How to make your videos look beautiful?

Make it stand out

Whatever it is, the way you tell your story online can make all the difference.

Lights, camera, color! As a video color grading studio, we know that capturing beautiful footage is only half the battle. The other half is making sure that footage looks just as stunning on screen. That's why we're committed to making our color grading process as set-friendly as possible.

Here are a few ways we make sure our color grading process works seamlessly with your set:

1. Flexibility: We understand that video shoots can be unpredictable, with lighting conditions changing from shot to shot. That's why we offer flexible scheduling options and can work with you to accommodate any last-minute changes to your shoot.

2. Real-time feedback: We can provide real-time feedback on set to make sure that the footage you capture is optimized for color grading. This can save you time and money in post-production, and help you achieve the look you want.

3. Collaboration: We work closely with you and your team to ensure that our color grading process is seamless and fits within your workflow. We'll be there every step of the way to answer any questions you have and make sure the final product exceeds your expectations.

4. Portability: Our color grading equipment is designed to be portable and can be brought to your set if needed. This can save you time and money on transportation costs, and help keep your project on schedule.

At our video color grading studio, we're dedicated to making sure our process is set-friendly and works seamlessly with your production. We understand that every project is unique, and we'll work with you to create a customized solution that meets your specific needs. So why wait? Contact us today and let's create something amazing together!

Created using ChatGPT

Netflix drama released Shadow - digitalcolourist - Sudip Shretha

Arabic Drama Shadow - Color graded by Sudip Shrestha (Digitalcolourist)

Released in Netflix on 18 oct, 2022 worldwide.

Camera setting for Dolby Vision Mastering

What is dolby vision?

Original Camera Sources

For mastering first run movies in Dolby Vision, the original camera files or original film scans are ideal as modern digital camera systems as well as negative film stock can capture 13+ stops of dynamic range.

The exposure and lighting decisions made on set will determine the level of dynamic range and usable color gamut for a Dolby Vision HDR master.  While it is possible to stretch the dynamic range of the content in post-production the best results are really defined by the HDR image that is captured in the acquisition phase.

Digital camera sources:

For any digital acquisition we recommend using either RAW recording (no de-mosaicing / de-bayering performed in camera), or if not available or applicable using a compressed source format in its lowest available compression and highest quantization (bit depth) using a “log style” OETF (Opto Electrical Transfer Function). Intra-frame codecs should be preferred over Long-GOP codecs.

Assuming a correct exposure, the following original sources can be considered as minimum requirements for Dolby Vision mastering.

Capture Format

• RAW - ArriRaw, RedCode, Sony X-OCN etc.

• Compressed - XAVC-I, ProRes or other I-Frame only formats

Quantization (min.)

• 16bit linear

• 10 bit log

OETF - Capture transfer function

• LogC, S-Log,3 Log3G10, etc.

Color Space

• Camera native color space - S-Gamut3, REDWideGamutRGB, Panasonic V-Gamut, etc.

No looks, color corrections or other transforms should be baked into the original camera files. Some cameras’ default color space is set to Rec.709 or sRGB. This color space should not be used for recording. Record in the camera’s native color space, instead.
 

Mobile media sources:

Depending on the budget, story, or when a small, flexible camera is required, creators might want to incorporate content captured by a mobile phone, like the iPhone 12 as well. Using phones to capture real-life situations also often has the advantage that those being filmed are more likely to act naturally than if a larger camera and recording equipment are being used. However, if you are in any doubt about whether a phone should be used as part of your production, as with any other camera selection, this should be checked with those who are commissioning the content you are producing. 

The Dolby Vision iPhone recording specifications (Profile 8.4)

Codec/Format:

• HEVC Main10 video in Apple Quicktime container (.mov)

HDR format:

• Dolby Vision with HLG base layer (Profile 8.4)

Transfer Characteristic:

• HLG (ITU-R BT.2100-1)

Color primaries:

• BT.2020

Chroma sampling:

• 4:2:0

Bit depth:

• 10 bit

Film sources:

Scanning Format

• ADX OpenEXR

• dpx

Quantization (min.)

