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Colorgrading Round-Up

COW Library : Apple FCPX or Not: The Debate : Dennis Kutchera : Colorgrading Round-Up
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CreativeCOW presents Colorgrading Round-Up -- Apple FCPX or Not: The Debate Feature


Halifax Nova Scotia Canada

©2012 CreativeCOW.net. All rights reserved.


Dennis Kutchera went to Vegas with a goal - to be tantalized by the new colour-grading options - in essence, to cheat on his beloved Avid. What happens in Vegas, this time, comes back with some great stories.



Hello, my name is Dennis. I'm an Avidaholic. I've been running with Media Composer since 1993.


Avid Symphony 6
Today I use Avid Symphony. I love Symphony. I love the way it introduced advanced color correction to the non-linear editing. It opened the doors to those who could not afford the big DaVinci rooms of yesteryear. But your time has come Avid Symphony. You are showing your age. There are a lot of newer, younger, faster, and fresher vixens of color grading that are causing my eye to wander. So I set off to the NAB Show 2012 in Sin City with full intent to cheat on you, my dear Avid.

I arrived in Las Vegas for NAB with a full schedule, overflowing with one prime directive--to find the best solutions for the color grading and finishing work for Egg Studios, a full service commercial production house in Halifax Canada, which I joined in January as Chief Technology Officer. My COW published prediction that color grading was going to be a major highlight at NAB 2012 was proven from the moment I landed in Las Vegas, starting with the announcement party for the Autodesk's New Smoke for Mac. While not strictly a color grading solution, Smoke does have probably the most advanced color correction of any non-linear editor available today and offers a lot of value with a very complete finishing toolset that, while supporting plug-ins, doesn't lack much for finishing, with what is already built into the software.

Once Autodesk wowed us with Smoke, we moved on to the RED Users party for the rest of the evening. But that wasn't about post and color grading, so what happened in Vegas Sunday night, will stay in Vegas.

On Monday, I spent the entire day at Post World taking a series of color grading classes taught by color gurus Patrick Inhofer, Alexis Van Hurkman and Robbie Carman. I arrived 45 minutes early because I wanted a good seat. By the time the first class started, there were many more attendees than available seats. Clearly the interest in color grading was very high. Many endured the day standing or sitting on the floor. Google these guys, they know their stuff and they have found a niche in training and sharing their knowledge. Alexis has a book out that is the definitive text on color grading entitled "The Color Correction Handbook."


A Little History Lesson
When non-linear editing entered the post world in the early to mid-nineties with Media 100 and the Avid Media Composer 1000, both were capable of online finishing with dubious quality and standards. We took a step backwards when it came to quality control. Picture color adjustments were initially non-existent and later minimal. You basically had to get the picture levels where you wanted them on ingest. Waveform monitors and vectorscopes nowhere to be found in the application software. It seems like a generation started editing without knowing video tech fundamentals. Even today, many non-linear edit rooms lack external scopes and have either a really poor excuse for a broadcast video monitor or none at all. The lack of a broadcast display is in evidence almost every time I watch TV news, where some international story will roll with severe field issues that just don't show up if you are only editing on a progressive computer display.

With the lack of quality control available in early non-linear editors, many TV networks insisted that deliverables be posted tape to tape and not non-linear. But the tide began to reverse when Avid introduced the Symphony in 1998 with a revolutionary, very detailed color correction module. If you needed to go beyond what Symphony was capable of doing, you had to book time in a very expensive DaVinci room and work from tape to tape.

File based workflows for color grading with round-tripping from your editing app to the color grading software and back started to become more common when Apple bought Final Touch and rebranded it as Color, bundling it into Final Cut Studio. The round trip was a bumpy ride and required some manual labor, but this introduced affordable advanced color grading to the masses. I first witnessed a similar workflow for Avid at IBC in 2008 with a demo of FilmLight's Baselight. I loved everything about Baselight except the price. It was in the Big Iron league. My market couldn't support Big Iron at that time. Post shops that tried to set up Big Iron facilities in years past have since shuttered their doors.


Game Changer
In September 2009, the revolutionary Blackmagic Design changed everything when they acquired the assets of DaVinci Systems, a Big Iron pioneer in advanced color grading. BMD subsequently release a software version called Resolve on Mac and PC for $1000. A free, light version of Resolve was also made available with some restricted functionality. It was limited to a single node of correction, which essentially made this a demo version because this is where the real power of Resolve lays. Then BMD released a new light version of DaVinci Resolve that has unlimited nodes, but is missing some GPU magic and a few other features that many users will never miss if they never had it. With the unlimited nodes, now you can do some very serious color correction. Resolve 8 is now to color correction what Final Pro 1 was to editing -- the great democratizer. For free or very little cash, you can wade into the sea of color correction and learn to swim.


NAB 2012 -- Color Grading Round Up
So what did I walk away with from NAB about color grading? A decision? Not yet. Confusion? A little. Information? Lots!

