Color Charts for Resolve 11

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Perrone Ford

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Color Charts for Resolve 11

PostTue May 27, 2014 5:22 am

For BM or beta testers...

Is anyone able to divulge when color charts Resolve 11 will be able to use for it's automatic balancing? All demos I've seen have been with the XRite ColorChecker (Macbeth) chart. I am wondering if DSC Chroma DuMonde or other charts will be supported? I am finalizing my purchases for the year, and need to add one of these to the list, but don't want to buy something unsupported. And frankly I prefer the DSC Chart since it's easier to calibrate in most NLEs with a vectorscope.

Thanks
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JPOwens

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Re: Color Charts for Resolve 11

PostTue May 27, 2014 4:29 pm

Asked and answered about a week ago. Three charts at the moment:
1. X-Rite ColorChecker,
2. Datacolor SpyderCheckr
3. DSC labs SMPTE OneShot.

The X-Rite is most similar to Gretag Macbeth that most telecine colorists have been seeing for the past million years or so.

If you can get agreement on usage of these things, regardless of brand, its only to defend your decisions against a dP. That is their only practical advantage.

jPo
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Re: Color Charts for Resolve 11

PostTue May 27, 2014 5:35 pm

keep in mind that trying to use this new function is a bit like press "autocolor": good luck with that...
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Re: Color Charts for Resolve 11

PostTue May 27, 2014 6:10 pm

Thank you for your response. I missed it being asked previously. Typically I AM the DP on my shoots (as well as the editor) so my use would not be to defend my decisions against myself. :)

-P

JPOwens wrote:Asked and answered about a week ago. Three charts at the moment:
1. X-Rite ColorChecker,
2. Datacolor SpyderCheckr
3. DSC labs SMPTE OneShot.

The X-Rite is most similar to Gretag Macbeth that most telecine colorists have been seeing for the past million years or so.

If you can get agreement on usage of these things, regardless of brand, its only to defend your decisions against a dP. That is their only practical advantage.

jPo
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waltervolpatto

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Re: Color Charts for Resolve 11

PostTue May 27, 2014 6:11 pm

perroneford wrote:Thank you for your response. I missed it being asked previously. Typically I AM the DP on my shoots (as well as the editor) so my use would not be to defend my decisions against myself. :)

-P



You well now how the lighting on that chart should be uniform and coherent with the scene to have any meaning then :D
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Re: Color Charts for Resolve 11

PostTue May 27, 2014 6:55 pm

waltervolpatto wrote:You well now how the lighting on that chart should be uniform and coherent with the scene to have any meaning then :D


I disagree. I only need to have all three cameras pointing to that chart under one CONSISTENT light. It need not be the same light as the show. This will allow me to get all three cameras to a consistent point, even if that point is not accurate to the show light. Thus fixing one of the cameras to the correct white balance, allows me to apply that same correction to the other 2.

I do agree it would be BETTER if I could lock them all to the "white" light of the show, but since the show contains no white light, it's a bit more tricky.
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Re: Color Charts for Resolve 11

PostTue May 27, 2014 7:17 pm

perroneford wrote:
waltervolpatto wrote:You well now how the lighting on that chart should be uniform and coherent with the scene to have any meaning then :D


I disagree. I only need to have all three cameras pointing to that chart under one CONSISTENT light. It need not be the same light as the show. This will allow me to get all three cameras to a consistent point, even if that point is not accurate to the show light. Thus fixing one of the cameras to the correct white balance, allows me to apply that same correction to the other 2.

I do agree it would be BETTER if I could lock them all to the "white" light of the show, but since the show contains no white light, it's a bit more tricky.


mmm.. That will only tell you if your cameras are similar/calibrated... If that is the case and you put coherent light you do not need the feature at all to start with... Where I'm scratching my head here?
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Re: Color Charts for Resolve 11

PostTue May 27, 2014 7:51 pm

waltervolpatto wrote:mmm.. That will only tell you if your cameras are similar/calibrated... If that is the case and you put coherent light you do not need the feature at all to start with... Where I'm scratching my head here?


