Colorist in Dubai

Pixelhouse music video production "Sa’at Bansaha" by Magra B

PIXELHOUSE MUSIC PRODUCTION

Pixelhouse production, dubai has recently launched Pixelhouse music to promote local and international music artist, filmmaker and creative talents. Now, Artists and Labels can benefit from our services to promote their music. We work closely with independent musicians and recording companies to develop their multimedia projects.

We can manage the whole production process. Our team can work on a screenplay provided by the Customer. Otherwise, we can write a tailor made script. Our filming crew develops that into high quality video content that really matches the song.

We offers customized solutions to suit different music projects. We can handle a wide range of productions. Our video crew specializes filming singers, musicians, bands, or even orchestras performing. We supply locations, lighting kits, props, actors, and all the personnel and the equipment required to shoot music videos.

We also film live music events, concerts and shows. Our services include live streaming and broadcasting. Pixelhouse productions provides music video production in Abu Dhabi and Dubai, UAE.

Please feel free to contact us for any of our services. For more information please visit www.pixelhouse.ae

Credits :- Singer - MAGRA B Featuring - WALAA TAHA Cinematographer & Colorsit - SUDIP SHRESTHA Editor - EMSHAD AL HAQ 2nd Camera - HASHMI Production Assistant - PRASAD PRIYADARSHANA Camera Assistant - HAKIM LOMALA Art Director - SHRUTI OZA Sylist - SUSANNA OSEYAN Production Manager - AJMAL PM Music Composer - MAGRA B Lyrics - AHMED FARED Music Arranger - FEELO Sound Engineering - OMAR SALAH Song Mastering - JASSEM MOHAMED Recorded at - STUDIO AL WATAN Artistic Production - AHMED AL HARMAWEY

music video produciton dubai.JPG


Netflix color pipeline

NETFLIX Color Pipeline

Color Pipeline Requirements

It is important to ensure that images are stored in the widest possible color space until the very final stages of the color pipeline. This is easily achieved by using ACES, which keeps images in a high dynamic range, wide color gamut space, and allows the user to simply select the Output Transform for the target viewing display. This can also be achieved while working in the dominant camera color space with careful, pro-active color management and the use of conversion and viewing LUTs. Both methods are outlined below.

Color pipeline documentation must be shared with production and post-production ahead of the first day of photography. 

Non-ACES Pipelines (Camera Native + Show LUT)

  • Working Color Space ust be defined and communicated to all departments.
    • Examples: Sony SLog3-SGamut3.CINE, REDLogFilm-DragonColor, Panasonic V-Log-V-Gamut, CanonLog3-CinemaGamut
  • Output / Show LU must be defined and shared between all departments.

ACES Pipelines

  • ACES Versio (i.e. v1.0.2) should be defined and shared between all departments. 

On-Set & Dailies Colo

  • CDLs only
    • No secondaries, keys, or power windows to ensure compatibility in post.
  • Order of operations is critical
    • CDLs must be applied before Output Transform.
    • See diagram below.
  • On-set and dailies monitors must be calibrated to the Rec.709 / BT.1886 standard, or equivalent HDR standard (i.e. PQ / SMPTE ST.2084)
Color_Pipeline_v2.1_onset.png
Color_Pipeline_v2.1_SDR.png
Color_Pipeline_v2.1_HDR.png

PIXELHOUSE COLOR GRADING SUITE UPDATED

Sudip baselight.jpg

We have recently upgraded our setup to whole new level.
- workflow support upto 8k@60fps
- SDR and HDR workflow
- hd, uhd format for amazon prime, netfilx, imax video mastering
- DCP creation
- 360 VR workflow solution
- Stereo 3D support
- Davinci Resolve Color Grading Suite.

Pixelhouse Production, is equipped with one of the best teams in the industry. We thrive in providing quality work at competitive rates and on time. We have the complete setup as a one stop shop from pre to post production. Whether it is Camera rental, Animation, CGI, Color Correction, Editing or VFX we have the infrastructure to provide it. Peruse our site to know all about us.

www.pixelhouse.ae

Shooting and Grading STEEL SCULPTURES

STEEL HAS TO LOOK STEEL

Shot on Red’s Scarlet camera, we encountered a number of unique challenges from a dop point of view.  We had to use limited lighting due to 360 degree reflection from the steel sculptures.  