The choices were many, but I did not look at everything available. I tried to narrow my options to products that are affordable, well known, widely used and well supported by both the manufacturer and a user community. I am a strong believer in the user community because peer-to peer sharing of tips and techniques is far more valuable than well-tuned vendor tutorials. I veered off this path a little, but I pretty much walked by most Big Iron booths because I think the days of 'sky's the limit' priced post gear may be numbered. Yes, they are great products, but I think there is better value to be had. I also like a product where I can call on peers in a user group or even hire someone freelance when needed. That's been the strength of Final Cut Pro, Avid and Adobe products through Creative COW and other online user communities. Peer exchange is important to me.



FilmLight Baselight
Dream System
So let me get this out of the way -- if money were no object, I would go for the FilmLight's Baselight with the amazing Blackboard 2 control surface. Every key is a miniature LED video screen and the whole thing is made of wood. The grading tools are fast and powerful at your fingertips. The Blackboard 2 even has a pen tablet built into it. Powerful indeed, but of all the systems I looked at, it was the priciest at $85k, yet had the weakest tracker. All Baselight has is a simple point tracker. If someone turns their head, welcome to Roto World. This proves the point that not every system is for everyone. You have to find the right fit in which you can work with creative comfort and speed and the system that is right for your workflow. Baselight works incredibly well with Avid. The round trip is pretty painless. However, Other products are now using the same technique as Baselight, including Assimilate Scratch and DaVinci Resolve. Essentially you import the Avid media or link back to source files such as R3D, grade the shots and export MXF media that you then place in your Avid MediaFiles folder and relink your Avid sequence to the graded shots.


Advanced Plug-in Color Grading
If you don't have $85k and you want to use Baselight, you still may be in luck. Before NAB they released a Final Cut Pro edition as a plug-in for Final Cut Pro 7 with all the software tools, but its not going to be as fast without the Blackboard control surface and GPU acceleration. An Avid AVX version was being shown at NAB as well. At $995, it offers really good value and more advanced grading than you would get if you upgraded your Media Composer to Symphony for the same money. However, depending on the kind of work you do, Symphony might be a better fit for you. I want to take a closer look at Baselight. But I suspect that as good as the tools may be, it may be a slow and fragmented workflow by the fact that it is a plug-in, so you are going to have to continually drop in and out of the Baselight interface and back to Avid as you move from grading one clip to the next in your sequence.

Ideally, you want to be quickly and seamlessly moving from shot to shot and comparing A against B within the same interface. Just snapping back and forth from a grey FCP or Avid GUI to the black Baselight GUI could throw your visual perception of color out of whack. I hope to play with the Final Cut Pro version and see how useable it is in practice. It should be indicative of what the Avid release will be like later this year.

If you are using Final Cut Pro, Premiere or perhaps Vegas, there have been plug-ins you can use for color grading like Colorista and Color Finesse available for some time, but quality of experience is not going to match working in a serious color grading tool like DaVinci Resolve. I did not take the time to seek out plug-in color correction beyond Baselight because I feel their time has past and there are better tools.


All In One and One For All

I am a big fan of software suites if they work well together and Adobe has a fabulous package in Production Premium CS6, which now includes advanced color correction in the newly added Iridas SpeedGrade. One of the cool things about Speed Grade is that it comes with a set of preset color grades not unlike Red Giant Magic Looks, and you can buy more presets from third party developers. It's likely then, that users will be able create and share looks as well. SpeedGrade makes the Adobe Production Premium bundle an amazing value. If you can get used to editing with Premiere (easy), which most of us have and never use, this is one tightly integrated suite of apps. I was hoping that Adobe would have a workflow for Avid that would make round tripping through SpeedGrade to be a cakewalk. But no dice -- Adobe can't even read mxf media, never mind import an Avid AAF. I was sure they would have something cooking here since Wes Plate of Automatic Duck, the great round tripping helper plug-in joined Adobe last year.

So SpeedGrade, no matter how good you may be, we are not likely going to play together unless I can convince our editors that we should abandon Avid for Premiere. What Avid lacks in effects, it makes up in the tools for cutting story and has no problem with massive amounts of data. It is fast and responsive to editing and takes care of things like autosaving versions when your mind is deep in the story and ignoring the computer. No such thing as working all day, forgetting to hit command S and then a crash at 4 pm takes you down. Avid solved this more than 20 years ago: it saves every autosave in an attic folder. If you accidentally delete your sequence and hit save, you've lost nothing. Could I convince our editors to switch? It could be a battle. So Adobe Premiere editing is probably not for us in spite of After Effects, Illustrator and Photoshop being huge components of our Graphics and Animation department.


The New Smoke for Mac

A big showstopper in post at NAB had to be the new Smoke for Mac 2013. Smoke is an editor, a compositor and a color grading tool, making for a very compelling one stop shop for post-production. The old Smoke for Mac was 4.5 times pricier and looked like it was written in DOS Basic. It was missing just enough of the Smoke premium features to peeve you off and it was a dog as far as just being an editor goes. But this changes with the new Smoke for Mac 2013. It is immediately familiar and intuitive as an editor, compositor and color grader. I found the Color Warper module to be fast and intuitive. However, it did appear to require rendering with not a lot of effects placed on a clip. It's not unlike an Avid, but I was expecting more. To be fair though, Smoke for Mac 2013 is still in Alpha, so I can't pass judgment just yet. Interestingly, many colorists I spoke with at NAB turned up their noses at Smoke's Color Warper, stating that it was not as good as a dedicated color grading package. We can all find out in June when Autodesk releases a public beta for all to try. Gold release is anticipated for September, in time for IBC.