Correct, and that's all I need. I would LIKE to have all cameras calibrated to the CORRECT light. That is the ideal.

For instance, let's look at a 2 camera scenario.

Let's say that we have showlight that reads 5700K

Camera 1 is set to a WB of 5500K because it offers no 5700K (BMCC).
Camera 2 is set to a WB of 6500K because of operator error.

Let's say that I have to record test charts at home with the two cameras because I can't do it at the show, but I have 4500K light at home. When I get home from the show and put the footage into resolve with the color checker correction, Resolve will move BOTH cameras to 4700K. The correct temp for the light I had AT HOME. Now the footage from both cameras is wrong, but wrong by exactly the same amount for color temp and hue. When I find the correction for one of the cameras (+1000K) I can merely apply it to the other camera's footage and be done. If the other camera was never calibrated, I'd have to start all over again figuring things out.

Again, I don't want to mince words here. Shooting a calibrated target under the light you will be shooting under is BEST CASE. What I am talking about here is working things out when best case cannot apply. As filmmakers we often are trying to balance our cameras to get to "white light". For artistic lighting purposes, we do NOT want to balance to white light. The light isn't SUPPOSED to be white. And this can make things very, very tricky.
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Re: Color Charts for Resolve 11

PostTue May 27, 2014 8:04 pm

I see your point!.

Well explained...
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Re: Color Charts for Resolve 11

PostWed May 28, 2014 3:55 am

Perrone Ford wrote:I would LIKE to have all cameras calibrated to the CORRECT light. That is the ideal.

If they aren't, then really all that's necessary is for the cameras to match to each other. If they're consistent, that's 90% of the battle. The rest is just creative intent.

That's ridiculous and insane that anybody would shoot a 2-camera setup and have each set up to different Kelvin values. Stupid, stupid, stupid. Sure, you can fix it to a point (and it's a virtual number in something like an R3D file), but it's not the same as getting it right in photography. I hate it when people are sloppy on the set, especially when it has an impact on post.
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Re: Color Charts for Resolve 11

PostWed May 28, 2014 4:09 am

I find in my travels it's extremely common to have a mix of cameras on a shoot, often not white balance if not raw, and each have different characteristics that our colour match process can "guide" towards the desired result. I say "guide" as we show the target/result delta for multiple patches and there is always a little.
The match gets you in the range quickly but it's use will depend on the DP and post house/colorist.
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Re: Color Charts for Resolve 11

PostWed May 28, 2014 9:21 am

It sure will give fast neutral point to start with.

Colorist can then see it on scopes to get some more balance to it and start from there.

Process seems a bit similar to removing arri film matrix but with chart.

Would also be cool to have maybe in later release to see arri matrix incorporated directly
on Resolve.
Gives so much faster neutral starting point for colourist and more natural skin tones
despite the light and colour balance of the shot to my eye.

I was also wondering if that chart adjustment could also drive raw properties towards the neutral
or just balancing in node as auto colour used to do ?
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Re: Color Charts for Resolve 11

PostWed May 28, 2014 3:55 pm

waltervolpatto wrote:Let's say that I have to record test charts at home with the two cameras because I can't do it at the show,


A couple of years ago, I had an enthusiastic camera assist who tried this approach and maybe you might want to give it a test run before you commit the farm on it.

Two wrongs don't make a right.

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Re: Color Charts for Resolve 11

PostWed May 28, 2014 4:21 pm

That wasn't Walter who wrote that, it was me.

And since I am now in the throws of cutting and grading a show where I had 3 non-matching cameras, I will say that my work would have been assisted GREATLY by having them match before I arrived on set to shoot.

Two wrongs may not make a right, but it's a heck of a lot easier to get to your chosen destination, when you know where you are starting from!

JPOwens wrote:
waltervolpatto wrote:Let's say that I have to record test charts at home with the two cameras because I can't do it at the show,


A couple of years ago, I had an enthusiastic camera assist who tried this approach and maybe you might want to give it a test run before you commit the farm on it.

Two wrongs don't make a right.

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Re: Color Charts for Resolve 11

PostWed May 28, 2014 6:19 pm

Perrone Ford wrote:That wasn't Walter who wrote that, it was me.

