Color correction has gone from being a technique handled by gurus who jealously guarded their secrets in dark rooms with priceless equipment to being within the reach of any filmmaker. However, the fact that color correction software has dropped in price does not mean that the discipline has changed and that anyone without previous knowledge knows what to do with it. Color correction techniques are still an independent discipline between post-production and cinematography. Knowing the basics of color grading, regardless of the software, and knowing how to apply these techniques to each particular production is what turns a simple software operator into a colorist.

This course will explain the basics of color correction, but also how to prepare a material from shooting to conforming, through offilne editing, thinking about the final color correction. Using the simple but powerful tools Avid MC and Apple Color, the workshop will show that color techniques go far beyond the mere “correction” that the term says, being able to improve or completely change the aesthetics of the production.

DURATION: 12 hours

TEACHER: Luis Ochoa. See colorist reel, CV, IMDB file

SOFTWARE: Avid Media Composer 5, Apple Color 1.5 on MacPro professional workstations (one per student)

AIMED AT: Avid and FCP editors, directors of photography, digital image technicians, producers, filmmakers…

PREVIOUS KNOWLEDGE: Familiarity with the concepts of SD and HD video signal. Basic photographic knowledge.

PRICE: Consult us

WHEN: Consult us

WHERE: Ondas Formación

COURSE CODE: Forthcoming

GENERAL OBJECTIVES:

• Understand the overall post-production process and the place of color correction in it.
• Learn the technical basis of color correction regardless of the tool used.
• Learn the philosophy and methodology of color correction work with common software.
• Understand the differences between the software used, in order to choose the most suitable for each project.

CONTENTS

• Comparison of photochemical and digital color correction. Concept of primary, secondary and mask color corrections.

• Analog photochemical conforming. Photochemical color correction processes and effects.

• Analog-digital conforming. Film digitization: Telecine and negative scanner. Digital Intermediate. DPX files

• Common concepts of analog and digital conforming: HD, 2K and 4K resolutions. Online codecs. RAW files. Bit depth.

• Offline-online digital forming. Conforming process. DNxHD and uncompressed codecs. Transcoded.

• Concept of gamma In film (film sensitometric curves), professional video and computers.

• Logarithmic and linear gamma curves. Correction and preview luts.

• Calibration in DI: Luts and densitometers, conversion between color spaces.

• Manual calibration: When and how.

• Monitor characteristics: resolution, wiring, dynamic range, dominants.
  

• Use of measuring instruments: waveforms, vectorscope, histograms, parade.

• Avid Media Composer color corrector. HSL controls, Newton spheres, curves, channels, etc.

• Explanation of all the elements of the tool one by one and their practical applications.

• Work process in color correction. Steps to follow and correction of common problems.

• Composition applied to correction: masks, chromas, lumas and/or secondaries.

• Dynamic corrections. Animation of corrections.

• Apple Color color corrector. Explanation of the different rooms

• Creation of looks: Tinting, bleach bypass, “Schindler effect”, etc.

• Render types and qualities. Final rendering.

• Digital-photochemical conversion: Kinescoping, laser or led filming.

• Digital master formats: magnetic, archival, frame sequence, etc.

You can download the documentation for the course here

For more information and to reserve a place, please send an e-mail to info@709mediaroom.com.