Music Video color graded by Sudip Shrestha
Mohamed Ramadan, is an Egyptian no.1 actor, singer, rapper, dancer and producer. His recent music video ya habibi reached 101 million+ views in record fastest time.
Music video directed by legendary director Hossam L Hossainy.
Directed by - Hossam L Hossainy
Creative director - Islam “ISMO” Mohamed
D.O.P - Bobby Dhillon
Editor - Islam Hassan
Colorist - Sudip Shrestha
color graded by Sudip Shrestha
Nigerian blockbuster, “A Soldier’s Story 2- Return from the Dead” has become the first Nollywood film to be distributed by a major American studio (LIONS GATE).
Color graded by Sudip Shrestha from Nepal.
“ A Soldier’s Story 2- Return from the Dead” is a sequel to the award-winning film, “A Soldier’s Story”. Starring
Academy Awards Nominated Hollywood Actor- Eric Roberts, the film which was shot in Nigeria also stares Nigerian Actors Daniel K Daniel, Somekele Idalamah, Linda Ejiofor, Tope Tedela and a host of other household names. It was produced by Martin Gbados and Directed by award-winning director, Frankie Ogar.
Lionsgate through their affiliate, Strawberry Fields Entertainment, believes that Nollywood is a major playing industry in the film space and this deal only goes to confirm it.
Sudip Shrestha (Colourist)- Nollywood filmography
MISS TEACHER (2015) - CHIKA IKE
A Soldier’s Story II - return from the dead (2021)
Grading for vfx heavy projects is different than regular color workflow.
Key steps to follow -
1 ) Conform your edit in timeline and export the LOG to Linear Rec709.
NOTE- Fix the blue/green chroma if required to assist the chroma keying for vfx.
2) Set your look according to the vfx elements working closely with art direction/d.o.p/director for primary and secondary color grading.
3) Get file VFX comp and alpha mattes of all the shots for grading post VFX.
4) Final color grading.
(Choose any formats .exr or apple pro res 4444 for the workflow.)
Machine learning for live-action, scene-depth reclamation. Color correct and apply effects based on camera distance.
Use machine learning to generate 3D surface-orientation bump maps for color adjustment, relighting, and retouching.
GPU-accelerated rack defocus effect. Extract alpha mattes using machine learning with a new human face region Semantic keyer.
Isolate skies with a single click to remove clouds, add treatments to sky backgrounds, and more.
To know more about these features try - Autodesk Flame now.
Apple M1 chip with 8‑core CPU, 8‑core GPU, and 16‑core Neural Engine
16GB unified memory
1TB SSD storage
Gigabit Ethernet
In-Plane Switching (IPS) Technology
HDMI + DisplayPort + USB Type-C Inputs
2560 x 1440 WQHD Resolution
1500:1 Static Contrast Ratio
27" In-Plane Switching (IPS) Panel
DisplayPort | HDMI | DVI-D | USB Type-C
2560 x 1440 Native Resolution
1000:1 Typical Contrast Ratio
UltraStudio 4K Mini is a portable Thunderbolt 3 capture and playback solution packed with the latest broadcast technology! You get broadcast quality 8 and 10‑bit high dynamic range capture in all formats up to 4K DCI at 60p, and 12‑bit high dynamic range capture in all formats up to 4K DCI at 30p. Plus, the built in SD card reader lets you mount camera media directly on your computer so you can start editing immediately!
Multi Software support
3 x High-Resolution Optical Trackballs
9 x Programmable Knobs with Push Reset
9 x Programmable Function Buttons
Large Ice-White OLED Display Area
This is very basic requirement for cheapest 4k color grading solution. Price may vary according to the region.
Neat Video is a powerful video editing plug-in designed to reduce digital noise and other imperfections. It is an extremely effective way to clean up video from any source including video cameras, digitized film, TV tuners and others.
The post-production industry’s most complete plugin collection delivers nearly 350 creative effects in 20 categories, 4000+ presets, built-in Academy Award-winning Mocha planar tracking and masking, a Beat Reactor that drives VFX to music, and the FX Browser. Busy editors and artists rely on Continuum to get the job done.
