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ColorGHear [PART 2]
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  • Thanks, man! Up until a few weeks ago, I was utterly hopeless with grading... The tutorials are priceless.

  • Cheers Shian. I wish you a speedy recovery.

  • @shian Heal up quick brother. If you're stuck in bed, just do what Bruce Lee did when on forced bedrest due to injury...he wrote his book, his masterpiece...Tao of Jeet Kune Do...all by dictating to some hot blond in the room (his wife). Assuming you got the blond...and the masterpiece in mind...this could be a real productive time for you. Rock on!

  • Graded with ColorGHear :)

  • Proof that ColorGHear is more than a set of presets. Upon dissection, you can really see the usefulness and purpose of each GHear and repurpose it to other software. Upon tax time, I'm swiftly purchasing the pro package. Must learn more!

    This was a mix of CGT and DaVinci.

  • @shian will ColorGHear work with Resolve Light. I'm on a tight budget! By the way, I'm new hear but it's absolutely amazing what you get out of 8-bit.

  • Sorry but i don't see the difference between that and reproduce this with a basic edit program using some color/contrast tool. For me ColorGhear is just a preset like what magic can do, please show me a real difference. Another marketing ?

  • @zilk then don't buy it. If you've watched the "What is ColorGHear?" video from page 1/ post 1 and you still don't get what Precision Grading is, then move along. Have fun doing what you're doing.

    @Chris74 yes, absolutely. The ColorGHear Pro demo was created in Resolve Lite.

  • @shian

    Don't be rude but i know exactly what Precision Grading is... you think you are the only one working on that stuff ? I'm going to repeat again, it doesn't give anything more than what you already can do with a basic edit program... playing with some algorithm color is not a big deal and with few training you can even do better than what your stuff offer (limited by your point)

  • Not being rude, if you've got it all figured out, then why are you bothering? If anybody else was doing what I'm doing with ColorGHear, then nobody would buy it, nobody would watch the tutorials, and everybody would be able to do with DSLR footage what I do, and what I enable CG users to do. I make it simple, fast, powerful, and easy. Every CG user can attest that it is not even remotely the same as MBL, not even close. If it were then people would just spend way too much to get MBL, and I could shut down my site. And then I would get a lot fewer emails, and PMs asking advice, and I could spend more time watching internet porn. And that would make me happy. :)

  • So you think that people with DSLR can't make that type of CG ? you only watch where you want to watch ? Have a lot of people that know what is CG, you just playing with people that don't know how to use that typical basic tool, i made in the past a video explaining about compositing (more strong than prescript plugin) with nuke. D didn't make a plug (prescripted) to take money from people... what you did is not different than magic bullet.

    You talk about 3 Way color (you know that you can work point by point on basic program and select the part of the picture to reproduce what you want) you should just show that.

    "So as not to be misleading, ColorGHear is a system, and not so much a plug-in"

    I'm laughing when i read this, because is actually a package of prescript node (kinda plug-in) so not really a system, we talk about system when you really work on algorithm that construct point by point the skeleton color.

    I'm not sure is good to bring false information about how your package work... (more when you use AE to represent that)

    People don't need to buy your stuff People are curious, it's normal that they watch your video (human being) and when you talk about it everywhere as a commercial... don't expect any respect from that

    Sorry but too much commercial and marketing behind that..

  • @zilk

    Please, learn to behave yourself.

    I also wait on PM your background information considering color grading.

  • @zilk I've purchased the Color GHears for $50 a few months back, and I'm glad I did. I haven't used the ColorGHears to edit a lot yet, but I've watched most of the tutorials, and I've actually used some of the advice as I'm editing a trailer in Premiere. So the tutorials alone are worth the $50.

    After my current project is filmed, I will test ColorGHears to see if it works for me. I expect I will use it. But others have already been using it and report that it has improved their editing.

    Technically you may be accurate in saying that a preset/plugin to After Effects can be acheived by an experienced user of that program...but that doesn't mean the Color Ghears presets don't help. Many presets and plugins are created and purchased for many different types of software. This is all normal stuff. And at $50, @shian has really priced this as a bargain.

    And he's correct. We have all emailed with various editing questions and he's been kind enough to give us intelligent helpful answers, when rightfully we should just allow him to surf internet porn without being bothered. He's also contributed to many discussions on filming, editing, and new equipment testing.

    Bottom line: @shian seems like a solid guy and his ColorGhears seem like a solid product.

  • @shian

    wait . . . did I miss something? is there a Resolve version available?

  • Soon. Not yet available. But CG Pro will work with both the full and Lite versions.

  • @matt_gh2 here's a little known fact: Magic Bullet started out this same way. The product version, internally, isn't doing anything that can't be done with the built in, basic couple color correction tools in After Effects. This was how it was all prototyped. The operations themselves were then re-coded to tuck all that away behind fewer buttons and dials.

    It started out as a personal set of After Effects presets developed by Stu to "take the curse off" the DV footage he was shooting for his personal films while still at ILM. He was still working on "Last Birthday Card", I think it was, at the time.

