Typical Looks
Widely used looks in color grading serve various narrative and aesthetic purposes. Here are some that have gained popularity across genres and mediums:
Teal and Orange:
Purpose: Enhances skin tones and contrasts them against a cooler background.
Common In: Action movies, dramas, commercials.
Bleach Bypass:
Purpose: Creates a desaturated, high-contrast look.
Common In: War films, sports highlights, gritty dramas.
Vintage or Sepia:
Purpose: Evokes a sense of nostalgia or period-specific atmosphere.
Common In: Historical pieces, romantic dramas, flashbacks.
Day for Night:
Purpose: Simulates a nighttime look from footage shot in daylight.
Common In: Low-budget films, TV shows with tight shooting schedules.
Black and White:
Purpose: Simplifies visuals and directs focus to composition and performance.
Common In: Artistic films, flashbacks, certain genres like noir.
High-Key:
Purpose: Bright, low-contrast visuals.
Common In: Romantic comedies, beauty commercials, sitcoms.
Low-Key:
Purpose: Dark, high-contrast visuals with deep blacks.
Common In: Thrillers, horror films, dramatic scenes.
Cross-Processing:
Purpose: Simulates the effect of developing film in the wrong chemicals, often producing skewed color balances.
Common In: Music videos, indie films, stylized commercials.
Monochromatic:
Purpose: Uses varying shades of a single color to create mood.
Common In: Music videos, surreal sequences, art films.
HDR (High Dynamic Range):
Purpose: Expands the contrast and color range, resulting in more lifelike images.
Common In: Latest films and TV shows aimed at modern displays, nature documentaries.
Cyberpunk:
Purpose: Saturated neon colors contrasting against dark backgrounds.
Common In: Sci-fi, future-oriented narratives, video games.
Natural or Realistic:
Purpose: Mimics natural light and realistic color, minimizes stylization.
Common In: Documentaries, indie dramas, certain types of reality TV.
Understanding these different looks allows you to choose the most effective aesthetic tool for your specific storytelling needs. They also serve as a starting point for developing your own unique styles.
Everyday Common Sense Practices
Professional colorists rely on a set of fundamental principles and "common sense" practices to ensure high-quality outcomes in their daily work. Here are some:
Technical Mastery:
Scopes Over Screens: Trusting scopes like waveform monitors and vectorscopes over display monitors, which can be misleading due to calibration issues.
Consistency: Ensuring shot-to-shot and scene-to-scene consistency for a unified look and feel throughout the project.
Data Integrity: Working in the highest bit-depth and color space available to maintain data integrity and minimize artifacts.
Artistic Judgment:
Less is More: Knowing when to exercise restraint to avoid over-grading and keep a natural look when necessary.
Serving the Story: Always keeping the narrative in mind and using grading to enhance, not distract from, the storytelling.
Color Psychology: Understanding how different colors evoke different emotions and applying this knowledge strategically.
Workflow Efficiency:
Versioning: Keeping multiple versions of grades and setups for client revisions and A/B comparisons.
Node Organization: Using a well-structured node tree or layer setup, often with annotations, for easier troubleshooting and revisions.
Keyboard Shortcuts: Using hotkeys and customized control panels for quicker, more efficient grading.
Client Management:
Clear Communication: Having the ability to articulate complex technical and artistic concepts to clients in understandable terms.
Time Management: Knowing how to allocate time efficiently, especially when under tight deadlines.
Expectation Setting: Being clear about what can and cannot be achieved in the grade, especially when dealing with poorly shot or problematic footage.
Quality Control:
Attention to Detail: Rigorously checking for issues like banding, noise, or artifacting after grading.
Multi-Screen Checks: Viewing the graded material on different types of displays, including the intended delivery format, to ensure consistency.
Proofing: Double-checking the entire project, ideally on a calibrated monitor, before final delivery.
These principles and practices form the backbone of professional color grading and are employed daily to ensure that the work meets both technical standards and creative expectations.
Best Node Structure
The "best" node structure can vary depending on the complexity of the project and the specific requirements of the footage. However, a well-organized node tree can significantly streamline the grading process. Here's a commonly employed node structure by professional colorists using software like DaVinci Resolve:
Node Structure:
Input LUT or Color Space Transform Node: For converting log or raw footage to a working color space.
Primary Balance Node: For basic color and exposure adjustments to balance the shot.
Contrast and Pivot Node: To establish the primary contrast and brightness levels.
