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How might I go about getting this look in Resolve or and FCPX
  • gregjoycegregjoyce

    I'm wanting to get a similar look for a quirky documentary look i'm working on. I've got half way by just playing around with Film Convert but I cant get the distinctive color separation for this look between the yellow and other colors, ie it just all looks yellow.

    Any practical Da Vinci Resolve advice (im a severe beginner) on how I can get this look or if I could in just my NLE?

  • 6 Replies sorted by
  • mrbillmrbill

    Not familiar with fcp or da Vinci, but the principle remains the same - you want cc software that will allow you to grade shadows, mid- tones and highlights separately. Thus, you would be able to tint highlights only a yellow tone, without affecting the mids and shadows.

    Hth

  • gregjoycegregjoyce

    With all due respect I think there is more to it than that. There are shots where the reds are vivid and pushed at the same time the sky's blue is pushed. I'm thinking I need a LUT or some more sopfisticated grading that isolate certain colors. How? I'm clueless..

  • mrbillmrbill

    Of course there's more to it than that. Why don't you start playing around with the software and seeing what you come up with? Read the manual for starters. Or try google - I did a google search on increasing blue sky saturation in resolve and got several answers to your question - including a page in the manual that deals with that exact question. And btw, a Lut isn't a set of grading tools, it's merely a set of colour corrections that returns your raw footage from log colour space to looking 'normal'.

  • inqb8trinqb8tr

    @gregjoyce

    When you want to isolate certain things, you use key or power masks. Key out an area based on it's color value, saturation or luma, or combined. Then treat that keyed out parts however you like/or your initial footage allows before it breaks apart. Those things are not too complicated to learn basics, but very tough to master and do well, but nothing stops you from trying!

  • gregjoycegregjoyce

    Ok so I know how to do basic color masks in FCPX but what do I need to do? Thats what I'm still not sure about regardless of the technical side. I'm thinking the grade is a boost of yellows, greens and possibly brown??? Whites into yellows??

    I would appreciate a different pair of eyes and opinions of an experienced colorist...

  • BurnetRhoadesBurnetRhoades

    This was shot Super-16mm on Kodak 200ASA tungsten stock. From the June 2012 ACM:

    How much of the movie’s color palette was created in the DI? There’s a distinctive yellow hue that really enhances the period feel.

    Yeoman: Wes is very specific about every color we photograph. Every hue in the wardrobe, sets, props, etc. is very carefully chosen. In the DI, he tends to take the look a bit warmer than what we shot, and he generally likes to push the color saturation. We didn’t use any filtration on this shoot, not even an 85 filter,but we definitely pushed the look with our colorist, Tim Stipan at Technicolor New York, who did an amaz- ing job.

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