(one of the) Jean Clément Soret look

Paul Champart Sep 29, 2016

  1. Hi guys
    I've got a project and I want to use a Jean Clément Soret reference.

    I would like to have your advice on this link:



    JCSoret_meet the superhumains_1.jpg


    Here is my description, what do you think?
    This is a silver and desaturated look. The general tone is cold. There is something very soft. The blacks are neutral and it seems that they are soften and a bit lifted (as a black promist). The skin tone are very bright and a bit cool. The white are absolutely white and a little bit soften.
    I mean my description is enough to feel this silver and soften look?
    Do you have special tips to achieve it?

    Thank you for your advice guys :)
    Cheers
     
  2. Which camera you start with? which material? log/RAW? how do you light the set?

    Look start with costume/set/lighting...
     
  3. Hi Walter

    Thank you for your answer! :)

    I totaly agree on the importance and dependance of the set, light, camera, wardrobe and so on on a spefic look.
    But in this case this is not the way to think because of the variety of the multiple sources, lightning...
    The Soret project is a multi-source camera settings but he achieved a very homogeous and soft result as it could be.

    But in short, to achieve this look, my project is far simple:
    I've got just one camera is a RED weapon and one space a swimmingpool on a natural light with little ajujstment with reflectors and projectors...

    I feel that there is a specific work on a colorgrading point with this beautiful result :)

    Cheers
     
  4. It's very desaturated with lifted blacks and raised mids, kind of thin, "soft" look, with kind of steely whites and upper mids, but also lit very deliberately with soft lighting and lots of fill and a full exposure. You can't pull that kind of look out of (for example) a high-contrast lighting situation that's underexposed. So it will hinge on the lighting and the specific art direction and exposure.
     
  5. Hi Paul this one is a bit of tricky, it was shot over about 3 weeks a lot of the shots in there a captured live ,no setup no addition lighting

    the camera used are phantom, arri and 5d at some points they were shooting on 10 camera at the same time, as the only slots they could get with the athletes where during their training session and these guys don,t have much time as they are about compete in the olympics

    some of the normal rules are sort of out of the window, yes the narrative section are obviously stages ..but as for the rest of what is and what isn,t ???

    so looking at it from that point of view, it's a master class in colour work bring all sorts of media shooting styles lighting etc ...basically everything under one roof and giving it a coherent tone and feel

    jean clement soret, Tom Tagholm , Luke scott ,MPC and crew literally knocked out of the park .....not quite as good as the guinness surfer for me but close ..it's benchmark work ...i,ll never be that good but one keep trying HA!

    the wheel chair shot you have posted was shot on the phantom

    however interesting it would take me while while to get the look in the wheelchair shot in resolve ...i,m sure walter could whizz that out:)

    however from a photographic standpoint which i can do that look is very similar "classic chrome" film emulation on the fuji,s camera which is turn is derived from the look kodachrome gives when its printed on matt paper

    i,m not sure if that helps :)
     
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  6. Hi Gavin
    I won't hope to talk with one of the most important person of the crew
    I'm glad to meet you :)

    Yes you help me and I see that it is a master class in color work here...

    How can we translate it on colorgrading tools language?
    Can you help me Walter?
     
  7. can you put 2-3 frames of the actual shooting?

    if it is raw red, debayer recolor dragon 2 / redlogfilm
     

  8. Ha! walter i didn't mean for you to do it ...i was just pointing out you Uber colourists can get some like this way quicker then idiots like me :)
     
  9. And i don't want to do it either! (unless you get a good bottle of whiskey in my bay and we laugh our ass off for an evening).

    My idea was to see the material and understand the best approach: giving you some directions!. If i can pass you information on how i will approach it, you might learn how to do it yourself or at least have another point of view. I learn more from colorists that show me things that i don't know that repeating at nauseam things that i already know how to do it.
     
  10. Even without the material, I will certainly approach in this way:

    i like to work thinking of the output: how many stop of latitude i want to map, or in another way to say it, how much global contrast the material need to have.
    I like to work with LOG material as much as possible in the timeline.
    i dont like to do correction after the master LUT/Scurve/look
    I do like to put some very like grain on top.
    I do like to reduce the high sharpening kernels you get in the cheap cameras (like go pro)
    i do not like Denoise. never. even when I'm forced to use it.

