Color grading web/tv commerical
COLORIST- SUDIP SHRESTHA
PIXEL HOUSE PRODUCTION DUBAI
For color grading services in middle east- Dubai, UAE
Please contact - www.pixelhouse.ae
Davinci Display for external monitor without using extra hardware
Davinci DIsplay
DaVinci Display is a virtual display for DaVinci Resolve. The main purpose of the application is to mirror the preview and allow to place it anywhere in your desktop. It enables you to have a picture preview in the external monitor without using extra hardware like Decklink or Unltrastudio.
How much does it cost?
US$ 25.00
Color grading Bahrain music videos
Recently I color graded four music videos for Bahrain media production company. You can share if you like the videos.
VFX & Color Grading- Pixel House Production Dubai.
Colorist - Sudip Shrestha.
Davinci Resolve Free Tutorial - Goat Eye View
Best Davinci Resolve Tutorial
If you are aspiring editor or colorist and looking for great resource to learn Davinci Resolve Software then we highly recommend Goat Eye View - Davinci Resolve tutorials.
Goat's Eye View, London-based post-production for film and television has produced a series of Davinci Resolve color grading tutorials by Daria Fissoun.
For more info - www.goatseyeview.co.uk
Best lut for vlogs - DSLR
Click on image to download the luts.
These luts for vlogger are perfect to make your footage more cinematic.
This LUT pack will be some base luts to get you a finished look or to a good starting point. It works with Adobe Premiere Pro CC, Final Cut X, Davinci Resolve and Assimilate Scratch.
Disclaimer
- We have designed a creative lut.
- It is calibrated for properly exposed and white balanced image in standard camera settings.
- You will have to manually adjust temperature, tint and exposure if encountered unexpected results.
- For any DSLR clips shot in Neutral picture settings.
- Developed using 3dlutcreator.
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 MOMENT TV SHOW SEASON 2 - FIRST OF ITS KIND IN ARAB WORLD
The moment is the first of its kind on the Arabic screen in terms of content and image.
About Moment TV Show - Season 2
The 15 minute tv show aims to address the ignorance of knowledge, by informing viewers about the latest scientific and technological advancements, simplifying them and explaining complex concepts in an entertaining and creative way.
The program targets all age groups and seeks to explore the future through the huge practical discoveries made by scientists and inventors in different countries of the world.
Program presented by Yasser Hareb
Watch Moment Season 1 if you have missed
MOMENT TV SHOW SEASON 2
DIRECTOR - AREF HAREB
PRESENTER - YASSER HAREB
DOP - VOLODYMYR USYK
SHOT - RED DIGITAL CINEMA
COLORIST - SUDIP SHRESTHA
30 EPISODES -
TIME TO PRAY - COLOR GRADING IN PIXEL HOUSE
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
Grading SAMA in Davinci Resolve 14
Short film "SAMA" graded in Davinci Resolve 14 Beta.
Shot in - Canon 5d mark 3 and Sony A7s Slog2.
Director of Photography - Peter Moussa
Colorist - Sudip Shrestha - www.pixelhouse.ae
Editor - Peter Moussa, Hind Anabtawi
Producer - Taline al Rasheed
Director - Hind Anabtawi
Color Grading Monitor in budget - HP Z31x DreamColor Studio Display
HP Z31X Dreamcolor Studio Display - US $3999.00
HP has now unveiled its latest additions to the DreamColor lineup, targeted at the professional colorist and editors.
The DreamColor Z31x features support for multiple working color spaces, and the display's color gamut covers 100% of sRGB, 100% of Adobe RGB, 99% of DCI-P3, and 80% of BT.2020. It can also handle multiple frame rates, including native support of 60 Hz, 50 Hz, and 48 Hz (which would be exactly double the 24fps frame rate of film).
The HP Z31x is designed with the features demanded by industry-leading digital creators: an integrated KVM (keyboard/video/mouse) switch, True 2K viewing, markers and masks, and much more. The built-in KVM of the HP Z31x can switch between two computers with a quick keyboard shortcut, allowing the user to share one display, keyboard and mouse between two computers. Many artists have two computers, a Linux® box with their animation/compositing app and a Windows® box with Adobe® Photoshop or internet access.
