How do you optimize your color correction workflow and efficiency?

I've found optimizing color correction workflow begins with a meticulously configured workspace. A dedicated monitor, calibrated for full color range, contrast, and brightness is key. Adhering to industry standards ensures accurate results. Work in a dark, neutral environment to eliminate external influences. Personally, I swear by DaVinci Resolve for its user-friendly interface and robust tools, elevating my color correction efficiency. It's a game-changer in achieving professional-grade results

A good colourist needs a harmonious working environment. First off, you're going to need snacks. Grading is boring and it's easy to fall asleep. So lots and lots of sugary snacks distributed evenly across your work surface is vital. Remember, grading at speed involves minimal movement and intuitive muscle memory. So you never want to have to move your hand more than 4 inches to pick up some Haribo. Next, you'll need one of those hats that holds two beer cans in it, with a little tube running down to your mouth. Staying hydrated is key, as is staying awake. So fill two beakers with scolding hot coffee and attach to your head. This is what the top pro colourists do on Marvel and stuff.

To optimize my color correction workflow, I use preset color profiles and shortcuts to speed up the process. I keep my workspace organized and use reference monitors to ensure accuracy. Regularly reviewing my work in different lighting conditions helps maintain consistency and efficiency throughout the project.

One thing I’ve found helpful is to start by setting the saturation to zero and then correct the black and white footage. When the levels are where I want them, then I focus on the colors. This can be especially helpful to get a cohesive look when working with footage from multiple sources.

Grading in a logical order is key. Yes. I've found starting with the first shot, proceeding to the second shot, and then moving onto the third shot provides a solid basis for the first day. Once you've got them down, you can either go with the fourth shot, or start HyperGrading. Which involves grading alternate shots - for speed - and then just copy/pasting each grade onto the ones inbetween. This is a highly efficient method of grading. The shots are next to each other, after all, so it's very unlikely they'll change much.

Having an external, accurately calibrated professional grading monitor is critical. That is the #1 tool needed for professional color work. There is no color grading without an objective way of knowing what the color looks like. 2nd item is external scopes that read the signal as it leaves your grading platform and the knowledge of how to read them.

You'll definitely be wanting to use a scope, yes. Definitely. I recommend a microscope. Because - and you may not know this - but each pixel on the screen is very small. Therefore we need the right tools for the job. And the right tool for looking at small things is the microscope. There are those who advocate a different route, and recommend binoculars instead. But they don't know what they're talking about.

I've found using scopes and presets vital for optimizing color correction workflows. Scopes like histograms and vectorscopes offer objective insights, ensuring accuracy and consistency across clips and platforms. I often rely on presets for efficiency, applying predefined color settings for a cohesive look. These tools not only enhance the quality of the footage but also streamline the process, making color correction a seamless and precise aspect of video editing.

This has to be genuinely one of the dumbest AI groupthink prompt suggestions, dear reader. 'Watch in different contexts and devices', 'compare your footage with other videos or images or a similar genre' and 'ask clients, colleagues, or friends, and see if they have any suggestions or comments'? What, have you got all year to finish this colour grading opus of yours? You going to build in the conflicting feedback of every clown with an eyeball who's not even been remotely involved in the project? Check it looks right on another device, sure. But if you're so, so unsure of what you're doing, you shouldn't be charging money for grading.

One of the best ways to do this in Davinci Resolve is to use the monitoring function now available in the lastest release of Davinci Resolve. You do need an iOS device, but you can judge the colour accuracy via your iPhone for example, as you are making adjustments on the fly. Remote monitoring is truly a dream. You do not need to render and export, and then watch back on your phone anymore. It's a surefire way to speed up your workflow and make the colour grading process much more efficient.

Testing on various devices and comparing with reference videos ensures consistency. Seeking feedback, recently from a client on a corporate video, refines the color palette and enhances the overall viewer experience. It's not just about fixing colors; it's about perfecting the visual impact across platforms.

Streamline color correction by starting with desaturation and fine-tuning black and white levels, then focus on enhancing colors. When a professional grading monitor is unavailable, use an iPad for color correction, offering better accuracy than a standard monitor. Prioritize primer methods over direct Color Space Transform for nuanced looks. Present at least four color grades to the client, ensuring one aligns closely with preferences and offering stylistic choices. Encourage open communication for optional adjustments to achieve a customized final product.