Look previews on set and live grading are an integral part of many film productions and a popular means of supporting the DP’s creative work. Allowing DITs to act as flexibly as possible in the camera department, Livegrade is continuously being optimized with great effort and adapted to the rapidly changing requirements in the best possible way.
With the last update of Livegrade, numerous new features and grading controls have been added, which offer more variability in creating and adapting looks and further support the DIT in making them accessible directly on the film set. Over the past few months, we have posted a three-part series on this topic on our blog, which we would like to put in an immediate context in this compilation article and thus offer a good foundation for making working with Livegrade a real pleasure.
Let’s go through part 1-3 of our grading series again:
Part 1: New Ways To Create The Perfect Look For Preview And Dailies
Part 1 of our blog series about on-set look management and color grading with Pomfort software goes into more depth in terms of the new grading features introduced with Livegrade 5.2. The new grading nodes, such as RGB Curves and HSL Curves, and the amount slider, are powerful additions to Livegrade and allow DITs to create looks even more precisely, thus making color grading in Livegrade as efficient and reliable as one would expect.
Read the full article here.
Part 2: How To Pass On Look Metadata
Based on the new grading nodes, the following article takes up a missing industry standard concerning non-CDL look metadata. In this way, it is not always easy to export the associated metadata for third-party applications or the subsequent processes and workflows. To still guarantee a seamless process, this article explains which export formats are compatible and why it offers even more advantages to stay in the Pomfort ecosystem.
Read the full article here.
Part 3: Order Of Operations For Creating Looks On Set And Color Grading Dailies
With our third article, which concludes this series, we take up the aspects of the two previous posts and derive relevant use cases accordingly. These are intended to help the DIT use the new grading nodes natively and meet the look requirements of the respective production right away. Since the order of the applied grading nodes is decisive here, the article deals with the most common rules that must be observed to achieve the desired result.
Read the full article here.
Conclusion
The three articles aim to complement each other and offer the reader a comprehensive overview of all the helpful grading features in Livegrade. Besides, they should make it easier for DITs to find their way around the software immediately and be aware of all the possibilities they have with Livegrade when creating the perfect look for their current purpose. As diverse as film productions, color pipelines and workflows on set are, as variable are the tools in Livegrade to ensure consistency of looks that match the underlying creative idea.
All posts in this series:
