F55: Catalyst Browse grading high-key shoot

Agreed. Life is too short to work with a**holes... so while I know we all want to deliver great images for reasonable prices....sometimes it's best to find out these things about the client long before the camera rolls... a difficult proposition, I know, but worthy of our time
 
Ben Scott said:
I have a job that I was originally very excited about which is currently being utterly decimated in the edit by the client gradually turning the video into everything we all categorically agreed it wouldn't be, with the additional punch in the nuts being that we didn't shoot anything to make it the thing we didn't want it to be so we're having to use all the worst cuts of everything to try and shoehorn this terrible revision into place and now it is neither one thing nor the other and I hate it and the client is going 'it isn't working for me' and I am finding it hard to say 'that's because with each successive revision you have ripped the soul from it and only gone for the shots with your friends in them, no matter how bad they are'.
Click to expand...

Wow, that's a loaded sentence. Challenged every bit of my comprehension even after two passes.
Aside from that, I feel your pain.
 
starcentral said:
What do you guys think? Any Sony look here? :happy:


23367604949_0ae3198889_z.jpg
Click to expand...
I would slap my grandmother..
 
starcentral said:
More fun: I've had to re-color correct a color corrected final video (which i sat in on in the grade but things changed after I left) just so I could use it personally on a private vimeo link to show future potential clients.
Click to expand...

I'm going through this particular pain right now. Completely reconstructing a 15 minute edit with the original SR444 files in Resolve (with nothing but 50% opacity and moving clips frame by frame to match them up), because the only master the producers exported from their edit suite was a 50mbps XDCAM disc, and they mangled the grade... :undecided

So now I'm having to painstakingly reconstruct the damned thing frame by frame, and it's doing my head in - but I'd say it's probably the best stuff I've shot, so I keep telling myself it's worth the effort to be able to have a private vimeo link that I can forward to other Producers to try and land myself more work.

All because people are too precious and stubborn to take the 15 seconds required to export an .aaf or .edl for safety.
 
Ah haha the good old 50% opacity method. Been there done that (painfully).

You're right about some people being precious, for me grading what I've shot isn't about taking away someone's decision on style or look, most of the time I just want to cc it properly to restore blacks, highlights, WB, etc.. this is more important to me than "fancy grading".
 
I'm fighting the good old Sony Look[SUP]TM[/SUP] with this one, those lovely nuclear greens that like to dominate every other colour in the frame, and were vocally hated by the Director (but yet, for some reason he refused to let me sit in on the grade and fix them for him).
 
starcentral said:
^ Love that! ah hahaha going to add that to my first post.


Green due to fluorescent lights perhaps? Were you in custom mode?
Click to expand...

No, greens from the grass, foliage and chroma-green walls of the location - they're just super intense. I don't know why, I pre-graded the whole thing, and when they finally came out and told me they didn't want me in the grading sessions, I sent through the LUTs I'd used for each scene, along with detailed notes and sample grabs - wasted a day and half just putting my notes and the screengrabs and LUTs together for them (it would appear they ignored all of it).

I'm pretty sure they ended up just grading by hand from the SLOG2/SGAMUT (in custom mode). Boosting the saturation right up and then adding in contrast... the end result ain't pretty. :/
 
I think to make sgamut (old) to work you need aces or LUT. By hand that color space never worked for me, and before I could master it I just switched to sgamut3.cine and decided to forget old sgamut all together.

I really wish we could dial temp in CineEI mode... it would make it perfect camera for me with nothing really left to ask for.
 
starcentral said:
I think to make sgamut (old) to work you need aces or LUT. By hand that color space never worked for me, and before I could master it I just switched to sgamut3.cine and decided to forget old sgamut all together.

I really wish we could dial temp in CineEI mode... it would make it perfect camera for me with nothing really left to ask for.
Click to expand...

It would be handy. I don't often need more than the three presets to get by, but I still don't understand why we can't have it like every other camera out there. It's certainly an added plus to the R5 - just set the camera to the closest preset and fine-tune it in the grade.
 
starcentral said:
I think to make sgamut (old) to work you need aces or LUT. By hand that color space never worked for me, and before I could master it I just switched to sgamut3.cine and decided to forget old sgamut all together.
Click to expand...
My best work has been with Slog3 and it is by far the easier to expose correctly, but it is indisputable to me that Slog2 can be pushed or pulled harder, has more range, better highlights whether the numbers support that conclusion or not. I use ACES almost exclusively for both.
 
I agree. Given the time and control to grade the images properly, SLOG2 is clearly superior in my opinion, but Sgamut is simply too awkward to work with. The sooner Sony eliminate SLOG2 and Sgamut from all their cameras, and replace them with SLOG3/Sgamut3.cine exclusively - the sooner, everyone will be getting reliably great results with their cameras.

I'm sure it seems like a lot of work to simply abandon, but the simplicity will benefit everyone - both in production and in post.
 
You must log in or register to reply here.
Back
Top