"And The Oscar for Best Film with the least amount of light used goes to….."

Not a colorist by any stretch, but it seems like there's only so much a colorist can do, anyway.

I mean, you can't add any rim lighting. I think you can add shadow on one side of the face much easier than taking it away. Can't change the costumes, sets, etc..

Colorists do some amazing things, but asking them to make up for boring, uninspiring lighting, crappy sets, bad framing, lack of production design is asking way too much, and frankly quite lazy from the production side.

It's sad how often people seem to think light is only useful for exposure, rather than creating a mood and enhancing the art/story.

Yep

@shian I thought that shot I showed you in the tunnel looked too flat so I re-shot it. A sniper with Parkinson's wasn't a great look either. I didn't use ColorGHear 'cause it's just a rough proxy edit grade, and I'm lazy. It's just filmconvert with some color and levels tweaks. Adobe camera raw shits on Resolve for debayering 5D MK3 raw files so I'm grading in AE for now. It wasn't until after I graded it that I thought to recalibrate my monitor, hence it looking like it should be more crushed. http://i.imgur.com/3ByvrfO.jpg My 8yr old Miss Kubrick doesn't like the graf; me neither. Thankfully I shot it on sticks, but I don't know if the smoke is going to be a problem when I try to get rid of it. I should'a just wiped the damn tag!

@chauncy http://www.personal-view.com/talks/discussion/15043/transphobia-the-movie/p1

I mentioned in the previz tutorials that once a year around x-mas Poser goes on sale for $50, and I'd alert you the next time it did - now is the time.

http://my.smithmicro.com/poser-11.html

This is the first project to be shot with ColorGHear Spectrum. It was finished entirely in FCP-X.

details - 1 light, 1 bounce, exposure and grade achieved entirely in-camera - no post grading, only re-application of the LUTs used onboard the Atomos, and applied in FCP-X. With the exception of one tiny gamma adjustment in the color panel for one shot in the B&W footage, this is straight out of the camera, LUTs used in production applied to V-log footage, edit, FX, export --- done.

Spectrum is a revolution in Color and will be available for use on your projects this fall. No more rushing around trying to find a colorist to fix your project at the end. Spectrum solves all your problems before you ever roll cameras.

Vimeo version - better compression

ColorGhear has been hacked... the site is down until I get all the malware cleared out and a new SSL socket in place. Apologies for any inconvenience. Could be a week before we root out all the crap that got inserted into the code. All of your user data and such is located in a separate secure database, This hack only got through the first layer before my host pulled the plug and the remnants are sabotaging site functionality. The backups aren't loading properly...soooo I'll let you know when its back up.

I think I ironed out all the bugs. If anything jumps out at you or you can't access the site. Please email me your sign-up email address and your username. Please send to the customary gmail address, as it makes it easier to cross reference user data there.

@shian any news on spectrum?

Spectrum was born from the complaint that I was never available to grade certain projects cuz I was engaged in grading someone else's film, and couldn't feasibly grade two at once with any efficiency. But what If I could grade everybody's project before they ever even shot it?

Consider this the soft open. For those who can't wait any longer to know what it is and how it works, I give you:

ColorGHear Spectrum

In the world of big budget feature film and television production more and more often the creators are hiring their colorist at the beginning. They shoot test footage in various environments and work with their colorist to create a look (or set of looks) for the entire film which are then turned into Camera LUTs that are either loaded into the camera or monitors or both.

This gives filmmakers a what you see, is what you get workflow - where no longer do you need to trust your DP when he says, “Oh, just trust me, it’ll look right when it’s graded.”

By using a camera LUT on a properly balanced monitor you’re seeing exactly what the finished product will look like, which really allows you to make all the fine adjustments required to get those shots looking exactly the way you want, right there on set.

You’ll know without a doubt that the color is the way you want it -- if the exposure on one side of an actor’s face is too dark or too light, or if their eyes will look sunken, or whether or not that thing in the shadows you’re trying to hide will disappear, or the other thing in the shadows you’re trying to make sure is barely visible, is seen. You'll know if those highlights are gonna blow. It's like getting a live grade back from your DIT instantly!

learn more at http://www.colorghear.com/colorghear-spectrum

Workin' on something new. It's pretty elaborate, so don't expect anything soon (that's my MO) but I'm going to teach you how to light and shoot miniatures. I haven't settled on all the figures, and sets yet (building some sets), but I'm also getting ready to move, and won't get these done til after I settle in. and have a dedicated space to set everything up and leave it. I hope to cover all the bases in terms of how to scale things down, and also scale them up.

Just FYI...