Knight Light EP6: Hollywood Colorist Teaches Color Theory and Her Color Grading and Editing Pipeline

Описание: Dive into the world of Hollywood TV series color grading, multicam editing, and color theory with my latest video, "Hollywood Colorist Teaches Color Theory, and Editing and Color Grading Workflow"!

Are you ready to master the art of color in filmmaking? Join me in a 3 hour workshop on color theory and the intricacies of the color grading and multicam editing pipeline in narrative filmmaking.

In this 2 hour workshop, we'll explore the following key topics:

Color Theory Demystified: Uncover the secrets behind color theory and learn how it impacts the emotional resonance of your footage. Discover how to choose the perfect color palette to tell your story effectively. The theory I'm starting with here is based on subtractive color theory (traditional) instead of what’s used in digital imaging, which uses additive mixing in order to create colors. Subtractive color mixing means that colors are mixed by subtracting light. When two paint colors are mixed together, they absorb some of the light that reflects off of them, resulting in a darker color. Additive color mixing means that colors are mixed by adding light. When two digital imaging colors are mixed together, they emit more light, resulting in a brighter color. Traditional primaries are what you learned here (red, yellow, and blue). These colors cannot be created by mixing other colors together. In digital imaging, the primaries are red, green, and blue (RGB). This then affects the secondary and intermediate colors in traditional versus DI which are orange, green, and purple; and cyan, magenta, and yellow respectively for secondary; and Yellow-orange, yellow-green, yellow-red, blue-green, blue-purple, and red-purple, and Red-orange, red-violet, blue-violet, blue-green, yellow-green, and yellow-orange for DI. In summary, the colors differ between traditional and DI in color theory but the color temperatures and how it impacts mood as well as color harmony across the two disciplines are the same.

Editing Workflow: Explore my personal editing workflow, tailored for filmmakers using DaVinci Resolve 18.6. Gain a deeper understanding of multicam editing and how to seamlessly integrate multiple camera angles shot with a timecode jammed sound recorder into your project.

Color Grading Pipeline: Step into the world of color grading as I dissect my node tree and workflow for color correction and color grading. Learn how to elevate the visual aesthetics of your footage and achieve that cinematic look you've always desired.

Whether you're a seasoned filmmaker or just starting your journey in the world of editing and color grading, this video is a must-watch.

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Have questions or want to share your thoughts? Leave a comment below, and I will be happy to engage with you.

Thanks for watching, and let's bring your cinematic visions to life with the power of color!

CHAPTERS
00:00 Intro
04:35 My Experience and Tech Stack
09:47 My Editing Room
15:58 DIT Cart to Editing Room
20:57 Color Grading
26:55 Color Theory
32:59 Color Correction: How to do it
36:59 Color Correction vs Color Grading
38:07 Color Grading: How You Do It
47:09 Shot Deck
48:32 My Node Tree (Living Tree)
57:58 Editing: My Multicam Setup
01:04:08 Davinci Resolve: Hands-on
01:12:55 Defining meta data at the clip level
01:13:57 Color Tab
01:14:11 Powergrade Albums and Stills
01:14:47 Groups
01:33:44 Power Windows
01:43:20 Face Refinement
01:47:58 Printer Lights
01:52:08 Auto White Balance
01:57:18 Templatizing Folder Structures
02:01:43 Thunderbolt Hubs and Davinci Resolve Crashes
02:08:13 Grading With Proxies

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