Did I mention the price? How about $3,500! The only thing that I can think of that is feature competitive is Avid DS, but it rings in at $10,000. From a bystander point of view, I think Smoke is far more powerful and it runs on Mac. DS is Windows only. There was a real big downside to Smoke for Mac for me though. I am not really sure if it even autosaves, but there appears to be no equivalent of the Avid Attic Folder or Final Cut Pro Autosave Vault. When you hit save, it overwrites your last save. This is according to one of the demo Artists at the Autodesk booth. If this information is right, Autodesk needs to put some R&D into an autosave vault feature. I'd hate to be working late one night, hit a wrong key, accidently deleting something and then hit save. This has happened to me once with other software and a client who insisted we push on in spite of us both being tired. I had to spend a day reconstructing days of work from memory at my expense. Unfortunately, a lot of software still works this way with the save overwriting the previous save.

I know for certain that two of the graders I looked at have an autosave feature. Assimilate Scratch 6 and DaVinci Resolve 8 do incremental backups as you work, but once you hit save, it overwrites the previous save. Actually, Scratch will save the last 4 versions. So you might want to learn a habit of using 'save as' instead of 'save'.


Another view: Autodesk Smoke 2013 Connect FX Interface
Autodesk Smoke 2013 Connect FX Interface. Click image to zoom.


Avid DS
So let's talk Avid DS next. It is a venerable all-in-one finishing tool, but the color grading tools are pretty much the same as Symphony (which are right up to date for 1998) with a few enhancements. Come on Avid, you've got some catching up to do! DS does have better keying and paint ability, so there are more possibilities for color grading and people actually do great color grading with DS. But according to my observation, the techniques required to achieve what is very simple in a DaVinci Resolve, appear to occur through a series of workarounds in DS. A technology demo of the next version of DS was being shown, but it was more evolution than revolution, with support for the Avid Artist Color control surface and the addition of blending modes on the timeline being some of what I recall. But the dang thing does not support AMA and is still dependent on Media Composer to properly process codecs so that video clips can be used in DS. I'm not too interested in workaround to achieve what should be a simple process.


Avid Symphony

If you're a Media Composer user, you might consider a step up to Avid Symphony with the current $999 crossgrade special Avid is offering. The tools will be familiar, but expanded with for example, HSL controls with not only master settings, but the same adjustments also available in low, mid and high ranges. You can blend RGB, adjust RGB and do secondary corrections. The secondary was once a huge selling feature of Symphony, but by today's standards, it is weak. If you have to use Animatte effects for garbage mattes, you are going to drive yourself crazy, if you are used to something like DaVinci Resolve. All the color adjustments tend to be just as course and imprecise as they are in Media Composer.

This is somewhat improved if you use an Avid Artist Color control surface. But it's still choppy compared to using the same panel with dedicated grading software like DaVinci Resolve, but far more precise and a lot faster than using a mouse. The real strength in the Symphony color correction tool is the relational color grading where you can decide, based on tape name, file name, etc., to globally correct all the clips in a sequence that share a specified source attribute. So a repeated shot of say a host of a talk show does not need a color correction manually applied every time it appears. You can choose to grade according to clip name, tape name, etc. and once you grade one shot, any instance in your sequence and all the other instances of say tape 1A will be automatically corrected.

Instead of a color correction effect icon on the clip in the sequence, you will see a dotted colored line on the bottom or top of the clip, depending on the mode you selected to use. Once you balance all your shots, you can then apply a correction to an entire track at once. The relational grades can be merged from one sequence to another base on parameters like prefer source sequence or apply newest grade. This is powerful stuff when you understand it and know how to use it effectively. It is a big time saver for reality shows that contain a lot of repetition from act to act and episode to episode.

Relational color grading is possible in the dedicated grading systems, but takes a bit of work to achieve. In Scratch and Baselight, it requires you to sort a text database by whatever relationship you want to group clips by, such as tape name or scene/take, highlight them and copy the grade. I seem to recall it was Resolve that had a similar ability to Symphony for relational color grading, if not as sophisticated, it was certainly more visual than scrolling through a database of text to link shots. I need to verify this information, so don't take it as gospel for now.


Now the good stuff - here are the two dedicated color graders that got my attention:


Assimilate Scratch
Assimilate Scratch 6 is an incredibly unique product that is hard to categorize because it does so much, so differently and all in real time. I thought it was competitive with DaVinci Resolve, and it is; but it does more than grading. As DI data management system on set, it is the best tool available for handling production dailies. It is also a very powerful real time color grader and it also has aspirations of being a conform and finishing tool with features like vector paint and keyers. It also supports OFX plug-ins such as Genarts Sapphire. So this bad boy is also taking on the likes of Smoke and Avid DS in many ways, but it still lacks some of features of those systems that Assimilate is adding in, bit by bit. As a color grader, it still lacks noise reduction and grain management unless you add third party plug-ins. From talking with users, it also lacks an easy way to save color grades and effects in a favourites bin. I believe this is addressed in the upcoming release.

