We highly recommend this!Colour Grading Master Class: Looks & Workflows for the Professional Colourist
HDR 1,000, 2,000 & 4,000 cd/m2 grading
UHD considerations - including grading for Rec.2020 gamut
ACES and other ways to future-proof your work
Compositing skills for Colourists - in particular how to use the new ResolveFX in v12.5
Dolby Vision technology: How to automate the creation of the 100 cd/m2 deliverable
What every tool in the Resolve v12.5 COLOUR PAGE does & how to combine them together to create exactly the Look that you want.
It's a 3 Day Course for Intermediate & Advanced Colourists, although there will also be some Compositors wanting to expand their skill-set to include Colour attending as well. Most of you here know me but for those that don't - you can see my ICA profile here: http://icolorist.com/instructors/sam-sheppard/
If interested contact: firstname.lastname@example.org
I prefer to focus any training that I do on on skills that have a direct practical application. I do that with interactive hands-on classes where those attending are encouraged to question and get involved as much as possible. Anyone who asks a question will receive a clear and direct reply. I'm not someone who teaches everything except the recipe to the Secret Sauce. Nor do I feel the need to answer every simple question with an overcomplicated answer. I'm not that insecure. Plus it's a terrible way to teach effectively.
This is a course for smart colourists who never intend to stop learning new techniques and ways to work. The aim is always on learning how to create Better images Faster using the Most Elegant method possible. I won't just be teaching you 'How To Grade Sam's Way', I'll be teaching you 'How To Think For Yourselves & Never Stop Evolving Your Craft'.
If it's been a while since you last learned something new & truly useful as a colourist then this is the course for you. If Peter Doyle was taking the same class I would be the 1st colourist to sign up.
The training will take place in a Resolve grading suite - although other grading systems will be discussed. There are a lot of different 'Languages' that can be used to describe the same thing in the Colour Grading world. 'Offset' in Resolve, is 'Exposure' in Baselight, is 'Density' in Nucoda Film Master, is 'Locked Lift' in Pablo RIO, is 'Levels' in Mistika, etc. I'll be 'translating' as we go. The skills learned on this course are applicable to all colour grading software.
Below are a list of dates and the specific topics that will definitely be covered. I love being asked difficult questions though, so if you don't see the topic that you're interested in on the list then just ask on the day. I'll find the time to answer them - even if it means staying late to make it happen.
Dec 16: What Does Every Effect In The COLOUR PAGE Do?
Exactly what it says on the side of the can. By the end of this day everyone should know exactly what each & every effect in each & every menu in Resolve's Colour Page does. Understanding what every colour tool does is essential knowledge for any professional colourist who doesn't like looking stupid in client attended grading sessions.
Using a specific set of Test Charts created for exactly this purpose I will take you through a series of techniques using a clear & logical methodology that will teach you exactly what each different tool is doing to the image that you're grading.
Including (but not limited to):
IMAGE PROCESSING/CAMERA RAW TOOLSETS: As well as the debayer tools for each camera format that Resolve supports as RAW, we will also cover how to recreate these tools when working with non-RAW formats - such as Arri material recorded directly to Prores, Sony material recorded directly to XAVC, RED material transcoded to DNxHDR, Canon .rmf files, etc.
COLOUR MANIPULATION TOOLS: Colour Channel Mixer, RGB & HSL Curve Grade Menus, Primaries & Log Grade Menus
ISOLATION TOOLS: HSL/RGB/3D Chroma Keying, Shapes, Key Mixing/Blending Nodes, External Mattes, Alpha Channel Boolean Operations.
COMPOSITING TECHNIQUES FOR COLOUR: Layer Nodes & Blending Modes, ResolveFX, creating or recreating custom tools - such as Photoshop's High Pass Filter for Beauty or Sharpening work, or a digital Promist Filter effect.
EVERYTHING ELSE: Resolve v12.5 has a wider range of additional tools & functionality for colourists than I've ever seen before in a Resolve feature release. Resolve Colour Management (RCM), using ACES effectively, etc.
Dec 19: Creating The Look That The Client Wants.
After a Q&A session about what was covered on the previous day, as well as any further ideas that evolved from considering the lessons over the weekend - we will look at how to use the knowledge from the first day to create whatever Look the client may want.
You know the list of Looks that are always advertised:
- Orange & Teal
- Instagram & Hipster Looks
- The 'Technicolor' Look
- Bleech Bypass and 'War Looks' (Saving Private Ryan for example)
- Black&White with Colour (Schindler's List - 'Girl In The Red Dress')
- Various 'Film Looks' (NOTE: Creating custom results yourself that are superior, and less limiting, to 'Film Emulsion' LUTs)
- Duo/Tritone, Cross Process, etc, etc.
We'll cover it all but that's a 'Treating The Symptoms Not The Cause' approach to colour grading. The core philosophy of the way that I teach is that by the end of this course you should have the necessary skills to be able to work out 3 different ways (minimum) to create any Look. I'm not just teaching colour theory - I'm teaching how to use & adapt that knowledge to approach any situation.
I'm usually one of the first colourists to use new & emerging technologies as soon as they appear (Stereo3D, ACES, HDR, etc). This is how I adapt to new technologies quickly before the 1st manual has even been written.
Dec 20: Flexible Thinking. How To Always Deliver Solutions Not Problems.
After a Q&A session about what was covered on the previous 2 days we will turn to the more difficult work facing modern colourists. Those tasks that 10 years ago would have been sent to VFX but that clients are increasingly expecting colourists to solve. As well as covering topics like Beauty Work, Day-4-Night, Sky Replacements, etc. This section will also cover 'Fixing Broken Material'.
It's always fun grading perfectly exposed Arri RAW. However often that scene is intercut with wides shot on the director's cellphone camera. This day is dedicated to anything & everything that can ambush a colourist in a client attended session. Those attending are encouraged to bring along material from their own past projects. Challenge Accepted.
I will be staying late at the end of this class to answer any questions that have arisen from the course. Anyone willing to put in the work will find that I'm willing to return the same level of effort. I respect any colourist that, like me - is always looking for ways to improve.
I think that just about any colourist will find this course useful if they attend - especially if they haven't yet had any experience with grading for HDR displays. If interested contact: email@example.com
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