Secondary Corrections Nodes: These could be multiple nodes aimed at specific corrections like:
Skin Tone Correction: For isolating and correcting skin tones.
Sky or Background: For specific adjustments to backgrounds.
Object Isolation: For products or props that need to stand out or match across shots.
Look Development Nodes: These nodes are for creating the desired look or style.
Creative LUT: If you're using a stylistic LUT, this is where it would go.
Look Adjustment: Further tweaks to adapt the LUT or look to the specific shot.
VFX or Grain Node: For adding effects like film grain, vignettes, or any other special visual effects.
Parallel Mixer Nodes: Used for blending multiple corrections together, useful for complex grades.
Global Adjustment Node: For adjustments that affect the entire image and tie everything together.
Output LUT or Color Space Transform Node: For converting the image to the desired output color space or display standard, like Rec. 709 for HD or P3 for digital cinema.
Other Considerations:
Layer Nodes: Used for tasks like compositing or more complex corrections.
Shared Nodes: For corrections that will be used across multiple shots or scenes. These can be pre-configured and saved for use in other projects.
Disabled Reference Nodes: Keeping a node with bypassed corrections as a reference can be useful for A/B comparisons.
Annotations and Labels: Labeling each node clearly for easy navigation and understanding the purpose of each correction.
Versions: Professional colorists often save different versions of grades within the software for easy client revisions or creative comparisons.
The above structure provides a flexible framework that can be adapted to meet the needs of different projects while maintaining a logical and efficient workflow. It also makes it easier for other colorists to understand your work if they need to make adjustments or take over the project.
How to Balance
Balancing footage is a fundamental task that serves as the foundation for the grading process. Here are some common methods employed by professional colorists to achieve this:
White Balance:
Eyedropper Tool: In software like DaVinci Resolve, an eyedropper can pick a neutral grey point in the image to quickly balance colors.
Temperature and Tint Sliders: Manually adjusting these can neutralize color casts, warming or cooling the image as needed.
Exposure Balance:
Lift-Gamma-Gain: These controls affect the shadow, midtone, and highlight regions, respectively. A balanced image usually has a full range from black to white, which can be confirmed using a waveform monitor.
Log Wheels: For more refined control, log wheels can be used to adjust specific tonal ranges without affecting others.
Saturation:
Global Saturation Control: A quick way to set the overall color intensity.
Hue vs Sat Curves: For more specific control, these curves allow saturation adjustments for individual color ranges.
Skin Tones:
Qualifier and HSL Curves: These are used to isolate skin tones, ensuring they look natural and consistent.
Vectorscope: Professional colorists often refer to the skin tone line on a vectorscope to ensure accuracy.
Contrast:
Contrast and Pivot Controls: The contrast slider adjusts the difference between dark and light areas, while the pivot point determines the tonal center of that adjustment.
S-Curves: Manually adjusting the Luma curve allows for custom contrast adjustments.
Final Checks:
Scopes: Always refer back to scopes like the waveform and vectorscope to confirm that the image is balanced accurately.
A/B Comparison: Frequently toggling between the original and graded footage ensures that the adjustments are improving the image.
Shot Matching: Once the footage is balanced, it's compared to other shots in the sequence for consistency.
Balancing is the initial step that sets the stage for creative grading. A balanced image is easier to grade and yields better end results. By utilizing these methods, a professional colorist ensures that the image not only looks good on its own but also fits seamlessly with other shots in the project.
Clip Grouping
Grouping clips for effective color grading involves organizing them based on various criteria to streamline the grading process. Here's the typical practice:
1. **Scene or Location**: Group clips that belong to the same scene or were shot at the same location. This helps maintain consistency within a particular setting, especially when lighting conditions change from one scene to another.
2. **Shot Type**: Categorize clips by shot type, such as wide shots, medium shots, close-ups, or specific camera movements like tracking shots or aerial shots. Each shot type may require different color treatments.
3. **Time of Day**: If your footage includes scenes shot at different times of the day (daylight, golden hour, nighttime), group them accordingly. This ensures that you can apply appropriate color adjustments to match the intended time of day.
4. **Character or Subject**: Group clips featuring specific characters or subjects together. This allows for consistent grading for each character, ensuring their skin tones and wardrobe colors remain accurate and cohesive.
5. **Lighting Conditions**: Clips shot under similar lighting conditions should be grouped. For example, clips with natural outdoor lighting should be separate from those with artificial indoor lighting or special effects lighting.