As a super DI data management system, Scratch will read files from virtually any camera (They already support Red 48fps), apply a color grade and generate dailies automatically in multiple formats. It can generate time code for cameras that don't have it. I'm not a DIT, but I don't think there is anything Scratch can't handle for digital dailies. It was also the first to fully support Red cameras. In fact, I believe Assimilate was on the development team for the original Red Cine software. Assimilate also sells a lite version called Scratch Lab that will handle this end of your workflow and one light color grades.

Assimilate Scratch is built on customer support. Their goal is to keep you up and running 7/24 to quickly turn around your work at the highest quality. They will assist you with training, set-up, tutorials, etc.; pretty much whatever it takes to make you productive and keep your post schedule on track. The first year of support is part of the package when you buy Scratch. There is a strong user community as well, but they tend to stay out of the public eye with a private Yahoo group. It would probably help Assimilate sell more Scratch if they made themselves more visible. I for one make a lot of decisions based on what I read in user groups. There is a Scratch Forum here on the COW.



ASSIMILATE SCRATCH Dailies. Versioning. Conform. Finish. Same power and price for Mac and Windows: $17,995. Image from Leandro Marini's Heroes of RAW Workflow article at the COW.


Scratch has very seamless integration with Avid and FCP 7 editing systems with full AAF and XML support and it is Avid Interplay and Isis aware. You can do a round trip workflow from Avid via AAF, link to raw camera files to grade in real time and continue on to a complete finish and output to multiple formats or round trip back to Avid.

I found the Scratch interface to be intimidating because it is so different. I asked a few colorists at NAB how they found it and they concurred that it was hard to wrap their headspace around it at first, but powerful once you got the concept. I had a scheduled demo at NAB that left me more confused than satisfied, but I later ran into Michael Forrest at the Manhattan Edit Workshop booth and he sat down with me in front of Scratch and explained it very clearly. I'm glad I made the effort because I knew in my heart of hearts, there was a lot of power here, but I just couldn't grasp a foreign (to me) language. Michael clearly showed me how the Assimilate Construct is kind of like an Avid bin where you can storyboard shots or stack the same shot with alternative grades and effects attached. Scaffolds are kind of like nesting effects in Avid or Power Windows in DaVinci Resolve.

If you have the bandwidth on your drives and two Red Rocket cards in your computer, Red 4k in real time with multiple effects applied is achievable. Scratch is very real time with all grading and effects handled by the GPU on the GUI graphics card specified by Assimilate. No second and third GPU card required. It uses less CPU than other systems, so you can in fact be transcoding your dailies in the background, handled by the CPU while you work on grading, handled by the GPU. Very nice! With out depending on multiple GPUs and subsequent CPU cycles, there is no latency in this system. Combine Scratch with a control surface and a Wacom pad and you have a powerhouse that will run circles around many Big Iron color grading systems. Scratch definitely has my attention.


DaVinci Resolve

When Blackmagic Design bought the near bankrupt Big Iron color correction hardware company DaVinci, and released DaVinci Resolve for Windows and Mac for under a thousand bucks, it was one of those pivotal moments in post-production, like when Apple released Final Cut Pro 1.0. Resolve gives anyone and everyone the opportunity to put their hand to the wheel of advanced color correction. You can download a light version that is as full featured than many Big Iron systems. There are two paid versions at $995 for software only and $29,995 for a full up Resolve with a beautiful and powerful control surface.

DaVinci Resolve
DaVinci Resolve

The nice part of DaVinci Resolve is that it can grow with you and you can graduate to the next level as needs and budgets increase. If you can't afford the $30k control surface, there are third party panels ranging from $1495 for the Avid Artist Color to $3500 for the gorgeous new Tangent Element. Because Resolve is so accessible to the masses, there is a grassroots network that shares tips and techniques here at Creative COW as well as on YouTube and other net communities. There are loads of free and paid tutorials as well as full-blown training classes available both online and in classroom settings. Because of this, Resolve is unequivocally the best place to start if you want to learn the art of color grading. This is no entry-level software, even in the light version, so once you begin; you may well stay with Resolve. It is very powerful.

When I see the Resolve interface in action, it just makes sense. That's version 8. At NAB, Blackmagic Design announced the June release of DaVinci Resolve 9 and the GIU has been refined further.

I love the familiar looking timeline in Resolve and the node based processing it uses. Each node can contain color correction and other effects. It is easy to organize your picture processing. The node tree is similar to what you will see in many compositing applications or what you might see when building a DVD in Apple's now defunct DVD Studio Pro. It is much cleaner than the way I am used to working in Symphony where I can stack effects in a timeline nest. Resolve's visually rich node based processing makes it so easy to apply and complex grades and effects. You can get interesting looks by changing the order in which the nodes are applied by dragging them into a different order.

Resolve is well known for its powerful primary color controls and precise secondaries. The tracker in Resolve is one of the best I have seen. Tracking an object with a mask and a grade inside that mask is fast and intuitive. This includes tracking a 3D object, something an $85k FilmLight Baselight cannot do. When I say this, I am not comparing some little desktop app to Big Iron. While Resolve is value priced, keep in mind that it used to be priced in the FilmLight and Autodesk range before Blackmagic Design bought DaVinci a couple of years ago. Resolve is a very mature product. DaVinci has been making high-end color correction systems that would cost your Dad's lottery winnings since 1984, pretty much inventing the category.

