Going through methods for evaluating which shots to include as hero shots.

Preparing the project by setting up the color management and color space aware tools. Looking at how to work with exposure and balance to preserve details while keeping the integrity of the cinematography and the context of the story. Also going through some image-analyzing tools that helps make better decisions in the base grade process.

In this lesson, we’re diving deep into workflow for look development and node organisation with node hierarch. Then, looking at film print emulation characteristics and setting up a workflow to get the best result out of them.

Using printer lights and film print emulation on a commercial using the established workflow. Also, discussing order of operations, ways to kill off saturation, whether to apply noise reduction before or after the grade and general color theory.

Demonstrating three different methods to create the Silver Highlighted Look (Bleach Bypass) on a color chart. The methods include midtone detail work to add micro contrast, shaping luma only curves and primary controls.

Now it’s time to implement the look into the established workflow, on top of the base grade. Explaining how to adjust for best possible result and consistency. Then, experimenting by mixing silver looks.

Diving into the characteristics and behaviours of film emulations, and recreating the essence with curves.

The RGB mixer and the Splitter & Combiner node is used to gain better control over black & white images.

Analyzing halation on images shot on film, and creating halation that can be used in a variety of looks from scratch. Talking about the benefits of working in linear light and converting between color spaces.

Using charts and scopes to evaluate grain, and continue to emulating both negative and positive film grain. Looking at the best ways to integrate grain for most visually pleasing result, and setting up a real film-scan-grain workflow.

Building the classic teal & warm look with curves on a test image and charts.

Going through two more methods to create the teal & orange look, using both primaries and the color warper.

Going through different saturation tools, and looking at color management to create technical accurate saturation response in non-managed workflows. Then, using the LAB model to adjust saturation and using HSV and HSL to create deep filmic colors.

Looking at some color models to better explain what happens with saturation when converting between different color spaces.

Jason walks you through his hardware recommendations and looks at Nobe Omniscope.

In the last lesson, we’re challenging you to re-create the original grade of a commercial using the techniques and strategies from this course.