Well, there’s a little bit of confusion over some of the recent clips I posted. I did post a second clip with a more *affected* grade and thought I’d addressed the aliasing issue and how it was introduced. Still, I’m seeing comments attributing this to the camera and not the post workflow that introduced it.
So I’ll have another go.
This version graded by myself using Resolve V9. I shot the original footage using ProRes 422 (HQ) with the camera in “film” mode. The ProRes shots were edited in FCPx and then XML exported to Resolve, Graded and then exported to 264, before uploading to Vimeo.
They were done very quickly….In fact, all these grades were done in an hour.
They were using a different colour grading platform, Baselight and their workflow is based on DPX. As such the ProRes files were converted to DPX, graded, then rendered to uncompressed 10 bit QT’s which were then converters to 264s and uploaded to Vimeo.
With these versions, you’ll notice a bit more aliasing (jaggies0 on them which has been introduced by the DPX conversion. I’m sure this was something that can be fixed but I’m not at DP right now and I’m putting these clips up more as an example of the different grades you can get from the camera.
The aliasing is not from the camera in this case, as you can see from looking at the very first clip. This was introduced by the post process.
First. A bleach bypass look.
Here’s a very simple neutral “rushes” look.
Then we tried a POP grade…pushing everything in a similar way to what I did with my grade.
This is a REVERSAL look.
And finally, this is Annelie’s take on it. The colourist grade