Bread Short Film

Behind The Curtain – Shot Matching ‘Bread’

March 13, 2018

In part two of grading the bread short film, Dan dives into the matching side of things. Although it's the least glamorous part of grading it's also the most important.


Series

Part Two: Grading the Short Film ‘Bread’

In this Insight we are going to take a look at the matching aspect of the grade on the bread short film that I recently graded for a friend.

The Match

The match on this project is a tricky one.

Due to the material being rec709 and compressed the shadows and highlights are right on the edge in some shots.

I show you my approach to the match including using the same node structure across all shots to help it stay consistent.

I also keep my matching as simple as possible. Start with Offset for balance and exposure and tune the final 5% with the log controls or lift gamma and gain.

It’s a lot easier to show matching than righting about it so let’s jump to the video!

A breakdown of the ideas and processes I cover in the video below :

  • Realtime Matching
  • Don’t Get Stuck On One Shot!
  • Focus On One Or Two Things At A Time
  • Dont’ Shape And Match At The Same Time
  • Realtime Matching Including Mistakes

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Comments

6 thoughts on “Behind The Curtain – Shot Matching ‘Bread’”

  1. Great series, Dan. Really appreciate being able to watch you navigate your workflow, style, deal with problem spots, and make your way toward an end point. I find these kinds of Insights very colorist-centric. Hmmm … I think I made up a word/phrase.

  2. Dan! This series is great! Thank you for taking the time to walk us though your detailed workflow. It gives me a ton of hope coloring my Sony A7SII footage.

    Looking forward to the next insight.
    Much Love!
    Duran from Los Angeles.

  3. Great insight (and series), Dan! I enjoy seeing your process for applying a fairly strong look to compressed material. I echo your sentiment about snow, as even the smallest difference seems to stand out. Look forward to part 3!

  4. Excellent series. There are times watching you all grade Arri/RED & etc. media I could cry. You make massive changes with one tool and it still looks good. As someone who mostly deals with this sort of ‘thin’ media, where that sort of thing always creates massive macro-blocking, noise, & other choice artifacts, it’s great to see you working with ‘my’ media. And … yea, I like to use Offset for starting out myself a lot.

  5. Hi Dan, thanks so much for this Bread series – i’ve learned a ton and grown a lot in my grading because of it. Sometimes I grapple with when to use the Lift, Gamma and Gain controls to shift the hues as opposed to the Offset..At one point you say you use offsets for most of it, and then fine tune it with the others (or something along those lines)? When do you decide that offset hasn’t fully got the clip where you want it to in the grade? Is it a matter of looking at the tonal regions and if, for example, the shadows are off, you shift the lift hue in the opposing direction, or if the gain is off, shift that in the opposing direction and so on?

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