Demystifying Post Production Color From Set To Post and back! (Part 2 of 4)

Join us every Monday in July, where the Maxon Color Team will cover a range of grading techniques, including how to construct a consistent look that honors the vision of the director and cinematographer, a practical session demonstrating how LUTs can be used in camera to allow filmmakers to see their creative vision on set, with a post-production follow-along grading session, including how to set up an ACES workflow in DaVinci Resolve.

We’ll finish up the month with a creative investigation of film effects, with special guest Stu Maschwitz (Director, Post-Production Supervisor & Chief Creative Officer at Maxon), with practical tips and how the Magic Bullet Film tools were specifically designed to create accurate filmic treatments.

We’ll be providing footage, project files, LUTS, presets, node recipes and PDF reference documents, as well as footage to follow along with. Techniques shown in the session can be used in multiple NLEs and host applications including Resolve, Premiere Pro, After Effects, Avid Media Composer, and Final Cut Pro.

Contents:

00:00 - Intro
05:00 - LUT creation summary from part
14:00 - Flat Look Season
16:00 - Using Adobe Premiere for LUTs
20:00 - Color Remap
24:00 - Camera exploration Canon C70
26:00 - C-Log and C-Log 3
28:00 - Log v REC 709
30:00 - LUT explorations
31:00 - Question: Do R5 support CLOG3
32:00 - Question: What CLOG to use in which shooting scenario
32:00 - Question: Difference between Log and Raw
38:00 - Question: Difference between LUT and CDL
40:00 - Test Scene Set Up
44:00 - Loading LUT to Monitor
47:00 - Question: HDR Color Difference Metrics
48:00 - LUT to camera C300 M2
51:00 - C300 M2 Menu simulation
01:00:00 - Advantage in Cam LUT
01:02:00 - Outro