And since I am now in the throws of cutting and grading a show where I had 3 non-matching cameras, I will say that my work would have been assisted GREATLY by having them match before I arrived on set to shoot.

Two wrongs may not make a right, but it's a heck of a lot easier to get to your chosen destination, when you know where you are starting from!

JPOwens wrote:
waltervolpatto wrote:Let's say that I have to record test charts at home with the two cameras because I can't do it at the show,


A couple of years ago, I had an enthusiastic camera assist who tried this approach and maybe you might want to give it a test run before you commit the farm on it.

Two wrongs don't make a right.

jPo


For matching cameras should be done ahead of time (time permitting): my preferred approach is to keep the camera at the sweet spot without titilling the knobs. Then sue color space conversions to go from their preferred RAW/LOG to the one of the show (usually the master camera/A one)
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Re: Color Charts for Resolve 11

PostThu May 29, 2014 1:27 am

Perrone Ford wrote:And since I am now in the throws of cutting and grading a show where I had 3 non-matching cameras, I will say that my work would have been assisted GREATLY by having them match before I arrived on set to shoot.

I had a situation awhile back where somebody shot a show in Rec709 with a Red One, a Sony F3, and a Canon 7D, and I was still able to match them all to the client's satisfaction. What was sad is that we often had to degrade the footage in order to make it as bad as the Canon, but we limped by. Recalling memories for different cameras usually gave me a starting point very quickly, so from there it was simply a question of matching with stills and moving on. Not ideal, but not horrible.

And those cameras were not white balanced either. I'm flummoxed as to why crews are so sloppy on this stuff, but the reality is, "you get what you pay for."
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Al Powell

Re: Color Charts for Resolve 11

PostThu May 29, 2014 3:14 am

Marc Wielage wrote:And those cameras were not white balanced either. I'm flummoxed as to why crews are so sloppy on this stuff, but the reality is, "you get what you pay for."


****************
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Re: Color Charts for Resolve 11

PostThu May 29, 2014 3:39 am

Al Powell wrote:
Marc Wielage wrote:And those cameras were not white balanced either. I'm flummoxed as to why crews are so sloppy on this stuff, but the reality is, "you get what you pay for."


Real easy to armchair quarterback from the sidelines. You go deal with an overpaid, lazy, ignorant, entitled group of union sloths and then let me know how smoothly everything goes for ya. It's more like "you get what you're forced to pay for".


Wow, you just insulted thousand of workers in that sentence, if is also not cool bad mouth behind being anonymous when you post. .. You know, a real name. ...
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Re: Color Charts for Resolve 11

PostThu May 29, 2014 6:24 am

Al Powell wrote:Real easy to armchair quarterback from the sidelines. You go deal with an overpaid, lazy, ignorant, entitled group of union sloths and then let me know how smoothly everything goes for ya. It's more like "you get what you're forced to pay for".


Maybe you're next forum name should be "poison dwarf" or something like that, this would be more honest and at least tell something about your personality.
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Re: Color Charts for Resolve 11

PostThu May 29, 2014 8:03 am

But it is useful feature if it works out for your camera and location.

Yes human error can make it a big zero but lets assume that it was not human error.

Idea is just great.

I will see that in real life after we get hands on to that feature.
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Re: Color Charts for Resolve 11

PostThu May 29, 2014 8:28 pm

Margus Voll wrote:Idea is just great.
I will see that in real life after we get hands on to that feature.


We need to refine how the HTML "Quote" works... apologies for mis-attributions.

What most of us who have been working with original Camera footage and not exclusively locked edits which have no access to any guidelines or charts or anything whatsoever (and probably fighting someone else's uncalibrated "corrections") are really commenting on is that while the approach is conceptually sound, it just doesn't work in practice. That is, giving an aimpoint over a range of exposures and conditions, based on a single point sample.

If anyone out there is imagining that it will make grading a picture (meaning feature film) as easy as pushing the "UP" button in the elevator at the office tower; the edge of the cliff beckons.