DOP & COLORIST - SUDIP SHRESTHA
PIXELHOUSE PRODUCTION

Before and After grading 

Color Grading a tv show SADEEM in Pixelhouse

Sadeem is a 30-episode documentary that aims to inform viewers of the successes of humanity in all areas of life and how their efforts have enabled them to uncover some of the mystery of the universe, focusing on the giant step towards Mars, United Arab Emirates.

Color Grading Sadeem TV show

Shot in Sony FS7
Colorist - Sudip Shrestha
PIXELHOUSE PRODUCTIONS, UAE

Colour grading is enhancing the raw image that was shot on film or digital media to present to an audience on different formats. It is the bridge between the camera and the screen. There is a technical translation aspect to it, as well as allowing for a creative side of the process. The cinematographer has a chance here to enhance the image for the audience to enjoy the intended vision of the film or program. Colour grading has replaced the ‘colour timing’ process that was previously done in a film laboratory.

The role of the colourist is to help enhance that image and to be the cinematographer’s ‘hands’ by understanding his vision and making sure the audience will see the program or film in the way the cinematographer intended it be viewed. The colourist has a responsibility to convey the cinematographer’s intent. Obviously we (colourists) give creative input and have the technical know-how to carry out this process.

TIME TO PRAY - COLOR GRADING IN PIXEL HOUSE

Short film "TIME TO PRAY" - Color grading in Pixelhouse Production, Dubai, UAE

Short film "TIME TO PRAY" - Color grading in Pixelhouse Production, Dubai, UAE

Shot in Canon 5D Mark 3

Director of Photography - Sara Munif
Colorist - Sudip Shrestha - www.pixelhouse.ae
Editor - Dania Mousa
Producer -Al Hanoof Al Jasmi
Director - Ahmed Al Kuwaiti

HDR Color Grading Solutions

HDR COLOR GRADING FACILITY IN DUBAI, UAE

HDR requires high contrast with deep blacks & bright whites, not just brighter pixels. Simply making a scene brighter isn’t the solution and can skew the creative intent of a scene. 

Different types of content (theatrical, live sports, local news, and music videos), benefit from different approaches. An old TV show (vintage color correction) does not require the same level of remastering for HDR that a new theatrical release would require. Creating content now in HDR provides greater flexibility, even if the final delivery format is not HDR. Expanding the dynamic range of content to improve the experience while preserving artistic intent is what we do best. Our services include a range of solutions for both existing libraries and new content creation from camera original RAW content.

HDR color grading services are available at Pixel House post production facilities in Dubai, UAE. Projects will be graded to the HDR specifications set forth by the UHD Alliance by colorist Sudip Shrestha.

Mail : Sudip@pixelhouse.ae for booking a schedule.

Color Grading in Davinci Resolve 12.5 - Dubai

Hollywood's most powerful color corrector!

DaVinci Resolve 12.5 combines professional non-linear video editing with the world’s most advanced color corrector so now you can edit, color correct, finish and deliver all from one system! DaVinci Resolve is completely scalable and resolution independent so it can be used on set, in a small studio or integrated into the largest Hollywood production pipeline! From creative editing and multi camera television production to high end finishing and color correction, only DaVinci Resolve features the creative tools, compatibility, speed and legendary image quality you need to manage your entire workflow, which is why it is the number one solution used on Hollywood feature films.

What’s New in DaVinci Resolve 12.5

DaVinci Resolve 12.5 is a massive update with over 1,000 enhancements and 250 new features that give editors and colorists dozens of new editing and trimming tools, incredible new media management and organization functions, new retiming effects, enhanced keyframe controls, on-screen text editing, new ResolveFX plug-ins and much more! The re-designed node editor is easier and more intuitive to use, there are new HDR grading tools, vastly improved noise reduction, lens distortion correction, a completely redesigned Deliver page for outputting projects and a new Fusion Connect command for round tripping visual effects shots between DaVinci Resolve and Fusion!

The world’s most advanced color grading tools.

DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci Resolve features unlimited grading with the creative tools colorists need and incredible multi GPU real time performance. That’s why DaVinci is the name behind more feature films, commercials, television productions, documentaries and music videos than any other grading system!

Contact Us to visit our Color Grading Suite in Dubai, UAE.

 

PRELIGHT - Free on set color grading tool from Filmlight

FilmLight introduces Prelight, a freely licensed Mac OS X application designed to help DoPs and other professional creatives to author and review looks in pre-production and on-set.

Prelight’s simple-to-operate interface makes it a breeze to check how shots appear with looks or LUTs applied, and to import or add grading decisions that can be passed downstream. Images can be imported from almost any camera, and graded references exported in almost any format.