DAVINCI RESOLVE 14 - THE NEW JACK OF POST-PRODUCTION
What's New!
DaVinci Resolve 14 has hundreds of new features for editors, colorists and now, for the first time, audio professionals. The new playback engine dramatically increases responsiveness with up to 10x better performance for editors. You also get a whole new page with the full Fairlight audio post production tools that let you record, edit, mix, sweeten and master sound with full 3D audio space and up to 1000 channels. Colorists will find amazing new filters that include automatic facial recognition and tracking for quickly smoothing skin tones, brightening eyes, changing lip color and more! Plus, DaVinci Resolve 14 features revolutionary new multi user collaboration tools such as bin locking, chat and timeline merging that allow editors, colorists, and sound editors to all work on the same project at the same time! All these new features make DaVinci Resolve 14 is the world’s most advanced post production software!
DaVinci Resolve includes virtually every imaginable editing and trimming tool available, making it perfect for both creative and online editing! The new high performance playback engine, which is up to 10x faster, makes playback instantaneous and trimming more responsive than ever, even for processor intensive formats such as H.264 and RAW.
DaVinci Resolve has been used on more feature films and television shows than any other grading system! You get the industry’s most powerful primary and secondary correction tools, advanced curve editor, tracking and stabilization, noise reduction and grain tools, Resolve FX and more.
Download free Baselight STUDENT from filmlight
At NAB2017, FilmLight will preview their latest product, Baselight STUDENT, a software-only macOS application that answers the call from a growing number of facilities for trained Baselight colourists and assistants.
Baselight STUDENT is intended as the perfect learning tool, either for those wanting to train to become a professional colourist, to work on short personal projects, or for experienced practitioners moving up to Baselight from other grading solutions. While the new application is free, interested parties must register and be eligible to become a part of the Baselight Learning Programme to obtain a licence.
“We’ve had growing requests from freelance colourists and creative artists for this product,” explained FilmLight founder and CEO, Steve Chapman. “But we don’t just want to hand out a free piece of software and walk away. We want to work with training institutions and the creatives to make sure that they have the right resources and support to achieve their goals.”
Baselight STUDENT is a fully functional version of FilmLight’s Baselight colour grading software – with GPU rendering – that runs on any supported Mac platform. This includes support for an optional control surface, like FilmLight’s Slate panel, and even SDI monitoring for a full grading suite experience.
The principle limitation is that the application is restricted to render out only h.264 movies or JPEG images. With no watermarking, this means that Baselight STUDENT can be used to create academic-year projects within the limitation of the delivery formats. Along with conform capability, colour space handling, format editing and the ability to render both image sequences and movie files, this also makes the application the ideal tool to learn how to start a career as a professional colourist assistant.
FilmLight will initially talk to participants to assess their individual needs and then provide them with a free licence for the appropriate length of time, along with practice material they can use to get up to speed. FilmLight will also develop regular video tutorials and live best-practice webinars for members of the Baselight Learning Programme.
“We’ve reached pretty far with our team of in-house trainers but it just isn’t physically possible for everyone to access face-to-face training with FilmLight product specialists,” added Chapman. “With the growing popularity of the BLG metadata workflow, and the forthcoming release 5.0 across our product line, this grading software provides a unique opportunity for everyone to get a handle on Baselight’s advanced colour tools as used by top-notch artists everywhere.”
FilmLight will demonstrate Baselight STUDENT at NAB2017 on booth #SL3828 (24-27 April, Las Vegas Convention Center). Interested parties can register for updates at http://www.filmlight.ltd.uk/baselightstudent.
SONY BVM-X300 V 2.0 - De Facto Standard Monitor for Colorist
“This monitor has become the de facto “standard reference monitor” for mastering HDR content, primarily due to its stability, uniformity, and fabulous contrast ratio,” - Josh Pines, Vice President of Imaging Research and Development for Digital Intermediates at Technicolor.