At NAB 2012, Blackmagic Design announced DaVinci Resolve 9. Version 9 appears to address some of the workflow issues that were present in version 8. Avid round tripping was a little fussy. Mixed media types did not always work. According to version 9 promotional materials, Resolve 9 will support a wider range of native camera and file formats and can be used for on set dailies processing. I am keen to see if this feature is as mature as it is in Assimilate Scratch, which is an amazing tool for on set DI processing.

Resolve will import Avid AAF and Final Cut XML. I would think that it would also support XML from Adobe Premiere by default. A cool bonus for Final Cut Pro X users is that your FCPX color grades translate into DaVinci, so you can start in your editor and refine and finesse further in Resolve!

Another cool feature is remote grading. Two identical Resolve systems can communicate with each other over the internet, so what I do in Halifax, can be seen by a producer in Helsinki. How cool is that! Imagine hiring a big gun colourist for a session without having to fly him in!

DaVinci has won an Emmy® for the quality of it's image processing. Everything processed at 32 bit and their correction algorithms do not feel like typical video processing.

When you push a grade, whites for example are treated with care and do not take on that blown out clipped look. You can achieve looks that are simply not possible in a non-linear editor, no matter how many plug-ins you have. The Hue Curves is a really cool tool that lands somewhere between primary and secondary and allows you to make isolated hue changes within a shot. The RGB mixer is like the channel mixer in Photoshop where you can mix proportions of red, green and blue in any of the colours. So if your red channel is clipped, you can recover some detail from maybe the green channel and mix it into the red. This is just scratching the surface of the capability. You could also use this tool for some interesting black and white looks that go way beyond mere de-saturation.

Resizing in Resolve is sub pixel processed and always real time for the highest quality reframing of a shot. Real time noise reduction is achieved by the GPU without the need for third party plug-ins. It is a simple slider control, a quality slider and a blending slider. It can be applied pre or post grade in real time. This is huge, and a feature that is sorely missing in Assimilate Scratch. However Scratch does support the best noise reduction plug-in I have ever used, Neat Video. I have saved completely unusable footage with this plug-in in Final Cut Pro.


Conclusion
Not surprisingly, I found that pretty much every grading system I checked out was amazing at some things and mediocre at others, even the Big Iron. Selecting a color grading system is going to be a tough decision. I like DaVinci Resolve a lot. It was designed for the way I think, regardless of price. Resolve's price is incredible, but that is not my biggest determining factor because the cost of ownership is more than just the initial price tag. If you can work faster at a higher room rate and give your client better results sooner with a lower bill at the end, then paying the big bucks makes sense, maybe even all the way up to the Big Iron systems. Paid support also tends to be better than free support when you have a deadline and find yourself in need of help.

Next to Resolve, I am smitten by Assimilate Scratch. The interface was not immediately in my head space, but worth learning. People who own Scratch find that it become the hub through which they process all their work because of its powerful camera support and dailies processing in addition to advanced grading and conforming capabilities. You could do your finish in Scratch and output from there. For me, I think with either Scratch or Resolve, I would tend to round trip back to Avid Symphony for the final mastering.



The Joy of Color
Color grading can be a lot of fun or a lot of frustration. I know people who do a great job color grading in After Effects with Color Finesse, but the process is not at all real time and it is cumbersome to compare shots and apply grades across a series of shots. The same goes for using plug-ins within your non-linear editing application. If you have the time and are working alone, this might work for you. For those of us on a deadline, real time performance and speed are a must. For many jobs, the relational color correction in Avid Symphony is the way to go. Because you only have to apply a grade once to a clip or shot used throughout a program and even from one episode to another, it is so fast. Now if only Avid would update the color correction in Symphony to give us 21st century tools.

The best way to put the joy and speed into your grading sessions is to install a color grading control surface with trackballs, wheels and lots of knobs. This is an absolute must for color grading, even in Avid Symphony. The speed and accuracy gains are phenomenally exponential. And there are a number of great choices out there if you can't afford the big $30K DaVinci control surface. They range from $1500 to $3500. The Tangent Element has the most control and customization, but the real bang for the buck is the Avid Artist Color. It works with pretty much all the software color graders and it also works with Avid Media Composer, Symphony and DS (soon) for both color work and editing.

WARNING:
It is a far bigger challenge to fake your way through complex color grading than it is to pose as an editor. This is not just art, it is also science, so you need a deep understanding of video processing and calibration. You also need a very high-end monitor and external scopes in a room that is color neutral. And of course you need the magic eyes for color grading. Neither creating a beautiful look that exceeds legal colours nor merely balancing and matching shots that are technically legal but lack any character are desirable results. A good colorist has the right balance of alchemy and art, excelling at both the technical and creative.

There's more to come. I welcome your comments and suggestions because education comes through dialogue. No one person can have all the answers. As an old colleague of mine has said many times, "I reserve the right to be wrong." Creative COW is about creative professionals sharing and pooling knowledge and information that will help each other as content creators, as well as provide real world feedback to developers who can take our experiences, like and dislikes and use that information to create better tools for us to use.






