Best appoach for first time color correction. What program?

PerroneFord said:
Phillip, there is nothing stopping you from transcoding the GH1 stuff into a better codec for grading. I did just that with some 5D stuff I've been working on. You have all kinds of choices for that. I use DnxHD, but you could just as easily go to ProRes, or even DPX. Then you won't be codec limited.
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how do you go from mts to DnxHD in windows?
 
PerroneFord said:
I have to do it in my NLE. I might be able to do it using Super, but I get so few MTS files to work on, I just never bothered trying it that way.
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Thanks

I am using VoltaicHD, and then I can import it in Avid (take long long time, both convert and import) .

But I am going from mts to mov, and them avid convert it to DnxHD.
 
adys said:
Thanks

I am using VoltaicHD, and then I can import it in Avid (take long long time, both convert and import) .

But I am going from mts to mov, and them avid convert it to DnxHD.
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I've never used Voltaic. Don't even know if it's available on a PC. But yea, you WANT that fast import on the AVID. Anything else just takes too long. I LOVE the XDCam workflow on it though. I never had it so good.
 
Its running on my win7.

Neoscene do not work for Avid, so that was my only choice.

I am trying to get use to Vegas, but its like driving a Mazda after Bugatti Veyron...
 
PerroneFord said:
LOL!!

So why are you on Vegas?
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No need in pull down removal, just bring your MTS files and start edit.
Finish your edit, "render as" and thats it.

I am using Avid for my important stuff, but today for example, I have 72 minutes of a friend birthday party, and she wants it in youtube.

Only thinking about importing to avid makes me want to delete the footage :)

So I am trying to drive the Mazda for a while...
 
PerroneFord said:
I wouldn't recommend that. The color space conversion doesn't work if you have to go out to TV (DVD, BluRay, Broadcast), so all your corrections will be off. And when you go out to h264 or wmv or whatever for web distribution, the color space is different yet again.
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if you shoot srbg your color space stays the same.
 
Nitsuj said:
Okay but as a student you should push for what is more challenging instead of what is easier. After all if you are a student then you are trying to learn. My suggestion was to learn the proper way as a student. Important tools for grading are the waveform and vectorscope. I don't believe Magic Bullet Colorista has anything like this from last I checked. Just my point was to not be intimidated by an interface but to jump in. Once you are familiar with your way around I know you won't want to go back. I think it is important to know your scopes. Just my two cents.
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You know what? You've made a valid point. In an educational environment, it makes sense to learn the proper way to do things, as opposed to what's easiest. Apple Color is much more close to how high-end color grading is done. And it makes sense to get people started on the right foot. You've convinced me.
In defense of Magic Bullet, however, I feel their name gives them a bad rep (the term "Magic Bullet" implies a solution that requires no effort or creativity on the part of the user). I also think there's a confusion over the two programs "Looks" and "Colorista". Colorista is a simple but powerful tool that looks a lot like FCP's 3-Way Color Corrector. It doesn't have built-in vectorscope or waveform because it uses FCP's scopes. "Looks" on the other hand is a very complex program that has a GUI that makes sense to Directors of Photography (like me). The effects are grouped by where they're placed on the camera...matte box, lens, post-production, etc. The lift, gamma, gain can also be controlled in f-stop increments. So it's a very intuitive but very powerful tool for cinematographers.

However, you've convinced me that if a film student has access to Apple Color and they're interested in learning color correction, that is probably the best route. Especially in practical terms of getting a job after graduation.
 
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