BVM-X300 V 2.0
The New Sony BVM-X300 30-inch* 4K OLED master monitor is the flagship model in Sony’s professional monitor line-up. This high performance TRIMASTER EL™ OLED monitor includes unparalleled black performance, colour reproduction, quick pixel response, and industry-leading wide viewing angles. In addition, the BVM-X300 has enhanced interface and features for High Dynamic Range (HDR) live production, as well as a wide colour gamut conforming to DCI-P3 and most of the ITU-R BT.2020 standard*. By unleashing these superb features and qualities, this master monitor makes an ideal tool for a wide range of applications such as colour grading and QC (quality control) in the 4K production workflow.
Key Specs -
Colour space - (colour gamut) ITU-R BT.2020*2, ITU-R BT.709, EBU, SMPTE-C, DCI-P3, BVM-X300 Native*3, S-Gamut/S-Gamut3*2, S-Gamut3.cine*2
EOTF - 2.2, 2.4, 2.6, CRT, 2.4(HDR), S-Log3(HDR), S-Log 3(Live HDR), S-Log2(HDR), SMPTE ST 2084(HDR) , HLG SG1.2(HDR), HLG SG Variable(HDR)
PRICE - Approx US $17,995.00
MediaLight - for professional color grading suite
The MediaLight 6500K Bias Lighting System was developed to provide an accurate dim surround bias light solution for the most demanding home theatre and professional video applications. Proper bias lighting reduces eye strain and is a critical component of a color-critical viewing environment.
The MediaLight 6500K is the solution to this problem with a CRI greater than 90 and color temperature accuracy previously only found in fluorescent based bias lights.
The MediaLight 6500K is USB powered, comes with a PWM dimmer and remote control, and has an easy to use peel and stick adhesive backing that makes installation fast and easy. MediaLight strips can also be easily cut to size making them perfect for any size monitor.
The MediaLight 6500K can be powered directly from the USB port on DM series FSI monitors as well as most consumer televisions. It is also equipped with an AC power adapter for displays or applications where USB power is not available.
For more info :- MEDIALIGHT
Inspiring the world - Jill Bogdanowicz, Senior DI Colorist
JILL BOGDANOWICZ - Senior DI Colorist
Jill Bogdanowicz actually started her career as a colorist at an exceptionally early age. At the tender age of 18 she had already landed an internship in Kodak's telecine department in Rochester that lasted for two years. Highly educated, she attended the State University of New York at Geneseo as a fine arts major and (amazingly) a physics minor where she earned her BA degree.
Following that she attended art school in Italy at the University of Siena. She lives and loves art in her personal life through her hobbies painting with oils, water colors, and charcoal. And, of course, she has her own darkroom for black and white photography.
Bogdanowicz started her work as a digital colorist at Cinesite on the first full DI, O Brother, Where Art Thou?, for Joel and Ethan Coen and cinematographer Roger Deakins, ASC, BSC. She comes from a family of imaging experts — her father spent his career as a top-level scientist at Eastman Kodak’s Rochester, NY headquarters and her sister is also a successful digital colorist.
