{"id":136,"date":"2017-08-08T05:35:49","date_gmt":"2017-08-08T05:35:49","guid":{"rendered":"http:\/\/cinematography.net\/CineRant\/?p=136"},"modified":"2017-08-08T05:35:49","modified_gmt":"2017-08-08T05:35:49","slug":"colour-grading-for-the-blind","status":"publish","type":"post","link":"https:\/\/cinematography.net\/CineRant\/2017\/08\/08\/colour-grading-for-the-blind\/","title":{"rendered":"Colour Grading for the blind"},"content":{"rendered":"<p>I can&#8217;t stay quiet anymore, I have to scream!<\/p>\n<p>I&#8217;m a member of a number of colour grading groups on the net and they vary from the great, LGG, to the unbelievably bad.<br \/>\nI made a comment a long long time ago that the way to tell who was a dailies colorist was to look for the white stick and the dog.<br \/>\nIt seems that now everyone is a colorist and most of the so-called colorists are either color blind, partially sighted or completely blind.<br \/>\nI see examples posted online asking for comments, I have refrained so far.<br \/>\nMy only comment would be &#8220;go and find an optician!&#8221;<br \/>\nGuys, you need to start with a good image. If after loading your work into your software of choice ( usually Resolve) set the workflow to ACES and use the relevant IDT &amp; ODT. If after this your work doesn&#8217;t look pretty good you have fucked up the shoot! go and start again.<br \/>\nGreat grading has to start with material the colourist can work with, yes a really good colourist can rescue crap work but there are limits.<br \/>\nIf you give them good work to start with&#8230;<br \/>\nPlease notice I am saying that you should give your work to a good colorist, not that you should do it yourself.<br \/>\nIf, for whatever reason, you end up doing it yourself then shoot it right and don&#8217;t do a lot in grading.<\/p>\n<p>It seems that everyone using grading systems for the first time finds the 11 setting before anything else!<\/p>\n<p>I am so fed up with seeing oversaturated images with crap skin tones and weird contrast. Learn to do it right first. Don&#8217;t use the &#8220;I am an artist&#8221; excuse to cover up bad work.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I can&#8217;t stay quiet anymore, I have to scream! I&#8217;m a member of a number of colour grading groups on the net and they vary from the great, LGG, to the unbelievably bad. I made a comment a long long time ago that the way to tell who was a dailies colorist was to look &hellip; <a href=\"https:\/\/cinematography.net\/CineRant\/2017\/08\/08\/colour-grading-for-the-blind\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Colour Grading for the blind&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[],"class_list":["post-136","post","type-post","status-publish","format-standard","hentry","category-rant"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8PwMD-2c","_links":{"self":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/comments?post=136"}],"version-history":[{"count":1,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/136\/revisions"}],"predecessor-version":[{"id":137,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/posts\/136\/revisions\/137"}],"wp:attachment":[{"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/media?parent=136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/categories?post=136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinematography.net\/CineRant\/wp-json\/wp\/v2\/tags?post=136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}