profiles. If someone could explain this to me, I'd be grateful.

This is what I think is going on. V-log delivers a very flat image, where the darkest elements are greyish, and the lightest elements are bright, but not completely blown out. This enables color graders to "stretch" those values, and thus, have some play with the midrange gamma. But doesn't this mean that the color palette leaves out a lot of value?

I don't mean that it leaves out the highs and lows. It seems to me that if you take a narrow range of luminance, and scale it to a larger range, you don't get pixels with in-between values. Say I have a photo with luminance ranges from 0 to 100, and I scale that to 0-200. Thus, each luminance value would be doubled: 1 becomes 2, 3 becomes 6, 42 becomes 82, etc.) There'd be no real increase in the range of luminances. And in some circumstances, you'd get banding if the jump is too big.

And if this is the case., then why compress the luminances into such a narrow range? Why not scale it to the camera's full luminance range, and preserve as much of the "in -between" luminances as possible? If your camera has a range of, say, 1-1000, then why reduce the image to 300-700?

As I said, I don't think I'm understanding this correctly. Anyone got a good FAQ?