“The Bachelors (digital intermediate colorist) (post-production)
2016 Junior (TV Series) (colorist - 2016) (post-production)
2016 Ouija: Origin of Evil (digital intermediate colorist: Company 3)
2016 Birth of the Dragon (digital intermediate colorist)
2016 War Dogs (senior colorist)
2016 Ghostbusters (senior digital intermediate colorist)
2016 Roots (TV Mini-Series) (senior colorist - 4 episodes)
- Part 4 (2016) ... (senior colorist)
- Part 3 (2016) ... (senior colorist)
- Part 2 (2016) ... (senior colorist)
- Part 1 (2016) ... (senior colorist - uncredited)
2016 Teenage Mutant Ninja Turtles: Out of the Shadows (additional colorist)
2016 Miracles from Heaven (digital intermediate colorist)
2015-2016 Dr. Ken (TV Series) (senior colorist - 15 episodes)
- Ken at the Concert (2016) ... (senior colorist)
- The Wedding Sitter (2016) ... (senior colorist)
- Dave’s Valentine (2016) ... (senior colorist)
- D.K. And the Dishwasher (2016) ... (senior colorist)
- Ken’s Physical (2016) ... (senior colorist)
Show all 15 episodes
2015-2016 Agent Carter (TV Series) (senior colorist - 18 episodes)
- Hollywood Ending (2016) ... (senior colorist)
- A Little Song and Dance (2016) ... (senior colorist)
- The Edge of Mystery (2016) ... (senior colorist)
- Monsters (2016) ... (senior colorist)
- Life of the Party (2016) ... (senior colorist)
Show all 18 episodes
2016 Gods of Egypt (senior colorist)
2016 The Free World (senior colorist)
2015 Goosebumps (digital intermediate colorist)
2015 Blood & Oil (TV Series) (supervising digital colorist - 1 episode)
- Pilot (2015) ... (supervising digital colorist - uncredited)
2015 Blindspot (TV Series) (digital colorist - 1 episode)
- Pilot (2015) ... (digital colorist - uncredited)
2015/II Visions (digital intermediate colorist)
2015 Generosity of Eye (Documentary) (colorist)
2015 Sharing the Rough (Documentary) (colorist)
2015 Broken Horses (digital intermediate colorist)
2015 Last Knights (digital intermediate colorist)
2015 Mothers of the Bride (digital intermediate colorist)
2015 A Sort of Homecoming (digital intermediate colorist)
2015 What It Takes (Short) (colorist)
2015 Dragonheart 3: The Sorcerer’s Curse (Video) (digital intermediate colorist)
2015 All She Wishes (digital intermediate colorist)
2015 Wild Card (digital intermediate colourist)
2015 Cheerleader Death Squad (TV Movie) (digital colorist)
2015 Lumen (TV Movie) (digital colorist)
2014 Bluffing (Short) (colorist)
2014 Nanny Cam (digital intermediate colorist)
2014 The Brittany Murphy Story (digital intermediate colorist)
2014 Chasing Life (TV Series) (colorist)
2014 The Little Rascals Save the Day (Video) (colorist)
2014 Veronica Mars (colorist)
2014 The Grand Budapest Hotel (digital intermediate colorist)
2014 HR (TV Movie) (colorist)
2013 Mike Tyson: Undisputed Truth (TV Movie) (colorist)
2013 Beneath the Harvest Sky (digital intermediate colorist)
2013 Olympus Has Fallen (digital intermediate colorist)
2013 Dead Man Down (senior digital intermediate colorist)
2013 Manhunt: The Inside Story of the Hunt for Bin Laden (Documentary) (senior digital intermediate colorist)
2013 Stoker (digital intermediate colorist)
2013 Anatomy of Violence (TV Movie) (colorist)
2012/II Photo Finish (Short) (digital film colorist)
2012 La vida precoz y breve de Sabina Rivas (senior digital intermediate colorist)
2012 Trouble with the Curve (digital film colorist)
2012 The Expendables 2 (digital film colorist)
2012 Ted (digital film colorist)
2012 The Dictator (senior digital film colorist: Technicolor)
2012 Magic City (TV Series) (final colorist - 3 episodes)
- Castles Made of Sand (2012) ... (final colorist)
- Feeding Frenzy (2012) ... (final colorist)
- The Year of the Fin (2012) ... (final colorist)
2012/I A Thousand Words (digital film colorist)
