In this blog, I aim to offer a comprehensive overview of my approach to color grading projects, encompassing both organizational and artistic aspects.
Before embarking on any color grading endeavor, a dialogue with the client is essential, ideally involving the director and director of photography (DP). This conversation helps me grasp their vision for the project, which is often easier to convey through visuals than words. Additionally, I inquire about the project's editing timeline, complexity, and often request a quicktime reference file to assess the workload. Discussing desired deliverables, such as social media cutdowns, is crucial to avoid surprises later in the process.
Once alignment on aesthetics and organization is achieved, the next step involves receiving the grade assets. For larger projects with extensive media, receiving a drive is usually the preferred method. However, with improved internet connections, remote asset downloads are becoming more feasible.
A significant decision at this stage is whether to conform from rushes or grade a flattened ProRes file. Grading the raw rushes ensures freedom from compression and flexibility if the camera captures in raw format. However, for complex timelines with effects that might not transfer seamlessly, working with a flattened file in the camera's 'log' space is sometimes more practical. In this case, an EDL
(Edit Decision List) is used to create edit points in the ProRes file.
Before diving into grading, the choice of color space is a crucial consideration. Typically, I opt for a wider color space like Arri Log C or DaVinci Wide Gamut due to its familiarity with grade controls and a broader color spectrum. A Color Space Transform (CST) is employed at the start and end of the node tree to convert footage into the chosen space and then into the delivery color space, often Rec709 Gamma 2.4.
The Grading Process:
Before completing a full pass, I begin by grading a few shots from each scene, creating different 'looks' for the director and DP to review. This early feedback ensures that we're on the right track, saving time and effort in the long run. Once we've settled on a direction, I use it as a foundation for a comprehensive pass.
Node structure preferences can vary among colorists. I favor distinctive blocks of parallel nodes, each serving a specific purpose:
Block 1 - Balance:
This is where primary balance adjustments are made, using tools like offset, color temperature, and tint. Achieving balance upfront streamlines subsequent grading and maintains image consistency.
Block 2 - Shaping/Windows:
In this set of parallel nodes, I refine lighting aspects within the frame, enhancing the image by adjusting elements like brightness on an actor's face or reducing distractions. These adjustments are made before actual color grading to ensure subsequent grade nodes are influenced by them.
Block 3 - Color:
The core of color grading lies in this block, where I establish the desired look based on client references and notes. I often experiment with the image, pushing it to its limits and then dialing it back to understand its potential fully. I also save stills of various grades and explore different approaches to achieve the best fit for each scene.
Block 4 - LUT / CST:
In this node, I apply a LUT or Color Space Transform to convert the image into a Rec709 space. The choice of LUT depends on the project's requirements, whether it's a documentary aiming for realism or a narrative feature seeking a stylized look.
Block 5 - Post LUT:
This node comes after the LUT/CST and fine-tunes the characteristics of the LUT, ensuring that black levels and highlights meet the desired standards. This adjustment is usually minor but ensures the LUT aligns with the footage.
Block 6 - Effects:
Here, I add additional textural effects, such as grain, sharpening, glow, or bloom, to enhance the final image subtly.
After completing a full pass on the project, I submit it to the client for review, often preferring a face-to-face session with them in front of a calibrated screen. This approach fosters better understanding and eliminates the risk of miscommunication. It's important to recognize that some clients may not be well-versed in the technical aspects of color grading, so the review process involves understanding their concepts and ideas and making the necessary adjustments to achieve their vision.
Upon client approval of the final grade, I render the files for handoff to the online/finishing department. Typically, this involves a flattened ProRes4444XQ file at the mastering resolution. In cases requiring further adjustments or additional deliverables like social media cutdowns, I often render graded rushes with handles and provide an XML for flexibility during the finishing stage.
In conclusion, the art of color grading involves a meticulous and creative process that goes beyond adjusting colors. It's about bringing a director's vision to life and enhancing the storytelling of a project through visual elements. With the right approach and collaborative spirit, color grading can elevate the impact of any production.
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