With this course, we have created the most comprehensive color training for digital cinematographer available today. High impact techniques, taught in this course, will completely change your approach to digital cinematography and elevate your image quality to the next level. You will learn how to get most out of modern digital cameras and be able to take full control over your image. We will teach you how to create a whole spectrum of looks and how to emulate a variety of historic film stocks while working in SDR, HDR or ACES.

At the end of this two-day training, you will not only have full insider knowledge and techniques but will also gain full practical experience of how to use them.

Color Managed Workflow training was originally developed with the support of British Film Institute and since has established itself as a standard for modern Film and TV professionals working on top shows for Netflix, Amazon, and HBO.

Now in 2019, in collaboration with Abel Cine, and with access to the latest cameras, reference monitoring, and projection technology, we are making this great training accessible more than ever before.
We recommend it to Cinematographers wanting to explore the possibilities that digital cinematography opens, and that go far beyond traditional techniques thought at film schools. DITs wanting to advance their career beyond data management tasks. Filmmakers who want to learn all about color and possibilities they have. Colorists wanting to expand their knowledge and learn how to work like a pro and be able to design some of the most beautiful looks in SDR, HDR, and ACES.

All attendees will be given full Colourlab Artist License that incorporates: Colourlab, ACES and HDR plugins for Davinci Resolve.

DAY 1

Introduction to Color Science

What is Color Science?

Light and the human visual system

Physics of Color
Color Systems
How do we see Color?
The mysterious world of illusion
Color and Emotion
Color and Harmony

Introduction to Digital Cinematography

Digital camera sensors
RAW processing pipeline
Color spaces
What is gamma, linear, log, PQ
The truth about resolution, bit depth, and compression
Common digital camera models

Red, Arri, Panasonic, Sony, BMD, Canon, Drone and mini Cameras

Colour Control and measurement

Understanding how to read

Waveforms, vectorscopes and histograms

Light Meters

Spectrometers

Color checker charts

Camera Test measurement

Calibrate Camera Using Color Checker Chart

Color Management Fundamentals
Color Managed Workflow overview

What is Look and how to create it?

Primary Color Correction and CDLs

3D LUT and Image DNA

CMW Step 1: Color Management On-set

CMW Step 2: Datalab, Dailies and Transcoding

CMW Step 3: Editorial, Avid, Premiere and VFX

CMW Step 3: Final Grade and ColorTrace

DAY2

Practical Color Management

Colourlab interface overview
Advanced color science and how this works in Colourlab

Look Design using Colourlab

Making a LUT and loading it into Camera or LUT box

Combining CDL and LUT

Creating ASC CDLs using Arri Look Tool or LiveGrade

Colourlab ACES Film Stock Emulation

Colourlab HDR and look translation

Advanced Color Management

ACES – Academy Color Encoding System Explained

Monitoring onset in ACEScct

Grading in ACEScct with Davinci Resolve

Using Sony BVM X-300

HDR Explained

HDR10 and HDR10+

Dolby Vision

Advanced Look Design

Advanced use of Secondaries

Creative Palettes and Film Profiles and how to use them

What can you do to protect image quality

Creative looks:
Hipster looks
Cross process on Kodak Vision 3
Sci-Fi looks
Classic Kodak Print Look

Kodak Vision Camera Negative Look

Fuji for Action Film Look

Updated Fuji 16mm Noir

Classic black and white

Orange and Teal

Northern Flat look

Flashback looks

What’s popular now look