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Kendy Director | STILLS. I built this picture style myself with the PS Eos Utility and I used it on several shortfilms : Hotel Manufacture Campaign/ Eva Nextdoor / Real Fighter / A World Without Bird My Picture Style is selling at 9 Euros. Customer may pay through PayPal ID: Kindly notify me with email after payment done and I will send over the picture style to you asap. Once uploaded in your EOS Canon Device (5D/7D/550D/60D/600D...), set your KELVIN to TUNGSTEN to get the best result.

In the picture below you can obtain my colorgrade just by using the basic Curves tool in After Effects/Premiere/FCP... Keep in mind that every curves setup has to be different and optimized according to the light of your footage. More. Hipster Hike. 5 Basic Things a Director Should Know When Working With a Colorist. Technicolor colorist Roy Vasich, whose credits include True Blood, Eastbound & Down, Scandal, Togetherness, and August: Osage County, shares tips for beginning directors about to work with a colorist. For emerging filmmakers, having a basic understanding of what a colorist does and how to be prepared for your color finishing sessions helps to ensure you get the exact look you want for your project.

This knowledge comes into play from the moment the director conceptualizes the vision for the project, to communicating with their cinematographer on set, all the way through the final steps in the post-production process. Here are five things to keep in mind to ensure a healthy collaboration. 1. Know the colorist's role At the post-production stage, a colorist is going to work you with and the DP to address the look of the show or film – the color, the density, the luminance levels. 2. "Work sessions take place in a dark room; your eyes can play tricks on you. " 3. 4. 5. Easy grading: How to get a filmic look! (Tutorial) Color Correcting Video with VSCO Film filters » Boyte Creative {the blog} I am not associated in any way with the team at Visual Supply Company. I was not paid to write this, I simply have a love for the product, the results that can be had and would love to share the steps I took to use this color grading solution.

Here is the final cut from the video (above) in the screen cast tutorial. Please note, this is not a quick process, and the process is exceptionally similar regardless of NLE, just replace the word Project Manager in Premiere with Media Manage from FCP 7 and you’re golden. Also, keep in mind, this was my workflow with the beautiful VSCO Film filters, there might be other more effective ways of getting in and out of Lightroom 4 (as it’s just on a the brink of being discovered as a killer/fun color correction solution). Step one :: Cut entire film and lock edit. Step two :: Export entire project using Project Manager (Project > Project Manager).

Step three :: Import clips/project files into Lightroom 4. Step four :: Edited clips using VSCO Film. Levels and Curves and Color Correction Oh My! A couple of weeks ago I raved about the “gateway to goodies” plugin application FxFactory by Noise Industries. Today I want to quickly give my two cents on one of the plugins you get can via FxFactory – Nattress’ Levels and Curves. (Disclaimer: I was granted an NFR code of this program so that I could perform this review.)

As the name suggests, this plugin is used to adjust the levels and curves of your footage, essential for color grading and correction.What are “levels and curves” you ask? Put simply, curves are adjustments you can make to luma (light/exposure) and color (RGB) levels in your highlights, midtones and shadows. Levels relate to adjustments you can make to whites, blacks and gamma in your footage. I use Final Cut Pro X (FCPX), but the plugin is also available for use in Adobe Premiere Pro, After Effects, Motion and Final Cut 7. If you’re an FCPX user, you’re probably already familiar with Final Cut’s new color board. Shooting Flat Now let’s look at the various plugins.