Behind The Curtain – 16mm Style Grade Part One

thank you Dan interesting inside ,I would like to see more like this inside because it’s more close to real colorist world
Happy grading

Incredible insight Dan! Thx! I would like to see part 2, with noisy footage and interior scenes grading…

Very cool insight.

I don’t mind that you use the panel at all, the insight flows a lot better and you don’t spend time thiniking about shortcuts or stuff like that.

I’m curious to know, you mentioned you don’t match to tightly at the beginning and leave that for the end. Do you work the same way when the clients in the room or is there some pressure when the client is there to match everything asap and as good as possible? I ask because I have that pressure when working with clients in the room.

Great insight, as always!

I have a question about using groups and keying.

In my opinion, it’s much easier to pull a decent key from an image that is not in a log/target color space (better color separation, more saturation and contrast etc.). In a workflow with LUT applied on Post-Clip you are forced to key from log footage. Do you use this kind of node structure for projects in which you know that you won’t be keying a lot or maybe you prefer to key on log footage? If so, please tell what are the advantages of that approach?

Cheers,

Szymon

Really enjoyed this.

Great insights thanks!

Loved it! Where did you get the film grain external matte?