Using the Tektronix 7020 waveform monitor

Josh Petok - Guest Post


As a colorist, one of your challenges can be balancing out shots with extremely different luminance values. We are all human and our eyes can get tired after watching image after image all day. That’s where the scope comes in.

The Tektronix 7000 series of scopes have several tools that make it easier to visualize your clips color and luminance without being effected by the actual image. In this tutorial, I will demonstrate two essential Tektronix functions: Capture and Line Select. Unlike software scopes, having immediate access to these hardware buttons can really speed up your workflow.

This knowledge can be applied wether you’re on DaVinci Resolve, Apple Color, Film Master, Avid Symphony, or any other system that relies on color correction.


Josh Petok is a Colorist who helps reality shows look their absolute best. From his beginnings on “The Surreal Life,” he strives to intensify drama or comedy while still keeping the presence and authenticity of reality tv. Completing work on his 47th show, Josh is continually learning and developing new methods for enhancing the shows that he works on. You can find Josh on his homepage, his blog The Current Cut, and – of course – Josh can be found on Twitter.


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FTC Disclosure

Tao of Color has not received compensation, goods, or services from anything mentioned in this post or in the Video Tutorial. We hope, one day, this might change. Affiliate links are clearly marked, resulting in a commission on sales (which helps support TaoOfColor.com).

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Can You Customize the Tangent Wave for DaVinci Resolve?


Josh Petok - Guest Post

Editor’s Note: I am thrilled to present Tao of Color’s first Guest Post! If you like this tutorial, please leave a happy note in the comments and welcome Josh into the Tao of Color fold!


Colorists: Are you constantly looking for small workflow improvements when you do color correction? I do, because one little tweak can save me a few seconds – and those seconds can add up over the days, weeks, and years of my career as a colorist.

And if you color grade on DaVinci Resolve using Tangent’s Wave… you’ll love this tip on how to customize the Wave panel – something you can’t do natively within Resolve.

For this tutorial we’ll start with something very simple…

Two of my most used keys in DaVinci Resolve are simply: Enable All and Disable all. These toggle all the nodes on and off – so I can quickly switch between the uncorrected image and my grade.

These ‘toggle’ commands are natively mapped to the up- and down- arrows on the keyboard. Unfortunately, the good folks at BlackMagic haven’t mapped this command to Tangent’s Wave. Join me as I teach you how to do it for them…

Links:

Josh Petok is a Colorist who helps reality shows look their absolute best. From his beginnings on “The Surreal Life,” he strives to intensify drama or comedy while still keeping the presence and authenticity of reality tv. Completing work on his 47th show, Josh is continually learning and developing new methods for enhancing the shows that he works on. You can find Josh on his homepage, his blog The Current Cut, and – of course – Josh can be found on Twitter.


Related Posts (automatically generated)


FTC Disclosure

Tao of Color has not received compensation, goods, or services from anything mentioned in this post or in the Video Tutorial. We hope, one day, this might change. Affiliate links are clearly marked, resulting in a commission on sales (which helps support TaoOfColor.com).

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Using “Magic Bullet Looks” on Text


A sweet tutorial was just posted on Red Giant Software‘s website: Grunging Up Text In FCP

Video tutorial maestro Aharon Rabinowitz does a great job showing how to apply and develop a text treatment using MB Looks. He gets around the biggest challenge of using Looks for this sort of thing (the fact that Looks settings are not keyframable, and thus static on text) by using the additional MB Misfire filters (which are excellent and ship with MB Looks) to give the text movement and interest.

Really – a great tutorial.

Just as good – the video doesn’t Autostart (ensuring you’re not inadvertently outed that you’re doing something other than what you should be doing).

– pi

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Controlling ‘Magic Bullet Looks’ (feat. ‘Knoll Light Factory’): Video Tutorial




"Magic Bullet Looks" preset examples

Magic Bullet Looks

Last week I was a guest on 16x9Cinema.com’s Digital Convergence podcast. Hosts Carl Olson & Chris Fenwick took me through a range of discussion topics related to color grading. Chris asked me about how I get Red Giant Software’s Magic Bullet Looks to update to my external broadcast monitor while I’m working in the Looks interface.

(In case you’re unaware, Final Cut Pro doesn’t allow custom interfaces to output live updates to the video card… the final ‘look’ needs to be applied to the clip before it is output to the external monitor.)

I mistakenly answered Chris that I don’t have a solution to this problem – forgetting that I came up with a viable workaround earlier this year.

So. This Video Tutorial is my mea culpa to Chris & Carl. It’s about how you can control Magic Bullet Looks and get live updates to an external monitor – in real time! It also features a quick little demo using Knoll Light Factory with Magic Bullet Looks to create a ‘dream sequence’ feel.

Threaded comments are turned on for this post – please post a comment. Below the video are all the relevant links for this post. Enjoy!


You’ll the “Enlarge” button to go full screen…


Links:


FTC Disclosure
I have not received compensation, goods, or services from anything mentioned in this post or in the Video Tutorial. I hope, one day, this might change. Affiliate links are clearly marked, resulting in a commission on sales (and helps support TaoOfColor.com).

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