6. **Special Effects**: If your project includes clips with visual effects or CGI elements, consider isolating them into a separate group. These clips may require unique color grading to integrate seamlessly with the live-action footage.
7. **Consistency Check**: Before finalizing your groups, perform a consistency check within each group to ensure that all clips within it have a similar starting point in terms of exposure, white balance, and color balance.
8. **Shot Continuity**: Pay attention to continuity in terms of camera angles, movement, and composition. Ensure that clips that are meant to flow seamlessly are grouped together for cohesive grading.
9. **Client or Director Input**: Always take into account any specific instructions or preferences provided by the client or director regarding clip grouping. Their creative vision may dictate certain grouping strategies.
10. **Backup and Organization**: Create backup copies of your original clips before grouping or making any color adjustments. Use a clear and consistent naming convention for your groups to maintain organization throughout the project.
By grouping clips thoughtfully, you can work more efficiently during the color grading process, apply adjustments consistently, and achieve the desired visual continuity and storytelling within the project.
Pre-group and Post-group
In DaVinci Resolve 18, the Pre-group and Post-group nodes play crucial roles in the color grading process. Here's how I would typically structure them:
**Pre-group Nodes:**
1. **Balance Node**: The first node in the Pre-group is often a balance node. Use it to correct any major exposure or white balance issues in your footage. This node helps establish a solid foundation for your grading.
2. **Primary Correction Node**: Following the balance node, you'll typically have a primary correction node. This is where you make your initial creative decisions, such as adjusting contrast, saturation, and overall look. It's essential to maintain good image quality at this stage.
3. **Node for LUTs**: If you're using a Look-Up Table (LUT) to achieve a specific look, place it in a separate node. This allows you to toggle the LUT on and off easily to assess its impact on your grade.
**Post-group Nodes:**
1. **Secondary Correction Nodes**: After the grouping node, you can have several secondary correction nodes. These nodes are used for more targeted adjustments, like isolating and grading specific parts of the image, such as skin tones or the sky. Consider using qualifiers and masks to achieve precise results.
2. **Creative Nodes**: In the post-group section, you can add nodes for creative enhancements. This is where you can experiment with various grading techniques, such as adding a filmic look, applying color contrast, or creating stylized effects.
3. **Sharpening and Grain Nodes**: To fine-tune the image, you can use nodes for sharpening and adding film grain if desired. These nodes help to enhance the overall texture and appearance of the final grade.
4. **Final Adjustment Node**: The last node in the Post-group is often reserved for final adjustments. You can make subtle tweaks to the overall look, apply vignettes, or address any remaining issues.
Remember that the specific nodes you use may vary depending on the project and your creative intent. The key is to maintain a structured workflow to ensure you have control over each aspect of the color grade.
Please note that while I can provide guidance based on my knowledge, the actual node setup may vary depending on the unique requirements of your project and your creative preferences.
Achieving a realistic 16 mm film emulation using footage from an Alexa Mini in DaVinci Resolve involves a few key steps:
Color Space Transformation: Ensure your Alexa Mini footage is in the correct color space. Use DaVinci Resolve's Color Management to transform your footage into a working space that aligns with your output needs, such as Rec.709 or DCI-P3.
Contrast and Color Balance: Start by adjusting the contrast to mimic the dynamic range of 16 mm film. This involves deepening shadows and ensuring highlights are not too sharp or digital-looking. Adjust the color balance to lean slightly towards the warmer tones, which are characteristic of 16 mm film.
Grain Addition: Add film grain to your footage. DaVinci Resolve has built-in film grain effects, or you can use third-party plugins. Choose a grain pattern that resembles 16 mm film - this will be coarser and more pronounced than 35 mm film grain.
Softening the Image: 16 mm film doesn’t have the sharpness of modern digital cameras. Soften your image slightly. This can be done by using a slight blur or by using the “mid-tone detail” control to reduce sharpness in the mid-tones.
Color Grading for Film Look: Tweak the colors to get that distinctive film look. This often involves desaturating certain colors, adjusting skin tones for natural appearance, and possibly adding a slight color tint to the shadows or highlights (such as a subtle teal to the shadows and orange to the highlights, known as teal and orange grading).
Halation and Bloom Effects: 16 mm film often exhibits halation, where bright areas bleed into the surrounding areas. This can be emulated with glow effects around highlights. Also, adding a slight bloom effect can replicate the way light behaves on film.
