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ColorGHear [PART 2]
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  • 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.

  • I wondered what was up with that. I checked it out a few days ago.

  • 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.

  • @ Shain - Looks great! Is there an ETA on the release of Spectrum?

    Viva La Spectrum Revolution!

  • 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 is now one single product. The price has been dropped and all ColorGHear users have been upgraded to Pro Plus users.

    [you original supporters from the first 6 months, will retain your lifetime memberships as promised]

  • 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

  • @squig... it's got some good texture to it regardless... looking good.

  • shian-what's going on with your avatar pic, dude .. or dudett

  • @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!

  • The problem is that most new filmmakers don't think filmmaking "is" an art, Just a new Magic in-camera setting, Lut Pack or film Convert camera pack. Get this camera, these lenses use these settings "Presto change" you're a filmmaker.

  • @matt_gh2 Reality TV has done irreparable damage to the public's tolerance of "acceptable".

  • 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.

  • It's not just the 420 codec. I've had people bring me projects shot on RED with the same issue, and ran into the same problems trying to get a good image out of it in post.

    And I get filmmakers asking me can you mask this and mask that and maybe bring this way up and push that down so it has a little more character or something... just feels kinda flat and boring? And in my mind I'm thinking, "Ya know, you could have shot it with some character... if you or your DP knew what you were doing." You shouldn't be relying on your colorist to create a look. They should really just be enhancing what was shot and maybe polishing a few rough edges.

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

  • Shian, I think you've made your point very effectively in your cg film school and your comments. But you don't tolerate fools gladly!

    Not lighting properly limits the colorist to fixing problems rather than making creative choices that enhance the film. With the wonderful 420 codecs we're often stuck with, images can only be pushed so far. By the time the glaring issues are fixed, the render is oftet already crumbling.

    Filming digital is way easier than film. Easier to get a mediocre or bad image, that is. Just as difficult as film to get a really good image.

  • Interesting article @shian. Thanks for posting. I find it interesting that people (producers and audience members) have higher tolerance/acceptance of mediocre cinematography in movies. I wonder if people watch so much YouTube video shot off phones, that they're basically really okay with anything visually.

  • all of it

  • You mean this

    that “people want to work faster or show that they can use less light, but they don’t look for the proper light the scenes needs. That isn’t cinematography, that’s recording an image. ... I was never happy in any set to just see available light,”

    Or what exactly?

  • What I've tried to teach in the CG film school, but put into much better words than mine.

    http://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-warns-major-899691

  • I did. I could not achieve the same effect. I was looking for a knee rolloff to white in the highlights.

  • Play around with the hue/saturation panel... it does a lot more than people realize.

  • There is a luma vs saturation curve in resolve. And a desaturate highlights filter in fcp7. Can something similar be done in ae? Not just desaturate but a knee rolloff so all colors end.up as white and black.

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