Hi, it's Warren from the ICA. Today I'm going to show you a little bit about
GraningArealexa. This is ProRes 4.4.4. It's not ArriRaw, so I cannot get access to
any raw metadata settings from the ArriAlexa camera to change anything like
I can with the RED because it's not a raw file. This is actually a raw file. This
is a RED file. This is an ArriAlexa back-to-back. LUTs are now supplied with the
Resolve system, so if you want to just see what a LUT will do to this, just
right-click, go to your LUT tab. I'm actually doing on the node 3D and there's an
ArriAlexa LogC to Reg709 LUT there. So that will change this and profile it and
show it to you in HD color space, which is Reg709, which is great for viewing
on set, great for baking in dailies. I wouldn't necessarily use this for
grading because I like to get to that place myself. But again, very useful for
quick look to see how we can convert a LogC image, which is quite a
traditional flat image as we can see here. So not ideal for client viewing
or for editing, for that matter of fact. People have asked me as well, can we use
this on any other material? Well yes you can. We could go to this red shot here,
which is a red log film, and we could look at that and apply that same ArriLUT
onto there. It doesn't stop you doing it. It won't say, oh hang on, you're not LogC
original, you cannot use this LUT. Now it's saying Reg709, which won't be
traditionally true, but hey, it's going to give you a nicer image to work with and
now that is one of the quick and easy options you have. There's nothing to
stop you using that. Technically, won't be correct, but it's a lot closer or
probably a likable image than what the flat image was before we put that on
there. So you can use these LUTs, get them into the machine, you can obviously use
them. A little bit about grading this, one of the most important things I always
say to people, I'm shaming now, or teaching them now. Here's a shot of a bar
here, Albuquerque Australia. We could use any of this, but as I run it on, we see
there's a motorbike coming in here. So don't start grading it back there, spend
five minutes getting it really nice and go, oh actually they're going to use this
shot where he comes through and he rides through all your grads or your grades.
So bring it up, bring him into shot and start grading there. Same with any shot,
always look for that magic part of the shot you're grading, when the eyes are
open, when the person's looking at you. This is where you stop, because as color
is, we spend a lot of time on steel frames grading things, so think a little
bit about where you're going to stop to start to grade. I always say to people,
explore your images. Let's put up right click on the steel here, brings you up
this option, waveform options. Let's bring up a parade. This is showing me the
levels of red, green and blue and we can see it's around the middle of my waveform
here, nothing down on the blacks here and not too much up at my whites. So if I
lift this here by using my wheel, scroll wheel, I can push my whites, I can explore
what information I have in the shot. Take my blacks down. Is there detail
crush? Can I see what is inside here? Get to know your material that you're
working with, get to know the format, what are its limitations, what are its
plus points, then use my mid-tones here. I'm just gonna overall just bring that
down a little bit. I don't want a crushy image but mid-tones, I'm adding some just
some more contrast. One thing I like about the Arri is I've not touched any
color controls at all. It does track very nicely and by that I mean these colors
track when I apply contrast. So in a way I've created my own little up there to
get me started for my first node. That is one of the key things about using this
material that it does hold up. I haven't had to come in here and start to grade
this a certain way because I've added some contrast. Your first node should
always be a balance like that. Avoid any clipping, avoid any crushing, then go to
your second node and start to do some creative grading. One tip, always look at
things you know. Skin tones you pretty much know, blue skies and another great
one is a gray road. That needs to be neutral gray most of the time. If you
come to this shot and you can see there, look at that shot. Look at this gray, you
can now see there is a warm cast in there. Look in there. Now what can you see? You
can see there's a little bit of green across it. Balance that out and the rest
of your shot will come in. There's little clues in every picture that will help
you balance and get a good grade to start with. Because unless you can grade
this picture very evenly and using the primary controls, and by those I just
mean these color wheels in here, then it's going to be very hard for you to
create a thing really cool and sexy down the line. So concentrate on the
primaries, get this balanced. From there you can go on and do some new
some really cool stuff and this material does work very well in Resolve. We're not
in Resolve in any color grading system. I find you can manipulate the image and
you can get a very pleasant result. Thanks for listening. Check out our RCA website
if you're keen on more color correction. If you're keen on online classes and maybe
you're too far away from the places that we run classes, then you can always take
online classes which is a thing called Fast Forward at FXBHD. Have a look at
that and that's 10 30-minute lessons on all different subjects at Resolve. It's a
great way to get you started. Thanks for tuning in. Stay tuned for some more. Take
care. Bye bye.