Vignetting and Edge Softness: Add slight vignetting and soften the edges of the frame to emulate the imperfect lens characteristics of older cameras.
Experiment with LUTs: There are LUTs (Look-Up Tables) available that are designed to emulate the look of 16 mm film. These can be a good starting point, but always fine-tune to fit your specific footage and desired look.
Remember, the key to a successful emulation is subtlety. Overdoing any of these effects can lead to an unnatural and forced look. It's also beneficial to study real 16 mm footage to understand the nuances of the format. Additionally, continuously reviewing your work on different displays can help ensure consistency and realism in your grade.
本帖最后由 gzhjb 于 29-11-2023 08:29 编辑
MAKE RESOLVE RUN FASTER FOR GRADING FOOTAGE IN RAW FORMAT
NO
Playback - Timeline Proxy Resolution - Half/Quarter (This method is okay for Editing)
DO Method 1
Project Settings - Master Settings - Optimized Media and Render Cache
Proxy media resolution: Choose automatically
Proxy media format: ProRes 422 HQ
Optimized media resolution: Choose automatically
Optimized media format: ProRes 422 HQ
Render cache format: ProRes 422 HQ
Ticked all the rest four options.
Project Settings - Master Settings - Working Folders
Proxies - Time Consuming Process - Pick the fastest drive available for optimal performance.
Back to Media Pool
Right Click the Raw File Clip - Generate Proxy Media
Back to Color Page
Playback - Proxy Handling - Prefer Proxies
When you're grading
Playback - Proxy Handling - Prefer Camera Originals
When showing to clients
Playback - Proxy Handling - Prefer Proxies
Leave it to "Disable all proxies" if your machine can handle it.
DO Method 2
Render Cache
Process where Resolve will render footage when the app is inactive.
Note:
ProRes 422 HQ: Used as a final format delivery method for HD broadcast files in commercial, features, Blu-ray and streaming.
"Narcos," a well-known TV series, is recognized for its distinctive visual style that combines a gritty, realistic feel with a cinematic quality. Here are the major characteristics of the "Narcos" look and how to recreate it using DaVinci Resolve:
1. **Color Palette**: "Narcos" often uses a warm color palette, emphasizing yellows, oranges, and earth tones. This creates a sense of heat and aridity, fitting the show's Colombian setting.
*In DaVinci Resolve*: Utilize the color wheels to add warmth to the midtones. You can also use the HSL (Hue, Saturation, Luminance) qualifiers to selectively enhance these colors.
2. **Contrast and Clarity**: The series features high contrast and clarity, which adds to the gritty realism. Shadows are deep but retain detail, while highlights are bright but not blown out.
*In DaVinci Resolve*: Adjust the contrast and pivot in the color wheels panel. Use the curves tool to fine-tune the contrast, ensuring details are preserved in the shadows and highlights.
3. **Grain and Texture**: "Narcos" has a textured look, often resembling film grain, which adds to the cinematic feel.
*In DaVinci Resolve*: Add film grain using the built-in effects. You can adjust the intensity and size of the grain to match the show's look.
4. **Selective Saturation**: While the overall look is warm, there's often selective desaturation in certain areas or colors, particularly in backgrounds or less important elements, which helps the main subjects stand out.
*In DaVinci Resolve*: Use HSL qualifiers to desaturate specific colors or areas. The power windows feature can also be used to desaturate or modify exposure in selected parts of the frame.
5. **Vignetting and Soft Edges**: To focus the viewer's attention, "Narcos" frequently employs subtle vignetting and soft edges.
*In DaVinci Resolve*: Apply vignetting using the radial power window. Soften the edges of the image slightly using the blur tool in the windows panel.
6. **Sharpness and Detail**: Despite the film grain, the show maintains a high level of sharpness and detail, particularly in close-ups.
*In DaVinci Resolve*: Use the sharpening tools judiciously to enhance detail. Be careful not to overdo it, as this can make the grain too pronounced.
7. **Skin Tones**: "Narcos" maintains natural skin tones, even amidst the warm color grading, ensuring that characters look lifelike.
*In DaVinci Resolve*: Isolate skin tones using HSL qualifiers and ensure they retain their natural hue and saturation. You might need to counterbalance the overall warmth for skin tones to keep them natural.