2012 The Babymakers (senior digital intermediate colorist)
2012/I The Raven (digital colorist)
2012 LOL (senior digital film colorist)
2011 J. Edgar (digital film colorist)
2011 Hide Away (senior digital film colorist)
2011 Zookeeper (senior digital film colorist)
2011 The Hangover Part II (senior digital film colorist)
2011 Cinema Verite (TV Movie) (senior digital film colorist)
2011 Jesus Henry Christ (digital intermediate colorist)
2011 Source Code (digital film colorist)
2010 And Soon the Darkness (digital film colorist)
2010 The Big Bang (senior film colorist)
2010 Hereafter (digital film colorist)
2010 El Narco (senior digital film colorist)
2010 Grown Ups (digital film colorist)
2010 The Wolfman (digital film colorist)
2009 Invictus (digital film colorist)
2009 How I Survived the Zombie Apocalypse (Short) (colorist)
2009 Sorority Row (digital film colorist)
2008 Seven Pounds (digital film colorist)
2008 Gran Torino (digital film colorist)
2008 The Longshots (digital film colorist)
2008 Meet Dave (digital film colorist)
2008 Hancock (digital film colorist)
2008 Changeling (digital film colorist)
2008 Street Kings (digital film colorist)
2008 Superhero Movie (digital film colorist)
2008 Fireflies in the Garden (digital intermediate colorist)
2008 Welcome Home, Roscoe Jenkins (digital film colorist)
2007 Trick ‘r Treat (digital intermediate colorist)
2007 Along the Way (colorist)
2007 Things We Lost in the Fire (digital intermediate colorist: Technicolor Digital Intermediate)
2007 The Kingdom (digital film colorist)
2007 The Invisible (digital film colorist: Technicolor Digital Intermediates)
2007 Wild Hogs (digital film colorist)
2007 Norbit (digital film colorist)
2006 Smokin’ Aces (supervising digital colorist)
2006 Letters from Iwo Jima (digital film colorist)
2006 The Santa Clause 3: The Escape Clause (digital film colorist)
2006 Flags of Our Fathers (digital film colorist)
2006 All the King’s Men (digital film colorist)
2006 The Sentinel (digital film colorist)
2006 Scary Movie 4 (digital film colorist)
2006 The Shaggy Dog (digital film colorist: Technicolor Digital Intermediates)
2005 The Exorcism of Emily Rose (digital film colorist: Technicolor Digital Intermediate)
2005 The Dukes of Hazzard (digital film colorist)
2005 The Ring Two (video colorist)
2005 Hostage (digital intermediate colorist)
2004 Blade: Trinity (digital intermediate colorist: Laser Pacific)
2004/I Ray (colorist: Cinesite)
2004 She Hate Me (senior digital film colorist)
2004 Barbershop 2: Back in Business (digital intermediate colorist)
2004 Never Die Alone (senior digital film colorist)
2003 Connecting Dots (senior digital film colorist)
2003 The Last Samurai (senior digital film colorist)
2003 Gothika (digital intermediate colorist)
2003 S.W.A.T. (digital colorist)
2003 Klepto (digital intermediate colorist)
2003 A Guy Thing (digital opticals colorist - uncredited)
2002 Die Another Day (digital intermediate colorist)
2002 A Midsummer Night’s Rave (senior digital film colorist)
2002 September 11 (digital intermediate colorist - segment “USA”)
2002 Hart’s War (digital film colorist)
2001 Jay and Silent Bob Strike Back”
- IMAGE/INFO SOURCE - COMPANY 3, DIGITALMEDIANET.COM, EFILM
How to create professional Color Grading Environment?
SOLUTION
Colour of the wall - 18% GREY / SP50
Professional color grading rooms require careful attention in order to ensure colors are perceived accurately. SP-50 paint is carefully formulated to match modern color grading monitor performance and, therefore, optimize viewing conditions.
A typical setup will consist of painting the wall behind the monitors with SP-50. An ideal configuration will have all walls painted with calibrated paint. The ceiling can be non-reflective black or SP-50.
Why should you use it?