    So, in the timeline node I will put a master lut/Scurve (whatever you fancy) that will bring the material within the tonal range i like. If your hero camera is red, I will use a redlog-to-bt1886/rec709 curve. (P3 DCI for theatrical, or sRGB for web, whatever applies).

    after that, i will build the "look": in this case one node to reduce saturation (by 30-40%), put the midtones and dark midtones in the cyan region ( straight opposite of the skintone line) then add another node to lift the dark midtones and black to give the smokey feelings. Blacks need to be neutral and white can lean just a tad in the blue side. a tad.
    Add a very soft and very light vignette that darken the outside a bit and does a very very slight lense blur to it. JUST A BIT.
    You might add a tiny weeny bit of glow if you fancy
    Add a tad of grain, very fine.

    group the LOOK nodes (not the LUT) in a compound clip and mute it.

    now look at the shot to shot and match them for contrast, color, saturation, tonal distribution and make it as good as you can. Turn the [look] compound node on often to see playback if works... Resist the temptation to build the LOOK in every shot: it will not be consistent.
    In the shots i will approach like this:

    1) convert the tonal range of the camera to LOG (redlogfilm in your case)
    2) adjust exposure and balance with offset/printerlight
    3) adjust contrast with gain to match them
    4) if really really necessary, tweak the midtones for better balancing the light between hig/mid/low distribution (I almost never do)
    5) do your masking to enhance your subject and darken your unwanted attentions. if it is a commercial, you might want to defocus the unwanted object as well, not recommended for long forms.
    5) if you have cameras with high sharpen like GOpro, kill some of the edge sharpen
    6) if you have very wide angles with the gopros, use the lens correction to fix it as best as you can. nothing speak cheaper than a pinhole camera.

    once the basic structure is done, playback over and over with all applied and make tweaks until dead...

    Edit: several typos...
     
  11. Whah Walter! What a great and precise explanation! Thank you so much for sharing it!
    I'm happy to see that I've got more or less the same approach.
    I hate LUTs look. I prefer thousand times make it by hand!
    The have only a special difference is the way to balance the shot. I'm not using offset and gain to match.
    I'm using it to do the global settings with the curves on a raw material but I adjust the details with my LGG and curves.
    I'm trying not to change the look group but it is a bit tricky. I will try another time. :)
    And I never think about the soft vignette it is a great idea!!!

    Here is a Tiff raw material (3 frames) and I just give you a color test to see where I'm going.
    If you can tell me what do you think about it?
    For me the skin is to much grainy but if I want to recover the skin tones...

    I'm working on Scratch Assimilate
    My raw is a dragonColor - RedLogFilm (with the dragonColor the density of the color are better than the ColorDragon2 for this project in my opinion).
    I just Scurve the luma with the curves
    I'm balancing the whites and blacks with LGG
    I illuminate the skin with curves and I just desat a tiny bit the skin tone
    I saturate a bit the overall and lift the gamma with the center of the luma curve not just the black gamma but all the shot.
    I'm doing a sort of black promist to soften a bit the blacks.

    I'm doing it just before your comment. So... i'm not doing the vignette, the grain and...

    Here is a wetransfer link for the raw material and my color test:

    https://we.tl/CYHiuBy6rh

    Thank you again for your wise advices :)

    Cheers
     
  12. good direction, take a little more out saturation might be 10-20%, i like the contrast overall...
     
  13. BTW: I give you Raw on DragonColor2 as you wish it.
    BTW2: I love "hatefull Eight". So great movie!
     
  14. You mean less saturated?
    I'm a french with poor english.
     
  15. Yess, less sarturated, (I'm Italian, figure you my english is as poor...)
     
  16. One of the issues of trying too hard to hammer a look using LGG is that you will inevitably stretch the signal too much if you overdo it, adding noise where you don't want it. Then you add noise reducer to fix it, then it look plasticky and you don't like it, then you will try to tweak and throw the general tone off... You will chase your tail.

    simple, keep it simple.

    i don't know how scratch works, but i assume it can work in layers: make at least 10 and do the basic contrast/look in the top 3.(use a "s" shape curve if you don't want hard clipping)
    Once that is done, try to use just offset and gain in your primary correction: you will get where you want without using gamma at all and you will have a less noisy image to work with.
     
  17. Very good advice from Walter above.
     
    Adam Hawkey and Paul Champart like this.
  18. Great topic! Getting in the heads of other colorists is such a great resource!

    Walter, I'm really curios about how you're doing your color separation. You speak about tinting the lower mids, while leaving the blacks clean.
    Are you using LGG before the LUT for that, or doing it with curves? Or are you doing it in the main SCurve?

    I'm normally used to doing it in the order - SCurve or LUT -> exposure and main balance with printer lights under the LUT -> then color separation using LGG after the LUT. But, as you say, it makes perfect sense that working before the LUT would apply in a less aggressive and organic way to the image.
     
  19. to me the lut/scurve/look is one block: once i like it for some keys shots, i will not touch it.

    I "always" color in log space prior to the lut (with some exceptions: most notably a documentary where the material is all over the place)

    as i mentioned, mostly printer light, contrast and such.

    also i don't like secondary color corrections (curves), but it is a subjective thing...
     
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