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Entries in davinci (4)

Tuesday
Apr292014

2015 Ford Mustang Dance Battle

Scott Winn and Derek Pueblo put this one together. On first seeing the material I asked Scott if I could give it a more vintage 70's feel almost like the 2015 Ford Mustang is a time machine bringing travelers from the 80's to the decade before. He liked the idea and so I set to work building some quick rough passes to give him an idea how it would turn out.

The technique I used to build this look involves some stuff I adapted from photohsop for Resolve. There's a lot going on in the node tree. It's pretty complicated lifting and clamping along with replacing the sky in every shot where it shows. As I worked I realized that besides the Super8 film I've played with, inspiration for this also comes from old Norman Rockwell paintings I grew up looking at like these:

 

There's just a certain feel you get from the lighting and color in these peices that I kept feeling echoed in the grade I was building. I've broken up the stills into just the cool car shots and then all the dancer shots. 

 One of the things I really love about this peice is the characters they've created. It's so rewarding to have successfully added to the feel of a project like this using some methods that when I first started developing, didn't seem to have hope of ever working on a real project. Looks like practice finally paid off. 

Here's the finished video!

 

Monday
Sep092013

Utes Gameball delivery - C.R. England Global Transportation

This was a great opportunity with  C.R. England Global Transportation to color some fantastic looking footage! Click back and forth to see the transformation. I was only permitted to share three stills from the project so these are my favorites.

University of Utah

C.R. England Global Transportation

Red R3d workflow.

 

Monday
Jan142013

Pulling Beyond Reality

Movies are magic to me.

The way I think about grading comes from masking adjustment layers in photoshop for the last few years. I'm not very technical. I don't feel like I'm into the numbers enough. I've tried to field questions I get about equipment and "how fast" certain configurations might be. I read a lot and try to keep up on things, but that's not why I'm in this. There are a lot of people that understand data handling and the technology a lot better than me. I'm not sure why I've been so fortunate to get to do this for a living or work on the things I've worked on. But I love that I get to because there's something to it that always excites me when I nail a shot. Theres a trillion different ways you could nudge the color and light around, but for whatever reason its that particular combination that just hits right and you know its finished! There's nothing else to do to it accept capture that look through the rest of the scene.

And then there's all the work that's gone into it beforehand to make it so that one particular moment in time is there in front of me! I guess I'm inadequate at putting it in the right words so it'll make sense. Here are a few before and after stills that detail the transformation I'm referring to. 

 

I love this one from the Fruit Ninja video.


 This is still one of my favorites!

 


 

This is an old project from winter 2011. I ran across the stills and remembered how excited I was with some of the things that were now possible with Davinci Resolve. All my work prior to this was in FCP7, color, and Photoshop. Its not perfect but I thought it worth sharing and ended up putting this post together. There were mountains in the far background behind the trees in full sun that needed balancing. I evened things out and brought back a lot of the detail from the shadows in the foreground. 

The shade keeps colors less vibrant than they ought to be for this look.

Monday
Dec172012

Fruit Ninja

This was a Scott Winn project in association with Halfbrick Studios.

It was shot on a mix of 5d, Epic, and Fastcam cameras.

I've been really driving at getting my grading style more cinematic than ever. Color correction is good. Making shots all match is important, but above all that is this kind of intangible quality to a good grading job that changes the very substance and texture of the thing. I've been intrigued by that ever since that first time in photoshop when I figured out the channel mixer.

The first cut of the video I saw was just that first section. Scott explained some of his feelings about it and how he wanted it to feel. I went to work on it and once I nailed the color tone, I jumped in with some new techniques I've been thinking about to really sink this thing into that fictional place where great stories happen. I wanted to make it feel strong and intentional.  After I'd finished, I compared what I had with the original and felt pretty happy with it. So here they are. 

As you click back and forth through them you'll see the difference I'm talking about. The kind of fun thing about it is that they're so different they even fool me into wondering if I'm looking at the same frame most of the time. Its pretty sick. 

There was one shot that the fastcam malfunctioned on and somehow we got pink registering in the leaves of the trees and in his highlights. Scott asked me if I could get that one to work right again. You'll see it in the stills(numbers 10 and 11) . It took a few different things all happening at once, but I got the pink out and got it to match well enough to keep it. 

 

Here's the full video. Hope you enjoy it. This is the last project of 2012. I'm looking forward to 2013. I'll be releasing a new reel soon to reflect my new style. Developing new techniques always makes me excited about the future. More to come!