Around a quarter of my editing process goes to color grading. Usually I adjust every scene environment differently. You have so much control over the overall feel of a shot it's insane. The sad thing is, people associate flatter colors with more of a "cinema" feel now, which I mean it's true if your looking at what comes out of the camera. There is no "right" way to do color grading, although in this video he is right that going for the grey-er flatter look does not compliment the super hero action genre. In the end, he sort of does a useless pitch for the RED camera, whereas that makes NO difference to how people color grade a shot. These cameras are so high end and packed with such dynamic range that you can paint every frame exactly how you want it. So, unless the editors change the way they want color to be represented in the movie, the camera won't make a difference at all. RED vs ARRI is almost like a mac-pc tier argument in the film making world, whereas at that level the tools don't matter as much as personal preference and final result.
I can't say much about film since I got into film making after that era, but from what I've seen you still have the maximum flexibility with that medium.
[QUOTE=Philly c;51410791]I don't know shit about digital cameras specifically but the supposed default grey flatness of them looks more like a misconversion from high dynamic range data to srgb colour space, rather than a lack of any further colour editing. I'm probably shit off though.[/QUOTE]
On screen it looks flat but the raw data you get in the files is really good for tweaking. All those flat neutral grey colours leaves a lot open for color grading without information loss.
As an example, one of our training shots was a closeup shot of Marc Walberg on Transformers 4. This shot actually, from the trailer
[t]http://i.imgur.com/GIFLE1v.jpg[/t]
We worked on it in RAW and everything was a flat grey colour before the colourspace and grading process was added.
[QUOTE=Daemon White;51413484]On screen it looks flat but the raw data you get in the files is really good for tweaking. All those flat neutral grey colours leaves a lot open for color grading without information loss.
As an example, one of our training shots was a closeup shot of Marc Walberg on Transformers 4. This shot actually, from the trailer
[t]http://i.imgur.com/GIFLE1v.jpg[/t]
We worked on it in RAW and everything was a flat grey colour before the colourspace and grading process was added.[/QUOTE]
But to show it on a monitor surely it has to be converted to the monitors colour space in some way. That's kind of what I mean about a wrong conversion. Like the dynamic range of the raw data is not being properly mapped to the end colour space. So the actual raw data only appears grey if you do a naive conversion. I'm basically just arguing semantics though so it doesn't really matter.
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