'film' grading, A1 + Letus Extreme
- Thread starter PaPa
- Start date
Too much red in his face.
I might give it a shot myself, but one thing I recommend is that we should stop trying to correct the blown out areas and focus on skintone renditions; it's just making everything else too dark. The overexposed area can be easily compensated for by stopping down on set, but it's getting rid of unwanted fleshtone that's the problem here.
I might give it a shot myself, but one thing I recommend is that we should stop trying to correct the blown out areas and focus on skintone renditions; it's just making everything else too dark. The overexposed area can be easily compensated for by stopping down on set, but it's getting rid of unwanted fleshtone that's the problem here.
PaPa
Major Contributor
the biggest factor when comparing to the reference photo, is that the skin tone is even across the face, which is also aided by the softness/less detail level. This is always due to makeup and lighting, but in the photo that reem posted, there is green, yellow, a bit of orange, purple and reds.
The ones i posted before which blew the skin out slightly more made it a more even tone across the face, but that resulted in it looking slightly over exposed, which it was. It has to be a compensation between a lower exposure and something of that taste me thinks.
The ones i posted before which blew the skin out slightly more made it a more even tone across the face, but that resulted in it looking slightly over exposed, which it was. It has to be a compensation between a lower exposure and something of that taste me thinks.
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Mattykins
Cute Member
Haha, at this point I don't think we can make this happen.
Fact of the matter is you put in sub-par, you get sub-par.
The lighting in that interview you are trying to mimic was light with multiple lights, diffusion, and everything else you might do on set.
We can only fix it so much.
Fact of the matter is you put in sub-par, you get sub-par.
The lighting in that interview you are trying to mimic was light with multiple lights, diffusion, and everything else you might do on set.
We can only fix it so much.
If you look at your reference and put your cursor over his face, the rgb info shows a lot of gold and brown hues. Your's has a ton of red's and pinks in the skin tones, you'd definitely want a secondary (which I was to lazy to do). I put the hue saturation on top of my string and selectively pulled down the red channel and increased the yellow channel (in the reds) slightly. Then I did some other shi* I can't remember in Colorista reducing the saturation and exposure and a lo con filter. It sounds like I know what i'm doing as I re-read this, but truthfully I don't know a god damned thing. Kholi, send me that ultimate...i'm bored. Damn dude has a red ear...was he embarassed or something...that's one of those "I farted" red ears.
To be honest, your camera plays a part in this as well. I think you need to literally defeat the A1's color rendering with lighting to get the proper skin-tone from the get go. Proper White balancing (perhaps doing it Manually on a Grey Card) and gels will do you good. Just relying on the sun works when the camera generates pleasing flesh tones already, but if you feel you're not getting them then now you've gotta start controlling it before post.
This was a huge deal with the HVX200 and it's now ten times better with the 200A. Flesh tones are much more pleasing without the nasty yellow cast that the 200 produced.
This was a huge deal with the HVX200 and it's now ten times better with the 200A. Flesh tones are much more pleasing without the nasty yellow cast that the 200 produced.
PaPa
Major Contributor
Couldn't agree with you more. I'm not stating either that this camera will eventually look like film, i just want to find the best bet for what it can do. The proof is through the color grading from before and after. the fact is were getting close to what is probably the best for what the shot is worth. Just want to put a little more effort into it to know when enough is enough and it's as good as it will get.
Would love to get a 200A, no cash though. I can't pay off my camera in two months like someone here
Would love to get a 200A, no cash though. I can't pay off my camera in two months like someone here
Jim Montgomery
Well-known member
Lol. Not saying that you should get a 200A. I'm saying that you should run more tests than just post workflow tests as well. Post will help you get there, considering finding out how to get better flesh tones in-camera to begin with may go a long long way.
Combine both and you've got something stellar (which is what most should be doing anyway.). We're not talking about looking like film, but realistic flesh tones, etc.
Combine both and you've got something stellar (which is what most should be doing anyway.). We're not talking about looking like film, but realistic flesh tones, etc.
PaPa
Major Contributor
Well, i'm glad to say that i think i have struck gold IMO.
Difference this time: Lower exposure from initial picture, avoided blowouts ( except for sun directly behind )
with that in the original, the grading was surprisingly much easier to do, and the result was something much closer to what i originally had in mind. I hope you guys think so as well. I would hate to say that this is the end when it comes to approaching the film look, because i would be very wrong lol ( controlled lighting etc... ) But this is pretty dark close in my eyes.
My beautiful mother:
Original:
Graded:
Comments of course welcome. Now if only i could learn this secondary color correction tool...
Difference this time: Lower exposure from initial picture, avoided blowouts ( except for sun directly behind )
with that in the original, the grading was surprisingly much easier to do, and the result was something much closer to what i originally had in mind. I hope you guys think so as well. I would hate to say that this is the end when it comes to approaching the film look, because i would be very wrong lol ( controlled lighting etc... ) But this is pretty dark close in my eyes.
My beautiful mother:
Original:
Graded:
Comments of course welcome. Now if only i could learn this secondary color correction tool...
Honestly I picked a lot of it up on the net and from Stu's book the DV Rebel. Head over to the Prolost.com blog and he has some great tut's/topics and discussions. I use the hue/sat technique in AE to preserve the skintones before I "stylize" an overall look. AE doesn't have a true secondary so stacking the effects properly is a good alternative, or using Synthetic Aperture which I can't stand. I agree with Kholi on the white balance, if your camera is giving you pinky skin tones everytime you shoot regardless of the settings then you probably need to WB it. I have not noticed the yellowish cast from the HVX, but i'll take Kholi at his word on it...he shoots way more than I do. Again my technique is usually for the preservation of skintones after applying a look. Kholi, bro....the ultimate...
PaPa
Major Contributor
i wish i had the skill to go through the menu settings and calibrate. I've tried sitting infront of my HD television with the camera plugged in, pointing at a subject, and toying until i think i have it right, but i never seem to find something that pleases me until i get to post.. Need more experience.
Good ideas from the Cinebuddy. Pick up some books on how to do grading in AE as it's a really great tool for grading in general. once you understand the why you can better understand the how.
I actually like the original of the woman much better than the second, namely because of the detail retained in the hair. Her hair doesn't seem natural for her age in the second one. And, Huy Vu's got it right, the Magenta is still there.
The yellow in the HVX200 is more apparent when you compare the 200 to 200A, but I definitely noticed it from day one with the 200. Even white balancing wasnt' enough. The 200A fixes it completely.
