You can grade a shot, but what about a scene?
The job of the colorist isn’t making an individual frame look pretty, but having them work in context of a timeline.
Sometimes camera settings chage, sometimes lighting conditions chage. Some shots may need to be matched to something that was filmed hours, days, or months later!
You’ll want to make sure shots feel like the work with the ones next to them, and each scene feels like it’s a part of the same project.
This process isn’t a software feature, but a workflow best learned from a working professional.
Fortunately, there’s a channel for that.
In this video from Darren Mostyn, you’ll learn about:
- 00:50 Understanding and developing the look
- 01:45 Color Management and fixed node tree
- 04:38 Grading the First Shot
- 08:16 Balancing the scene and how to grade more than one shot
- 11:59 Working with Groups in Resolve
- 13:10 Ripple changes in Resolve
Gedaly is the Managing Editor of DVresolve.com. He is a professional editor, having cut national commercials for major companies, and does color & VFX for indie films at Mask & Feather. He’s also a filmmaker, writing and directing shorts & features. Gedaly is the co-founder of Working.Actor and former marketing strategist for large brands.