The Emmy name and the Emmy statuette are the trademarked property of The Academy of Television Arts & Sciences (“Television Academy”) and the National Academy of Television Arts & Sciences (“National Academy”)

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Re: Colorgrading Round-Up
by James McIntyre
Hi Dennis,

Thanks for the article. RE: your final warning at the end... would you have any recommendations as to how one should start out on the road to becoming a professional colour grader? Have been editing for over ten years and doing most of my grades in MC or FCP but am looking into moving into more serious grading work. Apart from Da Vinci Training courses any other recommendations?

Thanks
Re: Colorgrading Round-Up
by David Cabestany
Dennis,

A little off topic (also I didn't read all the comments so probably someone already pointed this out), but Premiere Pro does have an auto save version to a different directory, you decide how many versions and how often they are saved, I have mine set up to keep the five latest and it saves each 3 minutes. After Effects does this too natively, I think it's only Photoshop the one who doesn't, but I think I read somewhere that CS6 has now that feature included for Photoshop.

Best,
D.
Re: Colorgrading Round-Up
by Adam Welsh
Hi Dennis,
An interesting round up. I am intrigued by the toolsets required for Colour Correction now days, it seems that colour correction is much more than that now as you now perform many more tasks in that room now and I feel the true art of grading is diminished by this.
Colour Correction used to be the manipulation of colour to capture the creative intent of a project, this led to some very good technology for accurately managing colour and produced individuals who were truly artists.

The traditional colour correctors developed the ability to manipulate colour to a fine art/science that is still not met by todays graphic based systems.

An example is the use of keys, originally you would use colour to pull a key, now you draw a shape and track it. in my view the colour key is more accurate, creative and way faster to achieve.

I also find the term "real time" to be an anomaly, real time can be defined in many ways, real time can be the ability to change an image in "stop" or the ability to play back an image at full speed, I always think that real time is the ability to apply all colour correction etc as it is playing and applied as it is playing.

I am pretty sure that most of the systems back ground render or simply have to render to apply changes to the full res image and play them on the fly.

Just my thoughts!

Adam
@Adam Welsh
by Barend Onneweer
Hi Adam. I find your comment has some confusing and some incorrect statements.

You are right when you say that the job of a colourist has evolved over the years with technology. You don't give any arguments for your statement that the true art of grading is diminished. I also don't see how that would be true.

What technologies from the past are you referring to that outperform todays tools in accurate colour management? In my experience todays tools offer a lot more precision, consistency and flexibility than say, 10 or 20 years ago.

Your example of the keyer baffles me. How a keyer is 'more creative' than a vector mask is beyond me. All grading applications have multiple types of keyers that are used a lot by most colourists, for secondary grading. But masks are an equally standard part of the toolset, and keyers and masks serve different purposes. Try adding a radial vignette or a gradient on a sky with a keyer.

I've never heard of the term 'real-time' in the way you describe. Color timing was another term for the photochemical process of manipulating color on film. But 'real-time' in this context can only mean instant visual feedback without prerendering to disk.

And indeed I can play back a 2k dpx sequence in Scratch with plenty of layers of grading, masks and keyers in real-time, in full resolution. Nothing rendered to disk. All the systems Dennis mentions in the article (except Smoke) can perform real-time grading in HD or 2k, if they run on sufficient hardware (usually meaning an nVidia Quadro graphics board). Only Smoke for OSX doesn't do much in real-time AFAIK.

Barend

Raamw3rk - independent colourist and visual effects artist
Re: Colorgrading Round-Up
by dennis quintanilla
Very interesting round-up Dennis ! I find it quite surprising tho that you didn't even mention Nucoda Film Master. When it comes to picking a colour grading tool, provided you can afford it or at least gain access to it one way or another, you have to consider not only how feature rich it is but also its inner logic and to what extent it fits the way your brain is inclined to work. In that respect Nucoda just shines. I love that they managed to keep it simple and straightforward without ever compromising on its stunning colour correction and finishing capabilities. Obviously it takes all sorts to make a colour grading suite. Ty Dennis for sharing your very valuable experience with us.
++ Another tool that deserves a closer look is ifx piranha.
Re: Colorgrading Round-Up
by Clement Hobbs
Regarding XDCam round tripping with Avid & Resolve, we've been doing it here for a while now, well since version 8 came out.
Our biggest headache is that Resolve didn't support the mxf wrapped XDCam files we were supplied, only mov wrapper.

We ended up transcoding to DHxHD and from there it worked just fine for our 13x30min series. It's not always a smooth process though, we had metadata and timecode issues from time to time so there is definitely room for improvement. We did not have any P2 shows in so I can't comment on that workflow.

The availability of local colorists who know Resolve helped push us to go with DaVinci.
Re: Colorgrading Round-Up
by Dennis Kutchera
It was suggested to me by a well known colourist that it is best to send everything to Resolve as an AAF with everything in DNxHD. Do you work with DSLR footage? How does that work for you from Avid to Resolve?

Dennis Kutchera
EggStudios.ca
Re: Colorgrading Round-Up
by Clement Hobbs
Hi Dennis,

We haven't had the chance to work with DSLR footage (yet). I'm sure it's coming though along with GoPro footage.