The physics of the situation are not linear by a long, long shot, and that's kind of what a single snapshot of a chart provides, and assumes. A controlled test, shot at home or any environment will provide a transform that is valid only for that setup: light source, exposure, (stock, in the olden days), lens, lens setting... you name it -- one variable will change everything ----> that is what charts or for. Every setup. What happens in the field has nothing to do with how the camera looked on a test stand.

The common misconception about navigating CIE colorspace is that it is a flat plane. It is not. Its actually a hill when you plot a Z-axis against luminance (you only ever see "White" in the middle, don't you -- so where is "Black"?). Consequently, tracking color over an exposure range on any practical physical media has more switchbacks and hairpins than Pikes Peak. You don't even have to twist the T-stop to affect this relationship, it will happen with ambient incident sources, and this is before the light gets through the lens; after that, you have the nonlinearities of the image-forming media which diverge in other, even more interesting ways. To a certain extent, ACES is trying to codify this, but we are definitely not in the same territory where simple arithmetic can cope. Second order differential matrix transforms,anyone? C'mon, it doesn't get any better than that.

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Re: Color Charts for Resolve 11

PostFri May 30, 2014 12:42 am

Don't kill my vibe bro...
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Re: Color Charts for Resolve 11

PostFri May 30, 2014 2:42 am

JPOwens wrote:What most of us who have been working with original Camera footage and not exclusively locked edits which have no access to any guidelines or charts or anything whatsoever (and probably fighting someone else's uncalibrated "corrections") are really commenting on is that while the approach is conceptually sound, it just doesn't work in practice. That is, giving an aimpoint over a range of exposures and conditions, based on a single point sample.

Thanks for the voice of reason, Joe. The other issue is that I'm painfully aware of the DP's struggle on the set, and with the color temperature varying throughout the day, with clouds coming and going, angles shifting, and all that stuff, it's a nightmare to try to keep everything consistent. It's amazing everything looks as good as it does most of the time.

What really drives me crazy is when they're doing multiple cameras and not keeping an eye on timecode, and everything goes south. A Camera is at hour 18, B camera is at Hour 0, and C camera is at Hour 12, drop-frame! :o And then they throw in a Canon 7D that has no timecode! Perfect.
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Re: Color Charts for Resolve 11

PostFri May 30, 2014 5:24 am

But lets assume they do not mis tc sync and do tend to youse chart time to time
depending where is the location and when the colour temp changed.

If editor keeps in mind to have charts lets say on most top track then the material would be accessible.

Just not missing the important steps makes it work in production sense ?

I have played around with just 3 levels of gray charts and it sort of worked for me.

Bad practice would ill every workflow like missing TC sync etc.
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Re: Color Charts for Resolve 11

PostFri May 30, 2014 6:19 am

Marc Wielage wrote:
JPOwens wrote:What really drives me crazy is when they're doing multiple cameras and not keeping an eye on timecode, and everything goes south. A Camera is at hour 18, B camera is at Hour 0, and C camera is at Hour 12, drop-frame! :o And then they throw in a Canon 7D that has no timecode! Perfect.


A good DIT can make a huge difference in this cases! He keeps an eye on these things, when no one else does.
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Re: Color Charts for Resolve 11

PostFri May 30, 2014 4:42 pm

Margus Voll wrote:If editor keeps in mind to have charts lets say on most top track then the material would be accessible.


What is this "tracks" thing you are talking about?

:lol:

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Re: Color Charts for Resolve 11

PostSat May 31, 2014 3:10 am

Gerhard Riesenhuber wrote:A good DIT can make a huge difference in this cases! He keeps an eye on these things, when no one else does.

There are really good, solid, experienced DITs who really understand lighting, exposure, and color correction, and then there are the guys who are just Data Monkeys. The good ones are hard to find, but they are out there.

I've run into all kinds, but the "auto chart button" is only a panacea in my opinion, because there's too many variables. On the other hand, if it even gets two cameras to match, that's a huge step in the right direction. At least that will give the editor something to work on.
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Re: Color Charts for Resolve 11

PostSat May 31, 2014 5:05 pm

Marc Wielage wrote:At least that will give the editor something to work on.


