Explore the arcane knowledge, methodology, and tools to engage creatively with color science in order to create custom digital print stocks.
Creative Color Science Masterclass | Recorded Playback
Instructor: Cullen Kelly
Special Guest: Dr. Mitch J Bogdanowicz
Date: October 1-3 | 7:00 AM - 1:30 PM Pacific Daylight Time
Scope of Study PDF Download
The aim of this course is to equip intermediate to advanced colorists with the knowledge, methodology, and tools to engage creatively with color science in order to create custom digital print stocks.
The course will consist primarily of hands-on exercises performed in DaVinci Resolve’s Fusion page, with intermittent lectures throughout covering the theory and history of motion image mastering for cinema. Students will leave the course with a deeper understanding of image science, image maths, and color management, as well as the ability to design and deploy a digital print stock for practical use in grading.
Day 1
Session 1
Core Concepts
Introductions and overview of course
A brief history of image mastering and its key sub-disciplines
Confronting color grading’s modern myths
Understanding color management in theory and in practice
Looks vs. Grades: What’s the real difference?
Understanding traditional print stocks, and designing a modern-day equivalent
Session 2
Setup and Basic Maths
Fusion 101: interface, nodes, input, output, and monitoring
Setting up a Fusion development environment
Evaluating traditional color correction operators in full context
Using custom expressions to re-create and alter color correctionoperators
Applying and evaluating LUTs and plugins
Learning to model processes rather than mimicking results
45 minute Q&A
Day 2
Session 1
The Creative Contrast Curve
Differences and overlap between contrast and tone mapping
Creative vs. technical tone mapping
Emulating film prints without being bound to their limitations
Drawing and revising curves
Importing curves from a LUT
Session 2
The Creative Color Space
Differences and overlap between creative and technical gamuts
Defining our creative gamut using a 3x3 matrix
Order of operations and utilizing different tone curves
Saving and deploying our print stock for practical use
45 minute Q&A
Day 3
Session 1
Expanding our toolset and refining our work
Utilizing DCTLs
Refining our creative curve using exposure charts, tone mapping, and maths
Refining our creative gamut
Applying tetrahedral transformations
Selective hue sweetening
Creating custom x vs y curves
Thinking outside the box
Session 2
Exploring other worlds
Understanding alternate color models and their utility
LAB
LCH
HSL
HSV
Exploring saturation behaviors in different models
Creating a saturation curve
Creating a saturation wrapper
45 minute Q&A
Dr. Mitch J Bogdanowicz
Dr. Mitch Bogdanowicz will be joining us as a special guest at the Creative Color Science Masterclass with Cullen on October 3, 11:45 AM Pacific Time (onwards)
He will share his insights and practical experience with regard to techniques discussed in class, including film emulation, film stock design, and the creation of scene-referred transforms for modern color grading applications.
Dr. Bogdanowicz is a veteran color scientist in the field of motion imaging. During his 32 years tenure as a senior research fellow with Eastman Kodak’s Motion Picture division, his work centred on photographic simulation, color perception, color reproduction and basic photographic system problem solving. He played a key role in the development of improved motion picture film stocks.
His expertise in the design and analysis of filters and special lighting techniques led to two Technical Achievement Awards from the Academy of Arts and Sciences.
Besides creating systems for 3DLut genesis and applications for post-production, Dr. Bogdanowicz has developed algorithms for numerous digital camera applications. He designed the Kodak Look Management System (KLMS) for pre visualization in a motion picture system and the heart of the Kodak Display Manager (KDM) as well as the Kodak Preview System.
Dr. Bogdanowicz has contributed to most of the current film programs and other hybrid programs. Since retiring from Eastman Kodak in 2006, he has consulted and developed custom solutions for a number of laboratories and post facilities including Company 3, Light Iron, and Picture Shop.
Dr. Bogdanowicz has over 25 US patents and numerous other foreign patents in Color Science and Photographic processes with the vast majority related to the Motion Picture Industry.
During his stellar career, Dr. Bogdanowicz has been recognized with honors including:
Two Technical Achievement Awards from the Academy of Motion Picture Arts and Sciences.
2000 Technicolor Kalmus Gold Medal Award.
Associate member of the American Society of Cinematographers.
Fellow of the SMPTE.