According to Denver Riddle, editors using Windows-based NLEs have been asking him for a version since Cinema Grade launched two years ago.ĭenver and his team are working on creating a version of Cinema Grade for Premiere Pro and DaVinci Resolve on Windows, and launched a Kickstarter to help with development. I reviewed Cinema Grade earlier this year, and loved how I could literally reach into the viewer to make my adjustments, rather than using traditional tools to color grade. The company announced Cinema Grade for Windows recently, and launched a Kickstarter to help out, and it was funded nearly four times over. But has been only available for Macs - until now. You can make adjustments directly in the viewer in supported NLEs. Some want different color looks ,some want different color space output and some want different log curve to be matched with existing work.Cinema Grade is a powerful color grading solution from Denver Riddle and Color Grading Central. We put a number of options in this category. Saturation Correction is to deal with such issues.ġ1. Also the sensors have different saturation level for R/G/B, so in extreme highlight condition like outdoor sunny day, if you over expose the image Green will saturate before R and B. As you know that the color correction matrix and LUTs are calculated based on middle grey so when it’s highlight or low light, saturation will be different. Of course we also have some parameters to define which range of the curve is valid so we have gamma start/end option.ġ0. Applying Gamma bias will change the equation and it basically limited the shape of the curve. The larger value the higher middle area is amplified. It amplifies all the brightness but it amplifies the middle most. This is a curve to amplify middle area, between highlight and shadow. Check below example and note the color change of the ground area.ĩ. For example,if you found that the white balance is correct in middle grey but the black area is too magenta or too greenish, you can remove a little green or adding some green. When you have black level shift, it’s the best method to adjust it. It’s simply to add/reduce the offset of the black level. Lift Anchor is similar to Gain Anchor but once the data is above the anchor it would prohibit lift adjustment. It affects mostly the shadow and makes highlight area nearly unaffected. Sometimes we need to adjust shadow area and lift shall then be used. Below is anexample of gain 1 and 3.37.ħ. Remember that gain anchor is very easy to introduce artefacts as it only adjusts part of the image. ![]() Making the gain larger than 1 means amplifying the exposure and smaller than 1 is reducing the exposure. Gain Anchor means that it only affects the value above the Anchor. It affects mostly the highlight area as it multiplies the gain to the image. ![]() For Hue and Saturation adjustment in linear space. Sometimes you might not be able to recover the actual color temp but you also wan to avoid color artefacts with LUTs in post due to mix color temperature lighting situation.ĥ.Hue/Sat. It’s necessary when you are in mix lighting condition. It’s color temperature adjustment in linear space. It will not give you details that the sensor did not capture but within the dynamic range you would get correct contrast and color.Ĥ. If it’s not clipped, you would get details and contrast recovered with this option. For example, if you have over exposed image, skin tone will get washed out. The most important thing to note here is that ”if you don’t get correct exposure you don’t get correct color”. Within the dynamic range, one would be able to adjust the exposure level. ![]() Basically you may interpret it as EI. This is to adjust exposure level with digital gain. This is very useful particularly if you want to adjust black level.ģ.
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