Once we were in DNxHD with our last series the round trip worked as advertized. I would have preferred to avoid the time and space of a transcode but that's the way he had to do it at the time.

The next series we'll be working on could necessitate colour correction done half way around the world with the creators here in Toronto so the remote grading feature will come in handy.

Thanks for the article, much appreciated.
Re: Colorgrading Round-Up
by Peter Vogt
Premiere doesn't have autosave and versions? I feel special. Mine does.

Re: Colorgrading Round-Up
by Dennis Kutchera
Like I said, I reserve the right to be wrong. I use Gridiron Flow to save versions in Photoshop and AE so I can have something like the FCP autosave vault. It's saved my butt a few times. I assumed Premiere worked the same.

Dennis Kutchera
EggStudios.ca
Re: Colorgrading Round-Up
by Eric Williamson
This is a wonderful article. Thanks for the roundup.
Re: Colorgrading Round-Up
by Dylan Hargreaves
I'm gonna focus on a negative here and say this review was really lacking any insight into Speedgrade.

As an FCP refugee to Prod Prem 5.5, I will be shortly upgrading to CS6 and have been dying to hear more about Speedgrade - Colour Correction being the one thing letting the Adobe suite down until now.

But a round up from someone who has no interest in Adobe and skates over the entire system is a big letdown.

Other than that, great stuff though, thanks Dennis.
Re: Colorgrading Round-Up
by Dennis Kutchera
My priority was to find something that works in our current workflow as a busy commercial production house that cuts on Avids. I just could not afford the time to delve into Speed Grade at NAB once an Adobe product manager suggested that it would not currently play nicely with Avid.I would love to run through Speed Grade as well as Premiere and share my findings. I've used Premiere off and on since CS3. There is a lot to like in CS6. I'm sure you'll hear more on Speed Grade from me in the future. If I can get to IBC this year, I may pick up where I left off...

Dennis Kutchera
EggStudios.ca
Re: Colorgrading Round-Up
by Christopher Lowden
Thank you for a very interesting assesment.
As a Smoke, Avid, FCP, CS 5.5 and Resolve Lite user, I just wanted to mention that for me, it is horses for courses. I often use the Avid / Resolve round trip for TV work because the quality of the camera files (5D, XDCAM etc) does not need more and clients want fast turn around. Contary to common belief, unless you shoot flat gamma, there is virtually nothing to grade on a 5D. For commercials, this workflow is not a real option, but that is often more of a client issue than a technical one.

Dedicated grading apps let you compare between shots very easily and for me, that is the principal difference between SFX / editing apps like AE / Smoke and Resolve. Secondary grading in Symphony is cumbersome to say the least, as is shot comparison except if the shots are next door.
Lastly, Smoke currently does not have an autosave archive probably because of the architecture. Timeline is saved as part of a clip in a library and FXs / actions and the batch are saved as XML style files called Setups. The system is very modular, allowing to easily exchange with the flame (if you have the same version). The smoke is actually quite cluncky in comparision to an avid of FCP but it is this clunckyness that forces you to save regularly. As an Avid user, I found this terrible at first but with time, I understood that it is an advantage because it forces you to lock things down. An Attic style idea would become difficult in my opinion when you start adding 3d geometry into your project (the 3D space is the real force of the Smoke. It is 3D for idiots like me). To be honest, Smoke has a very powerful grader but for compositing / FX work. I used a Artist Color control surface with it, but it was a gimmick. The same interface on Resolve was just primordial.
To conclude, even if it is all colour grading, each tool has a reason to grade but not for the same reasons, it just depends on the workflow (and how much you wanto pay!).
Baselight Tracker Re: Colorgrading Round-Up
by James Milne
Baselight doesn't just have a single point track. Baselight 4.3 introduced a powerful, area-based tracker. Rather than tracking a single point, it tracks multiple features within an area and automatically determines translation, scale and rotation, with support for extrapolation and continuing to track objects as they move partially off the frame.

We should have demo videos of it up soon at Baselight Videos

Regards
James Milne
FilmLight Ltd.
Re: SGO Mistika
by Dennis Kutchera
Steve,

I have a couple of comments on Mistika.

There are a number of higher priced and lesser known products that I just was not able to budget time to see, in part because I am not likely to buy them. Perhaps you can share with us what the price of Mistika will set us back. All indications I find say that Mistika is a premium priced product. Blackmagic Design has proven that premium features no longer need to translate into premium prices.

All the systems we reviewed here are non-destructive. They never alter the original file. Scratch can do something crazy like 75 layers of effects in real time. None of the systems we discussed here use proprietary hardware or storage. You are making a comparison to the likes of Quantel Pablo and other Big Iron graders, but it is hardly valid to compare with Resolve or Scratch which use commonly available cards and computers. A Red Rocket card is proprietary, but it is specific to one camera line and not required if you never use Red. We use Red in our shop.

Since you are a user and consultant, perhaps you might consider hosting a user forum at the COW or presenting a product review of Mistika. There's always room for a new community of users here. I'd love to learn more.