What has the editor to do with camera matching? Normally this is done by the DIT or the posthouse.
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Re: Color Charts for Resolve 11

PostSun Jun 01, 2014 12:01 am

Gerhard Riesenhuber wrote:What has the editor to do with camera matching? Normally this is done by the DIT or the posthouse.

The DIT prepares the footage for use by the editor. If a reasonable correction is applied to the Raw or Log footage, the editor will have something to work with. And if the DIT was able to prepare the files so that the cameras match (or are at least ballparkish close), the editor appreciates it. Trust me.
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Re: Color Charts for Resolve 11

PostSun Jun 01, 2014 5:18 am

Marc Wielage wrote:The DIT prepares the footage for use by the editor. If a reasonable correction is applied to the Raw or Log footage, the editor will have something to work with. And if the DIT was able to prepare the files so that the cameras match (or are at least ballparkish close), the editor appreciates it. Trust me.


Then I misread your statement. I'm working as a DIT myself, so I'm well aware of how to make a DOP (or editor) happy :-) If I have the time I always attend the color grading sessions of the films I've worked on. It's always a valueable experience to see how the visual intentions come to real life and to learn from experienced colorists and DOPs. It's always interesting to see if the decisions made on set and the direction we aquired for the dailies will work for the final film. And I also can confirm: what's not already there can't be enhanced!

As for the colorchart matching in v11: I definitly will give it a try. My experience is that different lenses and filters produce much more inconsistency then everything else. IRND filtration alone is an endless source for distorted images. Also I'm sceptic that this technique works with matching different brands of cameras, as they have all completly different colorimetry, DNR, tonal response and sensitivity.
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Re: Color Charts for Resolve 11

PostMon Jun 02, 2014 4:26 pm

Gerhard Riesenhuber wrote:Also I'm sceptic that this technique works with matching different brands of cameras, as they have all completly different colorimetry, DNR, tonal response and sensitivity.


My points exactly. Even when we were exclusively shooting negative on the same camera body, choice of stock and lenses, exposure and sometimes even focal length, the fundamental nature of values would diverge. If someone (anyone) is hanging their trust on a single chart shot under remote circumstances, they are quickly going to start generating transforms that have no bearing on reality. Chart is valid for one circumstance ONLY.

Consider a situation -- "someone" generates a group of proxy clips for a scene, but it winds up on the cutting room floor because the tonal values are judged to have been hooped. However, one clip is included in the final because its a pivotal story element, and "I guess we'll just have to live with it, and do your best." I requested the original RDM just to see if there was something else I could pull out of the RAW original, and guess what. First, my instinct that the wildly experienced and professional dP could not have missed was correct, and the proxy I was seeing was so twisted that it had to have been ummm... "intervened with" in some way that I can't comprehend. A.) no wonder the producers rejected it, and B.) I am still wondering why it wasn't questioned? But the take-away is that a potentially important scene was thrown out because the workflow was flawed.

Its why any experienced person will get really antsy if there is some indefensible step in the procedure -- calibration, assumptions about transforms... its not just "CYA", or some obsessive -compulsive need to be right all the time, professional snobbery, or psychotic fear of effing it up.

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Re: Color Charts for Resolve 11

PostTue Jun 03, 2014 12:10 am

Gerhard Riesenhuber wrote:Then I misread your statement. I'm working as a DIT myself, so I'm well aware of how to make a DOP (or editor) happy :-)

Ah. I've been a colorist for more than 30 years, and I'm still working on how to make the DP and Editors happy.
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Re: Color Charts for Resolve 11

PostTue Jun 03, 2014 7:26 am

Marc Wielage wrote:
Gerhard Riesenhuber wrote:Then I misread your statement. I'm working as a DIT myself, so I'm well aware of how to make a DOP (or editor) happy :-)

Ah. I've been a colorist for more than 30 years, and I'm still working on how to make the DP and Editors happy.