• 16bit linear

• 10 bit log

Source - professionalsupport.dolby.com/

Color Managed Workflow for NETFLIX in Resolve: ACES

This is one of the many ways in which Davinci Resolve can be configured in order to be able to deliver a Non-graded Archival Master (NAM) to Netflix .

Project Settings

Create a new project, go to the Project Settings > Color Management panel. The first thing you will want to change is the Color Science settings to ACEScct. If you don’t have a specific reason to use ACEScc, it is recommended to use ACEScct. 

ACES Version will default to v1.1 which includes updated Output Transforms for HDR output color spaces. Generally, we recommend using the latest ACES version which, as of today, is v1.1.

Set your ACES Output Device Transform to match the calibration and capacities of your video display:

• For SDR, this will be Rec. 709, which corresponds to a monitor calibrated to Rec. 709 / BT.1886 with 100 cd/m2 peak luminance.

• For HDR, this will be P3-D65 ST.2084 (PQ) with the corresponding nit level your monitor is capable of. Today, most commonly, this will be P3-D65 ST2084 (1000 nits).

• Make sure the ACES Mid Gray Luminance setting stays at 15.00 throughout the whole grading and finishing process.

• Process Node LUTs will only apply in the event that you are loading LMTs as LUTs to the project. The setting will vary depending of those LMTs were generated.

An important note is that when the ACES Output Device Transform is set to None, Resolve will output ACES images a.k.a. ACES 2065-1 or ACES Linear (AP0).

Bringing in Clips

By default, for RAW clips, Resolve will automatically debayer images into ACES and you should see a normal looking image. 

For non-RAW formats (such as DPX, ProRes, XAVC, etc), Resolve may not automatically detect the color space, so you will have to manually select your ACES Input Device Transform (IDT).

You can do this by right-clicking on a shot or group of shots in the Media Pool, as shown in the screenshot below. 

Example: you shot XAVC on the Sony F55 using the SLog3-SGamut3.CINE color space, and bring these clips into the Media Pool. Resolve is not able to recognize this based on the metadata, so you must manually select “Sony SLog3 SGamut3CINE” from the ACES Input Device Transform dropdown list.

You may also set your Project to default to a specific ACES Input Device Transform. This may be handy if the majority of your clips will be in a common color space and cannot be auto-detected. 

TIP: Sorting your Media Pool by “Format” or “Video Codec” columns can help batch-assign IDTs to groups of clips highlighted at one time. See screenshot below for an example.

Rendering

When you are ready to render your deliverables, open up the Deliver page.

IMF Master, Video Display Master (VDM) or Quicktime references

When rendering images in display color spaces, such as those required for IMF Master deliverables, a VDM source for IMF creation, or Quicktime references, make sure your ACES Output Transform is enabled and matches the intended display type.

Non-Graded Archival Master (NAM)

For the Non-Graded Archival Master (NAM), make sure you turn off the ACES Output Transform in order to output ACES AP0/Linear data as shown below.

NOTE: For any interchange of images between facilities or softwares in an ACES pipeline, such as VFX plates, the following method should be used.

Ensure you have the following render settings:

NOTE: The setting ‘Force debayer to highest quality’  will automatically select what Resolve considers to be the highest debayering quality for each RAW file on the timeline. This may differ from your own findings. Please feel free to select your preferred debayering algorithm instead, and untick this option if you prefer.

Note: Resolution may vary depending on the project’s framing, but should be at UHD resolution (3840 x 2160) or higher.

1  Since the ACES color space is Linear, the ACEScct and ACEScc spaces were defined as logarithmic (log) working color spaces, so that traditional color correction tools would feel similar to other log color spaces.

2  Rec.2020 is not used for Netflix deliveries at this time.

3  half = 16-bit half-float

4  No Output Tranform will output ACES Linear aka. ACES 2065-1 (AP0).

Creating IMF for Netflix in UAE

What is IMF?

The Interoperable Master Format (IMF) is a family of standards for implementation of CMW. Published by SMPTE, the ST 2067 family defines methods for interchange of a wide variety of audiovisual content, including all common television and cinema formats. The promise of IMF is reliable CMW, assembled from off-the-shelf components and local requirements.

If you have IMF Delivery for Netflix please contact us.

Digital Cinema Colorist Showreel

Digital Cinema Colorist Showreel

Color grading Showreel