FilmConvert is a film emulation plugin that can take Log-based video and transform it into full color corrected media with a natural grain similar to that of commonly loved film stocks. Currently, Nitrate works with Premiere and After Effects, with an OFX version for Resolve.
If you want to review any plugins please comment below.
New features developed to promote control, creativity, confidence and collaboration
FilmLight today announced Baselight 5.3, the latest release of the company’s renowned colour grading platform.
This release includes many improvements to boost control throughout the grading process, such as Partial Conform and T-CAM v2, with even more new features that keep the system at the cutting edge of creativity, including Lens Distortion and an expanded Look Library. New features to improve confidence and collaboration with other departments are also included, such as improved trackers, wildcards for sequence versioning, improved export facilities, and more.
Conform
Baselight 5.3’s powerful Partial Conform feature allows you to conform new media to existing shots in the timeline, so you can piece together complex conforms by loading a single edit list and then conform parts separately using different criteria. Combined with the robust filtering in Shots View, it provides a much faster way to update media for multiple shots.
Input/sequence versioning, introduced in a previous release, provides massive time savings in quick-turnaround VFX jobs where new versions are constantly arriving. And with Baselight 5.3, you have even more flexibility with the introduction of wildcards. Wildcards allow you to work with versions within date folders, or with more complex file and folder naming strategies. Baselight can even detect dates automatically.
Colour
Baselight 5.3 sees the introduction of a new release of T-CAM, FilmLight’s display rendering transforms based on emulating human perception. T-CAM v2 improves appearance matching between viewing conditions, provides better shadow definition and improved skin tones, and minimises noise in underexposed images.
The new Lens Distortion feature allows you to correct – or apply – lens distortion based on analysis of the image or by using presets for common industry lenses. This is useful for preparing plates for VFX, but it can also be used for creative grading effects too.
And if you need to perform operations like tracking or Paint on distorted plates, you can place any Baselight grading stack in a Lens Distortion ‘sandwich’ to modify the undistorted image before re-applying the distortion.
The new LUT operator allows you to set input and output colour spaces for each LUT. You can also apply LUTs embedded in ARRI and RED camera files, and even use Baselight’s Media Import Rules so that this happens automatically whenever you add these types of camera file to your timeline.
We’ve also expanded the Baselight Look Library, adding ENR and other classic film and digital looks that preserve dynamic range for modern scene-referred and HDR workflows.
A host of other improvements have been made to colour control throughout Baselight, including the new Gamut Alarm, which allows you to pin-point out-of-gamut colours based on your current settings, and the Processing Format functionality, where you can specify that all image processing happens at the working format resolution for consistent results with spatial shaders and OFX plugins that behave differently when applied to different image resolutions.
Efficiency
Baselight 5.3 takes Baselight’s already powerful trackers and improves on them even more. Featuring a simplified user interface, all trackers allow you to create planes separately and easily reuse them, enter custom names for easy identification, and filter motion data for the smoothest track possible.
Baselight 5.3 also introduces web browser-based system management. Access system administration information directly via a browser, where you can view and amend jobs, the operations queue, licences, diagnostic information and more. The web interface is built using the FilmLight API, the new programming interface to Baselight and Daylight designed to automate otherwise time-consuming tasks.
ARRIRAW MXF files are now trimmed – either during Consolidate or copying via FLUX Manage – to create new MXF files, retaining any audio tracks in the source media. This includes ARRI MXF files that use Apple ProRes.
Delivery
Baselight’s powerful export functionality for reports, LUTs and other metadata has also been boosted. An improved UI makes batch export file naming easy, and the new Export Preview allows you to view a list of the files that will be created. All exports are now processed in the Operations Queue, too, so you can export without locking the user interface, or process exports on another system such as a FLUX Store.
In this latest release, Baselight also introduces hardware-accelerated H.264 and HEVC encoding, and native support for non-Latin text – such as Chinese, Japanese and Korean – throughout the application, in filenames, metadata, counters, burnins and even in PDF reports.