Then maybe you can learn something from me ;-)

I think you made clients happy and so I did. And you're right I'm not done with learning (I didn't say that either), but I think I have an idea which factors play together to "generate" happiness. This idea may change over time, who knows...
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Gerhard Riesenhuber

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Re: Color Charts for Resolve 11

PostTue Jun 03, 2014 3:52 pm

JPOwens wrote:Consider a situation -- "someone" generates a group of proxy clips for a scene, but it winds up on the cutting room floor because the tonal values are judged to have been hooped. However, one clip is included in the final because its a pivotal story element, and "I guess we'll just have to live with it, and do your best." I requested the original RDM just to see if there was something else I could pull out of the RAW original, and guess what. First, my instinct that the wildly experienced and professional dP could not have missed was correct, and the proxy I was seeing was so twisted that it had to have been ummm... "intervened with" in some way that I can't comprehend. A.) no wonder the producers rejected it, and B.) I am still wondering why it wasn't questioned? But the take-away is that a potentially important scene was thrown out because the workflow was flawed.


A good story, hopefully this triggered a learning process for the involved decision makers.
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Perrone Ford

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Re: Color Charts for Resolve 11

PostTue Jun 03, 2014 4:15 pm

Wow, I don't even know how we got here. I was just looking to see if Resolve 11 would read a DSC chart and hopefully get my cameras in the ballpark, and now we're talking about full blown workflows, and how differing cameras have different colorimetry.

I would truly hope that anyone in a position to be asking about shooting charts and trying to balance cameras would have at least a rudimentary understanding that this is a point in time correction and it won't lock the looks of those cameras together per se. But it's probably better than "spin the dials to 5500K and hope for the best."
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JPOwens

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Re: Color Charts for Resolve 11

PostTue Jun 03, 2014 6:28 pm

Perrone Ford wrote:Wow, I don't even know how we got here.


Making a decision at some crucial point will have an avalanche effect. "For want of a nail..." is how it can sometimes go in a complex chain like producing a movie. If you've been there when it goes off the rails, you just never want to be there again.

jPo
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waltervolpatto

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Re: Color Charts for Resolve 11

PostTue Jun 03, 2014 7:28 pm

[q
Perrone Ford wrote:Wow, I don't even know how we got here.



This is kind of discussion arise from your question: it is a workflow issue, not just a "chart" question.
W10-19043.1645- Supermicro MB C9X299-PGF - RAM 128GB CPU i9-10980XE 16c 4.3GHz (Oc) Water cooled
Decklink Studio 4K (12.3)
Resolve 18.5.1 / fusion studio 18
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Marc Wielage

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Re: Color Charts for Resolve 11

PostWed Jun 04, 2014 10:28 am

Perrone Ford wrote:Wow, I don't even know how we got here. I was just looking to see if Resolve 11 would read a DSC chart and hopefully get my cameras in the ballpark, and now we're talking about full blown workflows, and how differing cameras have different colorimetry.

It might, but there are so many variables, it's impossible to say whether it will work in the real world. Under optimum conditions, yes, this could be a good starting point. But I can see 279 different possible ways this could go horribly wrong.

Don't forget that we've had charts in telecine, lab color timing, and digital color correction for decades. And I've seen those get screwed up so badly, you wouldn't believe it. I don't see this changing. I know of $100 million movies that would not shoot any charts for any reason, on the basis that it was "too much trouble." We just soldiered on and did the best we could, and everybody was happy.
marc wielage, csi • VP/color & workflow • chroma | hollywood
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JPOwens

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Re: Color Charts for Resolve 11

PostWed Jun 04, 2014 5:10 pm

Marc Wielage wrote:I know of $100 million movies that would not shoot any charts for any reason, on the basis that it was "too much trouble."


Plus in the olden days it cost you 10 feet of stock and a couple of minutes every time you did it. Adds up to a day lost, and if you were shooting 3-perf to stretch the budget anyway, it makes the bean counters nervous.

jPo

Luxwhite

Re: Color Charts for Resolve 11

PostTue Jun 24, 2014 5:49 pm

Can I use the X-Rite ColorChecker Passport?
I was thinking of this chart because Is smaller and portable ;)
Thanks
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Gerhard Riesenhuber

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Re: Color Charts for Resolve 11

PostTue Jun 24, 2014 6:00 pm

Download resolve 11 public beta and see for yourself!
I think if it has the same patches it will work, just shot a close up ;-)
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Re: Color Charts for Resolve 11

PostTue Jun 24, 2014 7:06 pm

Luxwhite wrote:Can I use the X-Rite ColorChecker Passport?