8. **Lighting and Exposure**: The series often uses natural lighting, which contributes to its realistic look. The exposure is well-balanced, ensuring that the image has depth and dimension.
*In DaVinci Resolve*: Adjust the lift, gamma, and gain to achieve a balanced exposure. Use power windows to mimic natural lighting effects and enhance depth.
By applying these techniques in DaVinci Resolve, you can recreate the distinct visual style of "Narcos," blending realism with a cinematic aesthetic. Remember, the key is to balance these elements to achieve a look that's faithful to the series while also fitting the content of your own project.
Quentin Tarantino's movies are renowned for their distinctive color grading, which plays a crucial role in setting the tone and style of his films. As a professional colorist familiar with DaVinci Resolve, here are the main characteristics of Tarantino's color grading:
1. **Saturated Colors**: Tarantino often uses highly saturated colors to create a vivid, almost hyper-realistic look. This is especially evident in movies like "Kill Bill," where the bright yellows and reds are striking.
2. **Contrast**: High contrast is a hallmark of Tarantino's style. He frequently employs deep blacks and bright whites, creating a bold look that adds to the dramatic effect of his scenes.
3. **Vintage/Aged Look**: In some films, like "Once Upon a Time in Hollywood" or "Django Unchained," Tarantino opts for a vintage or retro color palette. This includes muted colors and a slightly washed-out look, which gives the impression of an older film.
4. **Warm Tones**: Tarantino often leans towards warmer tones, particularly in scenes meant to evoke a sense of nostalgia or sentimentality. This is achieved by enhancing the yellows and reds.
5. **Selective Color Emphasis**: In certain scenes, Tarantino and his colorists might choose to emphasize a single color to draw attention or create symbolic meaning. For example, the use of red in "Kill Bill" is not just vivid but also symbolically significant.
6. **Naturalistic Skin Tones**: Despite the stylized approach to color grading, skin tones in Tarantino's films tend to remain naturalistic, providing a grounding element in an otherwise highly stylized visual approach.
7. **Grain and Texture**: Especially in his more recent films, Tarantino has shown a preference for adding film grain and texture in post-production, to mimic the look of film stock and add a tactile quality to the image.
8. **Stylized Night Scenes**: Tarantino's night scenes often have a unique look, with deep, inky blacks and a distinct color palette, sometimes with a cooler tone or a specific color tint to set the mood.
In DaVinci Resolve, achieving a Tarantino-like look would involve a combination of color wheels for basic corrections, curves for fine-tuning contrast and saturation, and possibly the use of LUTs (Look-Up Tables) to mimic film stock or add specific stylistic touches. Additionally, secondary color correction tools would be vital for selectively emphasizing certain colors or maintaining natural skin tones amidst a highly stylized color palette.
Black Mirror is a popular TV series known for its thought-provoking and dystopian storytelling. When it comes to color grading, the show's style and characteristics play a significant role in enhancing its narrative and atmosphere. Here's a brief overview of the color grading style and characteristics of Black Mirror:
1. Dark and Moody Atmosphere: Black Mirror often employs a dark and moody color palette to create a sense of unease and tension. Deep blacks, dark blues, and desaturated colors contribute to the show's ominous and unsettling tone.
2. Use of Cool Tones: The series frequently uses cool tones, such as blues and greens, to convey a futuristic and technologically-driven world. These colors can make the audience feel detached or disconnected from the narrative, adding to the sense of alienation often present in the episodes.
3. High Contrast: Black Mirror utilizes high contrast to emphasize the difference between the dystopian elements and the characters' experiences. This high contrast enhances the visual impact of key scenes and moments.
4. Selective Color Grading: In some episodes, Black Mirror employs selective color grading techniques to draw attention to specific elements or objects. A notable example is the "Nosedive" episode, where vibrant colors are used to highlight the obsession with social media ratings.
5. Flashbacks and Memories: When depicting flashbacks or memories, the series often employs distinct color grading to differentiate them from the present. This helps the audience understand the temporal aspects of the narrative.
6. Bleak and Stark: The color grading in Black Mirror is often used to create a bleak and stark visual world, reinforcing the show's themes of technology's impact on society, individualism, and the human condition.
7. Subtle Variations: The show is known for its subtle variations in color grading that reflect the specific themes and emotions of each episode. For example, episodes dealing with love and relationships might have warmer, softer tones, while those exploring dystopian futures tend to have harsher, colder colors.