The latest release is available to download now on the FilmLight web site for existing clients. Beta releases of Daylight 5.3 and Baselight Editions 5.3 are also available on request for interoperability with Baselight 5.3.
If you are looking to book freelance baselight colorist in UAE or Middle East - Please contact me digitalcinemacolorist@gmail.com
Digital imaging technicians (DITs) help Director of photography D.O.P with the digital knowhow of the camera.
They advise the DoP on contrast, brightness and the effects of under or over-exposure, as these constraints are different from shooting with film. They also advise the camera crew on shots in progress, reporting any soft focus, framing issues or unwanted reflections and shadows.
They do quality control checks on the recorded material. Most digital footage on professional shoots is shot raw, which means it has no colour baked in and the colour is applied in post-production. DITs apply colour to the raw footage to give an idea of how it will look. And they might be asked to put it into a viewable file so the director can watch it on a tablet on the way home.
Key responsibility
Responsible to gather media and rushes from camera, copy and backup.
Check footage for issues & file corruption.
Convert to editable proxies and data management.
Camera Setup and LUT
VFX workflow management
Audio sync
Now you can hire a DIT directly from www.digitalcinemacolorist.com
We provide basic and advance DIT package to fit your production in all cities of UAE. For more information.
Most people think that working as a DIT is just dumping files but a lot more goes into it. It’s a lot more extensive, including applying Look Up Tables (LUTs), setting up the post-production workflow and providing quality control for the shoot.
“Additionally, when backing up footage and creating proxies, there are a lot of steps. You start the process on one batch of files, then later a separate batch when a new media card arrives. Most people don’t understand the juggling act that working as a DIT is.”
Color graded the most watched youtube song of the year 2020 in Middle east.
Mega Hit of year 2020 by Mohamed Ramadan (MR1), the Egyptian actor and singer and carried by a euphoric French pop chorus sung by Congolese rapper Maitre Gims.
Directed by - Hossam L Hossainy
Creative director - Islam “ISMO” Mohamed
D.O.P - Bobby Dhillon
Editor - Islam Hassan
Colorist - Sudip Shrestha
I have decided to give free color grading tutorial service to all my website visitors. You can request for any kind of color grading tutorial request in any of the following color grading softwares (Assimilate Scratch, Filmlight Baselight and Davinci Resolve. You can ask me any question related to color grading. I will try my best to reply within 24-48hrs. The tutorial will be released in my personal youtube channel and instagram accounts. You can support by subscribing and following my accounts.
Source- colorlab.ai
Colourlab is an application based on Artificial Intelligence to help match dailies or multi cameras/scenes.
Colourlab Ai flips the grading process on its head by essentially removing the manual part which requires extreme skill and technical expertise, and puts the focus purely on the creative. It has the potential to save filmmakers hours or even days of work, with the ability, in one instance, to process and color match. It can deliver consistent high-quality results across all shots.
My thoughts on Colourlab.ai as a digital cinema colorist -
Its a game changer.
I would like to see it integrated within the color application in Assimilate scratch/Davinci resolve/baselight.
For more info please visit - colourlab.ai
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 .
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).
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.
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.
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.
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).
It’s time for work from home and now clients can attend color session via live streaming. The new feature in Assimilate scratch can change the industry forever and hope the technology evolves.
• Stream the current timeline out to Facebook, Youtube, or a custom streaming server
• Capture other live rtmp streams to comp into your own live stream
• Share projects between multiple systems in a single facility on shared storage
• SCRATCH online project repository to work with multiple artists simultaneously on a single project from places all over the globe.
• SCRATCH remote: connect multiple SCRATCH systems from all around the world for a creative grading session.
• Stream SCRATCH output directly to a media server for others to live view your creative work.
• Publish to SCRATCH Web, Facebook, Vimeo or YouTube to share content online and in a secure manner for review and approval.
• Sync Player: slave one or more SCRATCH players and (remote) control playback from the master system.
For live color grading session - contact me.
30 Episode Drama Series - color graded by Sudip Shrestha-Pixelhouse Productions, UAE.
Latifa and Sharifa twins live in two different worlds: Latifa Al Thariyya goes beyond all limits to achieve her desire to have children, while Sharifa is extremely poor.
