Grade School: How to Work w/ Film LUTs with Jill Bogdanowicz скачать в хорошем качестве

Grade School: How to Work w/ Film LUTs with Jill Bogdanowicz

Company 3 Colorist Jill Bogdanowicz is joining me live this week for Grade School! Jill is the colorist behind Joker, Grand Budapest Hotel, & John Wick to name a very small few of the notable work she’s done in her career thus far. This week, we’ll be talking to Jill about the decision-making that’s made underneath the LUTs of projects like Joker. While there’s a lot of attention to the show’s LUT, what’s less talked about is the important decisions made underneath that look that lead to better or worse outcomes — an important discussion. An amazing LUT is a treasure to have, but what you do underneath it is what really makes the difference. 0:00 Introduction 5:08 how do you approach creative grading, those shot by shot decisions – what do you think about, what do you prioritize once you have that (strong film LUT) look in place? 12:55 Shaping light underneath a strong film LUT, and benefits of getting involved early in production 17:35 Was Joker lit by meter or monitor on set? 18:35 When working on a project, how much of the look is done by you (Jill), and how important is your color science team in production? 22:18 With a lot of your other work, you aren’t doing a strict emulation, but there is a filmic palette at play. How do you do that, or how do you go about thinking about making that? 27:14 Do you ever feel restricted by grading under a LUT or film emulation? 29:14 How can you go about retaining details in the shadows without losing contrast in the bottom end or the entire image? 33:04 What tools do you use to add texture without making the image feel over-processed? What process do you like using when considering texture? 36:35 How important is it to know any tool you’re using on a granular level? 39:44 How much should younger colorists care about film emulation in the future? What is your take on how color grading preferences will evolve moving forward? 43:34 The expanding definition of “filmic” 44:25 Breaking away from a filmic palette 48:04 Do you create LUTs for an HDR workflow? 49:20 Do you grade a project under a single LUT, or do you have different ones based on a scene? 51:11 What training should we go for if we want to work at a company like Company3? 52:50 Are shows getting too dark, or do most people have bad TVs? 56:05 What’s your best hands-on advice for beginning to work under a film LUT? ------ Get my free Kodak 2383 film print LUT for DWG and ACES here: http://procolor.ist/freelut Join my Show LUT course starting this Monday! https://www.colour.training/showlut-d... Want a selection of professionally made, studio-quality looks? Check out my Voyager LUT Pack for DaVinci Wide Gamut! https://procolor.ist/voyager-lut-pack Grab my Color Grading & Look Design Starter Pack: http://procolor.ist/starter-kit