Three in One.
Here is another project for Genesis called “Vision”. On the website of Infected.digital you can see the client edit and on the website of the director William Armstrong you can see the directors cut.
I just helped out with small Nuke comp tasks and worked mostly on the conforms & online tasks in flame. Last week we finished the directors cut version.
At the end of my holidays I like to share a list of links of pages and articles that I read, and some videos that I watched or re-watched to learn while relaxing in the south of Spain in my favorite city of Seville. Be aware, it is getting nerdy 🙂
Sometimes it might be helpful to eliminate color when I try to get a better understanding of it. That’s why I revisited an older HDR clip and created a black&white version of it.
This is the first of some of the recent projects I worked on at Infected. Here are the 15s teaser and the 60s main edits of a commercial for the new G80e from Genesis.
One of several projects I worked on in July. This is for “Aktion Mensch”.
This month there were some small jobs, helping out here and there for Mercedes EQS, AboutYou, Vaillant, Zalando and Deutsche Post/DHL.
It was time to update the Blender & ACES page. The blender development is so fast and new versions are coming out more frequent now. I try to check old bugs and limitations from time to time. That’s why I rendered some images again with the new version and restructured the setup page for Blender & ACES.
Photoshop and ACES are not easy to bring together. Photoshop is a display referred tool while the ACES framework uses a scene referred approach. On many projects I am using Photoshop for retouch and cleanup work of still images while the comp is happening in ACES with Nuke or Flame.
A convenient way is to use the Photoshop Proof Setup as a view transform while retouching log encoded images.
The menus of this site were getting too crowded with entries over time. I rearranged some of the menu points and brought three topics up on the main menu structure:
I hope in this way the site is easier to navigate again.
After a quiet January without any project, here is the first project of 2021 for Deutsche-Post and DHL. The main task was to “paint” the building outside yellow and slightly altering the age of the actor in one shot plus some display inserts. A fun one week job.
https://www.markenfilmberlin.de/index.php/benjamin-brettschneider-dpdhl-vogelcheckt/
The second project for the month was for MeinAuto.de, a leading online-portal for new cars. I overlooked the whole project in post at Infected.digital, setup comps for first approvals, and comped a bit myself.
One of the longest projects I have ever worked on: The VW project for the new ID.4 started in November 2019 and I worked on it (with a long corona pause) until July 2020. The project contains two campaigns for two versions of the car. The format mix of 25 & 50 fps on the shoot and later in post-production was a big issue. Delivery formats ranged from UHD 50 fps, over HD 25fps to countless social media formats in 25 fps.
https://crossing.berlin/id-4-a-different-kind-of-suv/
https://www.markenfilmberlin.de/index.php/tobias-granstroem-id-4-electro-girl/
This latest article took long to write. Up to now I always used my colorchecker (A.) as intended and it was helping my efforts to exposure balance HDRIs to background plates. After all the working steps I could add a 3D render into the background plate successfully (Z.). So do I have a working pipeline from A-Z? Yes! Do I understand it? No.
So this time I focussed only on the colorchecker itself. I made a lot of pictures of the colorchecker with different exposures and lighting conditions and examined the image results in with the help of the color management system ACES. Although it is obvious that I examine the image results with my eyes, I am still learning what these results actually mean.
If you are still interested, please continue with the article:
“Checking the Colorchecker“