Are we sure on this? I know we could shot closer, but what if we have a passport open that's say half the size of what's shown on the manual on pg497?Is there a size limitation to the color samples?

Also, I see most of the discussion here is matching multiple camera's color. I assume the color match palette will work for helping match color/wb from shot to shot where the lighting may be slightly different. Am I correct in that?
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Willem Timmersma

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Re: Color Charts for Resolve 11

PostTue Jun 24, 2014 7:21 pm

I have a x-rite Munsell colorchecker, can't wait to try this out!
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Perrone Ford

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Re: Color Charts for Resolve 11

PostTue Jun 24, 2014 7:42 pm

I got the X-Rite checker and the DSC Chroma DuMonde coming tomorrow. Ordered last week. We'll see how it works out.
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Re: Color Charts for Resolve 11

PostTue Jun 24, 2014 7:55 pm

If it works well, it would be an awesome time saver.
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quantumrider

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Re: Color Charts for Resolve 11

PostTue Jun 24, 2014 10:18 pm

question for you guys, as I am completely clueless about color grading.

I'm using Schneider variable ND on top of glassless circular polarizer mount and IR cutter, after adjusting the amount of light coming to the sensor, if I turn the whole Schneider filter on the circular polarizer mount I get varied amount of reflections as well as brownish cast, I am thinking this cast would get removed but is detail in skin tone loss permanent or can it also be recovered with color grading and especially with resolve this new color chart loading, which I am going to buy tomorrow...

could anyone give me and idea if there is a way to work with the variable ND mounted that way to minimize lost detail or does it simply have no impact and is corrected with color grading in Resolve?

And if that is so... I imagine that using this same setup on top of an old lens that is turning as you focus shouldn't matter as well?
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Re: Color Charts for Resolve 11

PostWed Jun 25, 2014 1:14 am

As listed in the manual, we currently support three charts.
1. X-Rite ColorChecker
2. Datacolor SpyderCheckr
3. DSC labs SMPTE OneShot

Other charts will not provide the correct data for a color match. We will review additional chart options later.
DaVinci Resolve Product Manager
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Marc Wielage

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Re: Color Charts for Resolve 11

PostWed Jun 25, 2014 3:18 am

quantumrider wrote:could anyone give me and idea if there is a way to work with the variable ND mounted that way to minimize lost detail or does it simply have no impact and is corrected with color grading in Resolve?

I'd shoot a test at various exposures and take it to an experienced colorist using Resolve, and watch carefully on a calibrated monitor. It's impossible to say what will work or not without tests. In general, though, once detail is removed from a shot, it's very difficult to get it back. Contrast... yes. Detail... not so much.
marc wielage, csi • VP/color & workflow • chroma | hollywood
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Gerhard Riesenhuber

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Re: Color Charts for Resolve 11

PostWed Jun 25, 2014 5:05 am

Peter Chamberlain wrote:As listed in the manual, we currently support three charts.
1. X-Rite ColorChecker
2. Datacolor SpyderCheckr
3. DSC labs SMPTE OneShot

Other charts will not provide the correct data for a color match. We will review additional chart options later.


From what I see the X-Rite ColorChecker Classic and Passport have the same arrangement of the patches, just in a smaller version. So I think it will work. Am I right Peter?
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Leo Baker

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Re: Color Charts for Resolve 11

PostWed Jun 25, 2014 3:49 pm

Hello,

I tested using thew X rite colour checker passport filling the majority of the screen form the Blackmagic cinema camera.

When I choose the X rite preset colour match from Resolve, I click match and all I get it a black and white grainy image after the adjustement has been made?

On the Reosolve 11 demo video posted a while ago, they had a square grid in Reoslve which you aligned onto the chart video clip itself then done a match. I cant see this so presume that feature was taken out?
Last edited by Leo Baker on Wed Jun 25, 2014 4:04 pm, edited 1 time in total.

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