    Working this way makes development more practical. It's a shame folks like zilk disregard power, experience and technique unless it's locked away or wrapped up inside a black box so that they can pretend it's magick.

    Me? I'm a proof is in the pudding kind of guy. You've got one more customer in me, Shian.

    edit: @shian as if the GHears weren't an amazing bargain for the price, your "Film School" segment looks like it's shaping up nicely. Several of the concepts I was already familiar with but it's nice to see them re-enforced and/or refreshed and clearly demonstrated.

    One reaction, just as a future thing, might be to explore some counter-references to some of the bread-and-butter lighting techniques like the styles of Savides and Cronenweth (Jr). They really maximize the practicals at locations and use them rather than fight them. Savides in particular often references lighting locations that the actors then inhabit, though this approach seems stronger when he works with Gus Van Sant versus David Fincher. Their work is still pretty different from that of Khondji shooting a Fincher movie.

    Savides is highly influenced by the simple yet striking still photography of William Eggleston (perhaps most evident in his work on Elephant). I'm torn because I love their work but at the same time the slightly slicker, yet still kinda gritty, full-scope style of Dean Cundey from the '70s/80s

    They're totally not everyone's style so, no biggy. A future segment that would possibly have more universal appeal is shooting for a workable contrast ratio in scenes with character movement where the director doesn't want to cut. Like, during the course of movement what would be the standard intervals (if there are any) for readings. Those special "realtime" episodes of medical dramas in particular always tend to impress me.

  • Just so you know, my ultimate goal was to turn ColorGHear into an interfaced based plug-in that would basically put the power of a node based, Davinci-like program into your NLE and/or Compositing program. But that requires programming skill way beyond my knowledge. So, since I can't program something like that to help you... you get CGT and CG Pro instead, along with my knowledge in the form of tutorials.

  • @shian

    But I suggest to write specifications, get some estimates, and may be later use crowdfunding with help of p-v.

  • @shian Thanks for the answer. I'm also more after the tutorials but also interested in speeding up my grading process. Zilk, please share some of your work!

  • Shian has never claimed you couldn't do the same things Colorghear does on your own by combining existing default tools. Colorghear makes it a lot easier. His tutorials are very good and he throws in a film school as well. Colorghear, as well as much of his teaching, is built with the strengthes and weakness of the gh2 in mind. That, alone, makes it unique. I actually like the fact they're presets, everything's in front of you, there's no black box where you can't see what's causing this or that. Colorghear served as a springboard for me to think about grading in a different way than I used to.

  • I think it was right there in the first, free primer video he states it's basically all levels and curves. The catch is, and it's a superb endorsement for his technique, both of these tools have been in, like, v1.0 of After Effects and almost every other tool that allowed color correction for video. This is the first time I've seen color correction this extreme and this vibrant demonstrated so well starting with non-444 sources.

    The better stuff out there, the footage that got me excited about shooting with DSLRs, the look is always somewhat muted and controlled, so that its MP4 origination doesn't call attention to itself. The way Shian was able to make the signage in Andrew's Japan footage pop the way it does, without falling apart, that was worth $50 just to see how that was possible.

    I'm itching to put some files through a full pipeline of Flowmotion (or bigger patch, I need to upgrade my cards first) + Windmotion (444 upsample) + Film Convert + ColorGhear!

    ;)

  • I went back and pulled up some footage that was the first thing I shot once receiving my anamorphic adapter. It was a car show with some really eye popping paint jobs. I'd always been pretty happy with the raw look I got from the GH2 (unhacked) for this kind of thing but always wanted the colors a bit more engaging.

    I think my initial attempts back then ended with mud pushing them around more than a little so I left it alone. Now, after playing around with ColorGHear, the original looks hazy to me.

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  • @shian just one quick question - when talking about exposing in the zone, how would I go about using that principle in broad daylight, lots of blue's, skies, water...long shot stuff

    What should be my primary reference, GH's lightmeter or histogram?

  • Um, well yer kinda in limbo with that. There's no way to fit the full Dynamic range of nature into the GH2's range, but @TheRuggedAdventurer and @johnhizzle would be the ones to consult. They've seemed to have it all figured out in that respect.

  • @shian Question for you: have you experimented with doing certain "GHears" or tweaks with other than the normal blending mode? I've gotten into the habit of doing certain types of effects to a copy of a clip and then compositing this result over the original using COLOR. I wasn't sure, but this seems to work just fine with your ColorGHear methodology.

    Specifically, I see better looking output from the grain killer when its layer uses the COLOR blending mode. A/B between the result both ways and see if you agree. Tiny detail, represented by luminance, stays intact while the noisy color channels get smoothed out. I've also found your grain killer node works quite well with applying a median filter at about 3 (and also using COLOR for blending) for 1080 footage I've found. The two of these ganged up look like they're smoothing out some really bad, highly saturated and medium luminance blues especially.

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