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In the first episode of the series, Ollie introduces us to the concept of "Directing Colour" as he begins to produce a commercial for a boutique catering company. He takes us through the process of how he developed a colour palette for their brand which will be woven into the production design for the commercial, and explains how the relationships between colours can create compositional balance in your images.
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In this episode Mark shows us what we need to know in order to get compliant exports and audio deliverables, as well as how to master great sounding mixes using the Macbeth and Action example videos.
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This critical episode shows us a few examples of the importance of layering sound effects and how to best do it by sing the best parts of each layer to support the whole. It also deals with the exporting of sound effects
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In this episode, Mark takes us through example after example of masking up plugins into unholy combinations that bring heavenly results to your mix.
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With the fundamentals of primary grading dealt with, Ollie turns his attention to one of the most important parts of colours grading-skin tones. What are memory colours? Is there such a thing as the perfect skin tone? How do we make faces look realistic, yet cinematic at the same time? All these questions are answered by Ollie in this episode, with valuable contributions made along the way by Academy award winning make up artist, Peter Swords King.
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In this episode, Ollie discusses the basic concepts of the additive colour model and how we can use this knowledge to counteract colour casts in our images. Along the way, we learn how to use the Parade, Vectorscope, RGB Overlay Waveform Monitor, and RGB picker. We also from acclaimed cinematographer Brett Danton, as he discusses how important accurate colours are to him and his clients.
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In this episode, Ollie tackles to distinct areas of the look of film-texture and colour. What can you do with stock effects? What can be achieved with dedicated tools like FilmConvert? Ollie uses the latest music video from acclaimed celluloid DP, Jamie Harding, to show how he matches footage from the Arri Alexa and Arri SR2. He also gives a demonstration of how he dresses film halation, using simple techniques in DaVinci Resolve.
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In the final episode, Ollie teams up with internationally renowned filmmaker, Philip Bloom, to look at the future of film production and delivery-HDR. Starting off in Philip's hometown of Richmond, the pair shoot ProRes RAW and Canon Raw Light during golden hour, while discussing the dos and don'ts of recording for HDR delivery. Ollie then heads back to the grading suite to show Philip what his work looks like on a 1000 nit HDR monitor, and how to set up, grade, and deliver HDR video. Ollie also talks about raw workflow and how working in raw can benefit your clients, even if you are only delivering HD SDR.
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In the first episode, Ollie shows us why setting up an environment where your eyes and monitors can be trusted is of vital importance. as well as seeing how professional suits are configured, thanks to a rare interview with CHEAT lead colourist, Toby Tomkins, Ollie also gives practical tips on how to create a home suite on a budget and how to calibrate your own monitors. He finishes up with advice on working with clients in the room, and how to decode emotive keywords that clients might use to describe the look they are after.
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Continuity is the unsung hero in colour grading, and an often overlooked part of the process. In this lesson, Ollie takes on the challenge of matching Canon and Sony cameras on a multicam shoot, using an X-Rite Colour Checker Video chart. He then breaks down his workflow for creating visual harmony across a sequence of shots in a short film, while discussing stills, image wipes, and split screens along the way.
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Ollie starts here with a discussion about the differences between technical and creative LUTs. Ollie talks about the importance of owning your own images and gives tips on how to develop your own looks using curves and qualifiers, the differences between monochrome and desaturated looks and how to use split screens and versions in DaVinci Resolve to audition looks quickly.
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Here, Ollie breaks down the differences between contrast, tonality, dynamic range, and luminance perception. He also teaches us the fundamentals of reading histograms and waveform monitors, to help avoid clipping and crushing when using lift, gamma, and gain controls. To help illustrate these topics, Ollie uses a broadcast commercial for a sofa company, where contrast is used to make the product stand out against its surroundings.
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