- Achieve an accurate color grading environment
- Calibrated monitors match from room to room
- Clients value a room built around SP-50
- Turns a normal room into a professional grading environment
- A small investment with great results
- Top facilities around the world build rooms this way
- Increase the value of your services
- Create a better working environment
Here are three options for building your room:
Good
- Wall behind monitors is painted with SP-50
- Ceiling is painted black or a really dark gray
- Other walls are painted white
- One SLS-01 light installed close to the ground and washing softly on the wall
- No other light sources, internal or external (windows)
Better
- Wall behind monitors is painted with SP-50
- Walls to the left and right of the console are painted with SP-50
- Back wall painted white
- Ceiling is painted black or a really dark gray
- Two SLS-01 lights installed approximately two meters apart, close to the ground and washing softly on the wall
- No other light sources, internal or external (windows)
Best
- All walls painted with SP-50
- Ceiling is painted black
- Two SLS-01 lights installed approximately two meters apart, close to the ground and washing softly on the wall
- No other light sources, internal or external (windows)
World's best colorist 2016- Steven J. Scott
17 November 2016 (Los Angeles, CA) The Hollywood Professional Association (HPA) announced the winners of the 2016 HPA Awards (#hpaawards) during a gala celebration tonight at the Skirball Cultural Center in Los Angeles. The HPA Awards recognize individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world.
Awards were bestowed in creative craft categories honoring behind-the-scenes artistry, and a host of special awards were also presented.
The winners of the 2016 HPA Awards are:
OUTSTANDING COLOR GRADING – FEATURE FILM
WINNER:
“The Revenant”
Steven J. Scott // Technicolor Production Services
OUTSTANDING COLOR GRADING – TELEVISION
WINNER:
“Gotham – By Fire”
Paul Westerbeck // Encore Hollywood
OUTSTANDING COLOR GRADING – COMMERCIAL
WINNER:
Hennessy “Odyssey”
Tom Poole // Company 3
2016 Best colorist in Hollywood - HPA awards
Hollywood's best colorist award :
Hollywood Professional Association (HPA) Awards nominations was announced on Tuesday for the awards in postproduction categories, which will be handed Nov. 17 at the Skirball Cultural Center.
2016 HPA Award nominees for outstanding color grading are :
Feature Film Category : Best Colorist
Carol”
John Dowdell // Goldcrest Post Productions Ltd
“The Revenant”
Steven J. Scott // Technicolor Production Services
“Brooklyn”
Asa Shoul // Molinare
“The Martian”
Stephen Nakamura // Company 3
“The Jungle Book”
Steven J. Scott // Technicolor Production Services
HOLLYWOOD MOVIE LUTS - DOWNLOAD FREE
HOLLYWOOD MOVIE LUTS- FREE DOWNLOAD
I receive a lot of requests to share the techniques I use to achieve the various bollywood/hollywood movie looks. Every week I will post tutorials and LUTs to achieve various grading styles. You can send me a sample clips to support me.
FREE DOWNLOAD LUTS
RETURN OF XANDER CAGE LUT - FOR LOG IMAGE
RETURN OF XANDER CAGE LUT - FOR LINEAR IMAGE
SGO MISTIKA 8.7 - HDR, VR & 8K
BEYOND COLOUR- SGO MISTIKA 8.7
The world’s most powerful, flexible and complete DI post-production solution. Mistika represents the cutting edge in DI finishing systems, offering the most modern, complete and flexible toolset available today for on-set, dailies, commercial, broadcast and feature film post-production environments.
SGO Mistika facility - THE LOOK - LONDON
Built on years of research, development and production experience, Mistika empowers facilities with new levels of creative power, performance and workflow efficiency, revolutionising what it means to deliver for a client. More than a simple grading system, Mistika is a complete online and finishing solution, sitting at the heart of the world’s most innovative facilities.
Hollywood movies graded in SGO MISTIKA
Mistika is a total post-production solution. With world class conform, online editing, VFX, colour-grading, stereoscopic 3D and delivery tools built in, Mistika stands as the creative foundation for any facility. All tools are instantly available, allowing creativity to be fully explored with speed and accuracy, guaranteeing the perfect end result for a client. And with the ability to jump seamlessly between tasks, Mistika removes the need to bounce media between functional areas within a post-facility; projects can be managed and completed within a single software package, without the need for time-consuming renders between production stages.
Mistika’s all-in-one platform blurs the divide between editorial, FX, colour and finishing, streamlining out-dated facility workflows and empowering operators with a new sense of artistic freedom.
To know more about Mistika Click HERE