“What makes Prelight special is that it incorporates the full Truelight Colour Space technology you find in other FilmLight products,” said Peter Postma, Managing Director, FilmLight Americas. “So regardless of the camera, whether RAW or monitoring output, whether HDR or laptop screen, looks are applied consistently and grading decisions remain relevant even for final delivery.”

Prelight complements the FilmLight products FLIP and Daylight, which already provide full on-set and near-set grading capabilities. Many directors, working with a colourist early on or not, would just like more control over how the shot is going to look, and to be able to communicate that easily and visually to post-production.

The creative team can enhance the grade with simple but familiar tools, to create new reference stills as well as 3D LUTs or BLG (Baselight Linked Grade) files. With the render-free BLG workflow, the grades are non-destructive too: additional BLG metadata is created and attached to the stills. And the free licence for Baselight for Avid or NUKE, which makes it free to read and render BLG files, makes this workflow available to productions on any budget.

An extended licence can be purchased so that when these files arrive in the Baselight post house, or on a Daylight system for near-set dailies, the metadata is attached automatically and the BLG file becomes the basis of the grade, which can then be refined right up to the moment the deliverables are created. The additional licence also includes enhanced logging and monitoring capabilities.

As well as fitting in naturally with the BLG workflow, Prelight can fit into any post-production workflow because of the ability to export standard ASC CDL lists and third-party formatted 3D LUTs.

Integration with cameras, such as the ARRI Alexa SXT, means that Prelight can simplify the colour workflow dramatically by enabling fully automated metadata support all the way from the start of the production chain. Prelight can also interface to the majority of professional LUT boxes or monitors for real-time viewing.

“The production and post-production community is looking for ways to customise their workflows to guarantee the best scope for creativity,” Postma added. “Prelight is another exciting option to give simple but direct and reliable control. We are happy to offer the core features of Prelight, including the full grading and LUT toolkit, free, with very low cost options for connectivity and advanced metadata export.”

360 degree video color grading in Dubai

What is a 360 video?

A 360 video is created with a camera system that simultaneously records all 360 degrees of a scene. Viewers can pan and rotate a 360 video's perspective to watch it from different angles.

These videos have a “360 video” label in the lower left-hand corner and are viewable on computer, iOS devices and Android devices.

360 videos on computer

When watching a 360 video on a computer, the viewing angle is changed by dragging with the mouse.

Make sure you're using the latest version of your web browser (ex. Chrome, Firefox). 360 videos on Facebook aren't viewable on Safari or Internet Explorer.

360 videos on mobile

On iOS and Android mobile devices, the viewing angle of a 360 video is changed by dragging a finger across the screen or by navigating with the device.

Make sure you're using the latest version of the Facebook app. If you're using an iOS device, it should be an iPhone 4S or newer or an iPad 2 or newer. The iOS device also should be running iOS 7 or later. If you have an Android device, make sure you're using Android 4.3 or later.

Color Grading 360 degree video in Dubai

 

Learn about Scratch 8.4 in Dubai.

SCRATCH – the world’s fastest, most interactive creative platform. Enabling artists and the technology of artistry for realtime dailies, color, compositing, and finishing workflows since 2004.

Any format, any resolution. HD, 3D, VR, 2k, 4k, 8k and beyond. Windows or Mac. Desktop or notebook.

A palette for the artist. A flexible platform for the technologist.

Learn Assimilate Scratch with Sudip Shrestha on site. 

Click Here to know more about Assimilate Scratch.
 

Click here for trial Registration of world best colour grading and finishing software, Scratch.

Canon C300 Mark ii in Dubai Cabsat 2016

EOS C300 MARK II - KEY FEATURES

  • 8.85MP Super 35mm Canon CMOS sensor.
  • Shoot 4K at up to 410Mbps/10-bit with the Canon XF-AVC H.264 codec for easy 4K integration into existing workflows.
  • 15 stops of dynamic range with Canon Log2.
  • Simultaneously record 4K to dual internal CFast 2.0™ cards*, 2K/FHD proxy files to SD card and output 4K RAW to external devices.
  • Concentrate on the action with improvements in Dual Pixel CMOS AF, Face Detection AF and Auto White Balance.
  • High-sensitivity, low-noise images up to ISO 102,400.
  • Sensor readout speed is improved, producing even lower rolling shutter distortion.
  • Support for BT.2020, Canon Cinema Gamut and DCI-P3 colour space
  • 4 channel 16/24-bit audio.
  • Huge range of compatible lenses, servo zoom support and service changeable PL mount option.