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Author Topic: matching grading for stills and motion  (Read 1429 times)


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matching grading for stills and motion
« on: August 17, 2011, 12:40:32 PM »

Hey, I've just realised something really stupid.

I did a color correct of a movie some months ago (using NLE tool only) that was part of a convergence work. The stills where totally independant and made by a photographer. The typical spanish workflow wich is "all at the last minute, late and in a hurry": It results that the client now likes better the movie grading look and asked the stills to be recorrected to match the movie look. I had a call from the girl in charge of PS, very good retoucher by the way, to see if I could gave her indications to speed-up her workflow.

Anyway...I just realised how cool if the movie would have been done with PS because then matching the grading is very easy.

I had never thought about this before and sorry if you find it naive, but let's say you shoot 20 MP stills and a movie, and the client ask for exactly the same grading. Isn't in the end PS a good formula?

Sareesh Sudhakaran

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Re: matching grading for stills and motion
« Reply #1 on: August 25, 2011, 12:53:07 AM »

You know my answer, and I know you won't like it - AE  ;)
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Re: matching grading for stills and motion
« Reply #2 on: August 25, 2011, 09:36:54 AM »


It's true that I really do not like the AE interface, but I'm aware of its power. The real obstacle for me is time-needs-priorities. I sort of manipulate AE at a very based level but going deeper would be entering in more serious learning (because again, those are not dev raws or calibrate printers...) and I have not enough time at the moment.

Honestly, those are the kind of software where its all or nothing. I've seen some real after-effects artists, gurus and at such a level, all my respect. They can create anything they want and master the renders. But on the average, there is an impressive amount of kitsch productions based on "cheaperies" FX and truly it's more hilarious than anything else. The problem with those softwares is that to really extract artistically at a high-end level you need a tremendous amount of hours and commitment, not only good ideas and passion. There is no middle term, or you are good at it or you're on the kitsh and cheap (hey...without intention it sounds like fish and ship).
And to do only the kitscheries we already need good skills with the software.

but to be really good at it, it's important to see if the learning curve involved matches with one's situation and priorities. I'm too aware of what's behind the stage to start a new learning "just for the fun of it". That's why I don't dig further into it.

But I have nothing against AE except the interface.
« Last Edit: August 25, 2011, 10:38:09 AM by fredjeang »
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