http://www.vfxtalk.com/ Check this forum out for the latest critiques and reviews driven by the VFXtalk community! Tear into everything from feture films to new product releases! en Thu, 20 Jun 2013 11:28:01 GMT vBulletin 60 http://www.vfxtalk.com/images/bluefox/misc/rss.png http://www.vfxtalk.com/ http://www.vfxtalk.com/threads/37007-pre-Color-balance-process?goto=newpost Wed, 19 Jun 2013 23:45:42 GMT I am dealing with multiple VFX shots, captured with a few diff cameras with diff exposures. I have noticed that the exposures are significantly different from shot to shot within the edit. Over or under exposed shots. Compositing CG elements into underexposed VFX plates is going to be an issue... I am dealing with multiple VFX shots, captured with a few diff cameras with diff exposures. I have noticed that the exposures are significantly different from shot to shot within the edit. Over or under exposed shots. Compositing CG elements into underexposed VFX plates is going to be an issue when doing the final Color grade. The raw plates are in LOG, however bringing them into a linear color workspace shows how incredible blown out or under exposed they are, ouch.

Can someone (a colorist) shed some light on the methodology to balancing out and baking out new plates, prior to the comp.

All I want to avoid is compositing CG elements into significantly over + or -underexposed plates. I want these dpx plates pre-balanced and delivered in LOG, than we can comp in linear space or using a specific LUT, next we can kick out our comps that used the pre balanced plates. These Log dpx renders will go straight to color and than Color does not have to push or pull them so much.

Just wanted to look into doing a pre balance on problem shots, how simple or concerning would that be? The nitty gritty specifics that maybe a colorist can touch on here.

Hope that makes since in a generic way.

Thanks ]]> dupsta http://www.vfxtalk.com/threads/37007-pre-Color-balance-process