Shot in arri alexa
Colorist - Sudip Shrestha
Duration - 30 Episodes. Each episode 45 mins
Project Duration for color - 2 working weeks.
Pixelhouse Productions
Updating oneself is always an on going process. Everyday we face new challenges and updates in every faculty. Online course is a key to unlock and discover new updates. As a colorist, I try my best to study and update my faculty and participate in all sorts of forums.
After 1 year of paid subscription of MZED I have found it very helpful to novice and expert colorist and highly recommend its subscription for every filmmakers.
MZed Pro is a subscription membership that gives you unlimited streaming access to more than 160 hours of MZed's critically acclaimed catalogue of education, including filmmaking courses from Philip Bloom, Shane Hurlbut ASC, Vincent Laforet, Alex Buono and many more.
Outstanding Color Grading – Theatrical Feature
First Man
Natasha Leonnet // EFILM
Roma
Steven J. Scott // Technicolor
Green Book
Walter Volpatto // FotoKem
The Nutcracker and the Four Realms
Tom Poole // Company 3
Us
Michael Hatzer // Technicolor
Spider-Man: Into the Spider-Verse
Natasha Leonnet // EFILM
Outstanding Color Grading – Episodic or Non-theatrical Feature
The Handmaid’s Tale – Liars
Bill Ferwerda // Deluxe Toronto
The Marvelous Mrs. Maisel – Vote for Kennedy, Vote for Kennedy
Steven Bodner // Light Iron
Game of Thrones – Winterfell
Joe Finley // Sim, Los Angeles
I Am the Night – Pilot
Stefan Sonnenfeld // Company 3
Gotham – Legend of the Dark Knight: The Trial of Jim Gordon
Paul Westerbeck // Picture Shop
The Man in the High Castle – Jahr Null
Roy Vasich // Technicolor
Outstanding Color Grading – Commercial
Zara – Woman Campaign Spring Summer 2019
Tim Masick // Company 3
Tiffany & Co. – Believe in Dreams: A Tiffany Holiday
James Tillett // Moving Picture Company
Hennessy X.O. – The Seven Worlds
Stephen Nakamura // Company 3
Palms Casino – Unstatus Quo
Ricky Gausis // Moving Picture Company
Audi – Cashew
Tom Poole // Company 3
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.
“DeOldify is a Self-Attention Generative Adversarial Network-based machine learning system that colorizes and restores old images and video . It’s only in the early stages but it’s already producing really impressive results.”
I recently discovered #deoldify, an AI-trained algorithm that colorizes old photos. This is not photo re-touching, but instead a computer that was trained to colorize black & white photos based on what colors it “thinks” things are. I was surprised by the result it produced.
source - github/deoldify
Try yourself to colorise your old memories from github - deoldify
HDR is considered an important new technological step in image display since it provides an immediately visible clear improvement in image quality, even to the untrained eye and independently of image resolution, screen size or viewing distance. In addition, the increase in data rate for an HDR signal is minimal, thus creating great visual impact for small increase in cost.
Dolby has played a key role in the development of HDR for both commercial cinema and home theatre applications. The most significant advantage of Dolby Vision HDR is the addition of dynamic metadata to the core HDR image data.
This metadata carries scene-by-scene instructions that a Dolby Vision-capable display can use to make sure it portrays the content as accurately as possible. Dolby Vision-capable TVs combine the scene-by-scene information received from the source with an awareness of their own capabilities in terms of brightness, contrast and color performance.
The minimum specification for Dolby Vision mastering requires the use of reference monitors with a contrast ratio of 200,000:1, peak brightness of 1000 nits, color range ‘approaching’ the Rec 2020 standard, and support for the SMPTE ST-2084 HDR format.
Netflix, Amazon Prime Video,Vudu, Lionsgate, Sony Pictures, Universal and Warner Bros - have all released Dolby Vision contents.
Note - It’s not mandatory for a content creator to deliver both HDR10 and Dolby Vision.
DOLBY VISION MASTERING IN UAE
For more information & services on dolby vision mastering in UAE contact - www.pixelhouse.ae
