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Entries in Scott Winn (3)

Tuesday
Jan142014

Kitten and Puppy Air

My friend Scott Winn made a video earlier with kittens flying through the air with capes on. He revisited the subject this last summer, this time with puppies as well. He's posted a making of video lest anyone fear the mistreatment of small animals. From what I've heard and seen it was a hoot to film. The little chewbacca puppy was my favorite shot of the bunch.

 

The footage was pretty flat here so I needed to pull the highlights and shadows with isolated selections to get a more dynamic image. The footage off the Phantom can fluctuate in color response more than other camera systems. I imagine anything shooting at 15,000 frames per second is going to do that though. At that speed the light and color can be hairline finicky. So grading super slow motion is never as simple as pasting one grade over everything. Each shot needs it's own custom work to pull it in line with the rest.

Another issue in this video was with raising the saturation and pulling the shadows and highlights away from each other introduced a lot of noise into the chroma channels. I graded this in Resolve 9. I wish it had come just a little later so I could have worked on it in version 10 which I'm running on now. In Resolve 10, the noise reduction tools are so much more powerful! I can now isolate noise reduction separating the chroma from the luma channels as well as choosing from spatial noise reduction which is essentially what was available in the earlier versions, nothing to sneeze at, or with my new favorite, temporal noise reduction. This allows resolve to analyze up to two frames ahead and behind each frame to adjust unwanted artifacts like noise right out of your picture! Between these two noise reduction methods you can also blend them in and out of each other. 

It may be too technical to explain without familiarity with the program. Basically, noise is history now.  

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!

Monday
May142012

The Color Run

You'll notice in the before and after shots below how many times the sky was not blue when I started. Changing the weather is challenging enough as a colorist but when you add in clouds of colored chalk pitching back and forth across the sky, it introduces a whole new set of problems. There are lots of different ways to tilt an overcast sky. The simple route is to select it and push everything to blue. But when the sky is white and the balloons are white like in one of the shots, you've got to play with how far to push before it gets really really noticeable. Honestly the biggest thing you're doing when changing wheather is working as many corrections as it takes to cover your tracks and make it as natural as you can without drawing attention. 

It doesn't always work as well as you'd like it to. Often you end up pulling it back farther than youd like to keep edges clean, but overall it turned out well and gave it the vibe it needed. Enjoy.