Had I had more time on the floor at NAB, SGO Mistika was going to be next on my list. With limited time, It was a coin toss between Baselight and Mistka. Since Baselight had made contact with me during the show, they were my final stop.

Dennis Kutchera
EggStudios.ca
Re: Colorgrading Round-Up
by Steve Shaw
No comment on the SGO Mistika?

Probably the most powerful DI system out there, and not just for Stereo 3D, although that is where it first made its name.

I use it, and am amazed just how powerful it is, with no rendering (all work is non-destructive on-the-fly), and some of the best colour tools I have used - especially with the v7 version shown at NAB.

And it's all on off-the-shelf hardware, nothing proprietary.

For high-end DI workflows it is seriously worth a look.

Yes, I do some consulting for SGO, but only because as a user I like the system so much!
Re: Colorgrading Round-Up
by Jarle Leirpoll
Dennis, you wrote: So SpeedGrade, no matter how good you may be, we are not likely going to play together unless I can convince our editors that we should abandon Avid for Premiere. What Avid lacks in effects, it makes up in the tools for cutting story and has no problem with massive amounts of data. It is fast and responsive to editing and takes care of things like autosaving versions when your mind is deep in the story and ignoring the computer. No such thing as working all day, forgetting to hit command S and then a crash at 4 pm takes you down. Avid solved this more than 20 years ago: it saves every autosave in an attic folder. If you accidentally delete your sequence and hit save, you've lost nothing. Could I convince our editors to switch? It could be a battle

It will probably be a battle, but people need to know the facts before they choose. Premiere Pro has always done auto-save as separate files in a separate folder. CS6 is as fast and responsive as any NLE I've tried, and the new Trim mode is even better than Avid's. And all the effects and color correction is done in 32-bit float, so the quality is superb. Being a 64-bit NLE, it also handles large projects with ease.

I do my color correction in Premiere Pro because I save so much time not having to round-trip. And there's nothing I can't do in Premiere Pro CS6 except real tracking. But manual tracking works for most of my Secondary CC work with soft masks, and I have AE (with Roto Brush, 3D tracking and Mocha) just a right-click away if I really need a tight track.

Check out my tutorial on Color Grading and Finishing in Premiere Pro CS5.5 on http://premierepro.net/.
I need to make a new tutorial. With CS6, we got Adjustment Layers too, and a revamped 3-way color corrector. You can make adjustments in real-time, while playing.

Just want people to know what their alternatives are. :-)
@Jarle Leirpoll
by Barend Onneweer
This is not meant to be elitist, but if you ever try grading a feature with a dedicated tool and a control panel, you'll find the workflow and most importantly speed benefits stunning.

I started out in visual effects and compositing. The first short projects I colourgraded were done in After Effects. It's got all the tools and the render quality is excellent. But it's a real hassle.

On longer projects I'm convinced the time spent on the transfer of the project into DaVinci, Scratch or another tool is more than made up because you work faster in those environments.

So I'm in no way saying that you can't finish a project in Premiere at high quality. I'm saying you'd probably be faster in a grading app with a panel.

Raamw3rk - independent colourist and visual effects artist
+1
Re: Colorgrading Round-Up
by stig olsen
Hi Jarle,

Im sure its a matter of taste. For some reason people that is used to FCP and Premiere compare the different trimming tools and use that as an argument. -"Trim mode is even better than Avid's"

I think its important to tell that not many professional editors use these tools in Avid because the the way of dealing with this is based on more high-precision editing tools inside of Avid. The keyboard is most often mapped for extending clips.
It takes some time to get used to this way of thinking, but when you are familiar with these functions, they allow you to work faster than in any other program in my opinion.
Re: Colorgrading Round-Up
by Jarle Leirpoll
Stig, of course it's a matter of taste. But being an editor who has tried them all, I challenge you: Try Premiere Pro CS6 Trim mode (and assign and use all the shortcuts), and after that tell me what you miss form Avid's trim mode.

Premiere Pro CS6 Trim mode allows you to to very high quality fine tuning in a minimum amount of time.
Re: Colorgrading Round-Up
by Dennis Kutchera
Is the problem unique to P2/XDCam? What is the issue in Avid that hampers the workflow? Would it impact the workflow to other colour grading systems such as Scratch or Baselight (which would both follow similar round-tripping).

Dennis Kutchera
EggStudios.ca
Re: Colorgrading Round-Up
by walter biscardi
About SpeedGrade and Adobe. They just took over Iridas last Fall and Wes Plate joined shortly thereafter.

CS6 was already well into production when all of this happened. Hence the VERY limited workflow between Premiere Pro and SpeedGrade, let alone any other software packages. I would expect by this time next year you will see a very different look to the workflows both within Adobe and for external workflows to move into SpeedGrade.

Personally I'm just waiting for Avid to fix the workflow from Avid to Resolve. It's been a nightmare for us making that work with P2 / XDCAM media. In this regard, FCP was much easier to get materials into that tool. Hoping Avid can finally address the issues this coming week.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

"This American Land" - our new PBS Series.

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Re: Colorgrading Round-Up
by Dennis Kutchera
Walter,

Can you offer any comments on the technical support offered by Black Magic Design for DaVinci Resolve?

Dennis Kutchera
EggStudios.ca


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