To replicate the color grading style and characteristics of Black Mirror in your own work, consider studying specific episodes that resonate with your intended narrative. Pay attention to the mood, tone, and emotions you want to convey, and adapt the color grading accordingly. Experiment with contrast, saturation, and color temperature to create the desired visual impact, while also staying true to the overarching themes of your project.
本帖最后由 gzhjb 于 21-3-2024 23:15 编辑
降噪
IDT
亮度对比度
色彩平衡
饱和度
S-曲线
LOOK
LOG
肤色
整体微调
ODT
胶片光晕
KODAK2383
胶片颗粒
FILM GRAIN
达芬奇广色域中灰位置 0.336
STHeiti
Create LOOK using Custom Curves, Colour Warper, RGB Mixer, Colour Slice, Qualifiers.
Pay attention on the skin tone, lips, hairs and shadows.
本帖最后由 gzhjb 于 20-7-2024 23:36 编辑
Examine the properties of the reference image
- Low contrast / High contrast
- Black point pushed / elevated or not
- Low saturation / High saturation
- Hue seem to be dominating most of the tonal regions
- Colors muted or not
- Shadows warm or cool
- Highlights warm or cool
- Texture
本帖最后由 gzhjb 于 20-7-2024 23:54 编辑
CREATE PASTEL PALETTE
RGB MIXER
- Increase blue in Red Output to 1
- Increase blue in Green Output to 1
- Increase green in Blue Output to 1
CREATE A PUNCHY LOOK
- Create a layer mixer
- First node is NULL
- Second node, reduce Key Output to 0.5
- RGB Mixer, turn on Monochrome mode
- R/C on mixer (joiner node) > Composite Mode > Softlight
DENSITY
- HSL
- Reduce a bit Sat in Lum
本帖最后由 gzhjb 于 21-7-2024 00:24 编辑
DESAT THE HIGHLIGHT A BIT
- HSL
- Select the whites in Lum vs Sat and pull down a bit (activate Black point and White point first)
Here’s a summary of each of the film looks you mentioned:
Cinematic: This look aims to emulate the visual style of high-end movies. It often features a balanced color palette with a slight teal and orange tint, which enhances skin tones and adds depth to shadows. Cinematic looks prioritize contrast, color richness, and dynamic range, giving a polished, professional feel that draws viewers in.
Rochester: Inspired by classic Kodak film stocks, the Rochester look emphasizes warm, soft tones with a slight vintage feel. It often enhances reds and yellows, giving images a nostalgic and rich warmth. The look aims for softer contrasts and a film-like grain, creating a gentle, timeless atmosphere reminiscent of old photographs.
Akasaka: This look is inspired by the vibrant and stylish visuals of Japanese cinema, particularly from the Akasaka district's colorful nightlife. It often features vivid colors, heightened contrast, and a slight blue or cyan shift in the shadows, giving it a modern, urban feel with a touch of sleek, stylish edge.
Elated: The Elated look is characterized by bright, uplifting tones, often with a pastel or washed-out feel. It emphasizes lightness and airiness, reducing shadows and adding soft, warm highlights. This look is often used for a dreamy, happy, or nostalgic vibe, making it perfect for lifestyle, wedding, or upbeat content.
Vintage: The Vintage look emulates the aesthetics of old film photography, often with faded colors, low contrast, and a warm or sepia tint. It typically features grain and a slight blur, enhancing the nostalgic feel. This look aims to evoke the charm of aged photographs, bringing a sense of history and timelessness to the footage.
本帖最后由 gzhjb 于 14-9-2024 11:11 编辑
Project Setting:
Color Management
Color science: DaVinci YRGB Color Managed
Color processing mode: HDR DaVinci Wide Gamut Intermediate
Output color space: Rec.709 Gamma 2.4
Clips
Input Color Space: Choose the right Camera Color Space
IDT
X
X
X
ODT
HALATION
KODAK2383
FILM GRAIN
Master Folder Structure
Rough Cut
跟组剪辑
RAW FILE FORMAT LIST
CINEMA CAMERA LIST
Video Aspect Ratios
1.33:1 (4:3) for 35mm silent films
1.85:1 for widescreen cinema
2.39:1 for anamorphic widescreen cinema
4:3 for TV standard definition
16:9 for TV high-definition (1.78:1)
Digital Cinema Packages (DCP)
4096 x 1716 (scope or 2.39:1)
3996 x 2160 (flat or 1.85:1)
4096 x 2160 (full container)