Slugline

Simple, elegant screenwriting.

Needables
  • Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic
  • TASCAM DR-100mkII 2-Channel Portable Digital Recorder
    TASCAM DR-100mkII 2-Channel Portable Digital Recorder
    TASCAM
  • The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    by Stu Maschwitz

Entries in Magic Bullet (72)

Thursday
Oct312013

Coloring M is for Marmalade

Warning! This is a horror short. It’s all scary and stuff. Once again, you are my mom, skip this one.

My buddy Gus Kreiger wrote and directed this short called M is For Marmalade, his entry into the ABC’s of Death 2 search for the 26th director competition. He sent me a rough cut and I liked it so much that I asked if I could do the color grading.

Before we go any further, please take a moment to watch and throw a Facebook Like at the short. The competition is still on, and Likes help Gus win, which would mean his work appearing in the feature film!

Do it.

OK, thanks. Now, about that color grading!

Gus sent me a ProRes render of his locked cut, along with this email:

First chunk – through the BEEP! at 0:39 – should have a slightly washed out Minority Report/Alfred imploring Bruce in the stairwell of Dark Knight Rises look. After that, with the switch to the kitchen at 0:41, it should jump to a brighter/more vibrant look: we’re in a “different” place.

The vibrancy should then get less and less with each shot so that by the time we’re back to the “bad” place – the drag at 1:17 – the Minority Report look has crept back in. A Blake Snyder “synthesis” moment, if you will, but the “vibrant” shouldn’t go away entirely, as I like that the shots are “pretty” when I’m, like, sawing her arm off.

Final scene at the table (2:39) through end should be very good-looking indeed. Eerily so. Idyllic.

I loved these notes. “Minority Report/Alfred imploring Bruce in the stairwell of Dark Knight Rises look” is a concise description that immediately filled my head with images. I didn’t even look at those films before diving in—I felt that basing my work on my memory of what those scenes look like was the better way to go.

I colored the short using Magic Bullet Looks and Colorista II in Adobe After Effects CC. I used Magnum - The Edit Detector to automatically divide the clip at the cut points. I then placed markers on my hero frames—sometimes more than one per shot—and ran the Make Thumbnail Comp from the DV Rebel Tools. This created a comp for me with thumbnail representations of each shot, automatically fit into a single HD view. As I showed in the tutorial, my workflow is to keep my main color correction Comp View locked on the left, and the thumbnail Comp View locked on the right.

Click to enlarge

Gus’s desire to tell his story through the contrasting cold and warm “worlds” that eventually collide, worked perfectly with my usual workflow of spanning “look” adjustment layers over several clips in a sequence, and then dialing in each shot for consistency underneath that look.

The look layers, shown here in orange, hold single instances of Magic Bullet Looks. Here’s the setup for the warm, happy look:

Here’s the Look for the cool section:

Note that each is quite similar in setup. Both have Diffusion to reduce contrast, a Colorista 3-Way Tool to set tone, and a Ranged HSL Tool to restrict and define the palette. The scenes occupy a similar, complimentary slice of the Hue/Saturation scope, each weighted to opposite sides of the wam/cool divide.

For the “synthesis” scenes, where warm meets cool, I decided to express this collision using a cool overall tone that would fight with warmer, glowing highlights trying, and largely failing, to bleed through. So I added a second Diffusion Tool, operating to some extent only on highlights (Highlights Only set to 10%), and then pulled the midtones way down into the Colorista 3-Way Tool. To me, this created the feeling that a warm, sunny day was happening just outside the windows, trying to get in, but was being clobbered by the cold, scary stuff happening in the room.

The short was very well shot by Jeff Moriarty (on a Canon 5D Mark III), so I didn’t expend too much effort on shot-to-shot consistency. But one of the things that got me excited to take this on was that Gus and Jeff rarely repeated a setup, so there were many gorgeous, independent snippets to bring together into one consistent story. So I made some shot-by-shot tweaks, mostly to keep objects consistent in color.

The skin tone of actor Amelia Gotham was very important to me in those opening, cool shots. There was one shot where the light flaring the lens was washing her out enough that I used the Colorista II Keyer to bring her back, just a bit.

In other shots, I used the Colorista II Power Masks to selectively darken areas of the frame. Here I darkened the area outside the doorway:

I got most of this done in about half a day, and I shared the thumbnail view with Gus as well as a rendered output. He came back with a few minor notes.

After Gus approved my next pass, I turned on Denoiser II (also part of the Red Giant Color Suite) for the entire timeline and rendered out the final ProRes movie, which I then Dropboxed to Gus. Denoiser II was essential in cleaning up the compression and other noise that Canon DSLR footage is famous for, and it allowed me to push my color choices much farther than I otherwise would have.

I sharpened the final comp and reintroduced a tiny bit of noise, and rendered the final ProRes with 32-bit color processing in After Effects.

Here’s a gallery of before and after frames (larger here):

Thank Gus, for letting me help with this short, and allowing me to share the process here.

Happy Halloween!

Monday
Oct142013

M is for Marmalade—Watch and Vote!

Warning! This is a horror short. It’s all scary and stuff. If you are my mom, don’t watch.

I did the color grading for this creepy, wonderful horror short by Gus Krieger. It’s an entry in the ABC’s of Death 2 search for the 26th director competition—if Gus wins, his short will be included in the feature film, a sequel to the orginal ABC’s of Death.

The winner is chosen by Facebook “Likes” (because what could be more horrific than that?), so head on over and put a thumb on it!

Further warning: Gus has given me the OK to write about the process of coloring his film, so watch for that in coming weeks.

Tuesday
Aug202013

Red Giant Summer Sale—40% Off Everything

Everything at Red Giant is 40% off, today only, with the coupon code summer40. This sale only happens once a year. It’s a great day to pick up the new Color Suite (which contains Colorista II and Magic Bullet looks) and Shooter Suite (with BulletProof and PluralEyes).

From the blog:

But it gets even better. Thanks to our new “Make Your Own Bundle” option, the more you add to your cart, the more you’ll save!

Here’s how it works for today only: Start with 40% off everything – then increase your discount by adding more than 1 item to your cart. Every item you add (up to 4 items) gives you an additional 5% off.  If you add 4 items to your cart (even full suites), you’ve earned 20% off the sale price. That brings you to 52% off!

The sale ends tomorrow, August 21, at 8:00 AM PDT, so get on it!

Tuesday
Jul302013

BulletProof Is Here!

Red Giant BulletProof is live!

Major congrats to the entire team at Red Giant. It’s truly been inspirational to watch them build this amazing app.

We made BulletProof because we needed it. It’s a filmmaker’s tool built by filmmakers. For real.

You’re on set. You’re shooting like crazy. Everyone’s asking you a hundred questions. You need to know that you got the shot. You review it. It’s perfect! But the first half of take one is the best, as is the second half of take three. You make some quick notes. Boost the contrast and warm up the shot. Pop in a few quick in and out points and check continuity instantly in a playlist. Circle that take. Rate it five stars for good measure. Copy/paste that warm, contrasty look to every clip.

All in seconds, all on your laptop, all using an interface that works the way your brain does and gives you confidence that your shots will make it home safe—as will your creative take on them.

The footage is checksum-verified and redundantly backed up. The clips you export drop right into your editor’s NLE with all those keywords, notes, and markers intact.

Where has this been all our lives?

BulletProof is available on its own, or as part of the new Shooter Suite, which also contains PluralEyes. Looks, Colorista, and the other Magic Bullet color correction tools are now bundled together as the Color Suite. If you have questions about how all this works, check out the helpful blog post over at Red Giant.