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Instructivo Resolve Gama Digital 8 feb, 08:23 a.m.

Instructivo Resolve

Archivos necesarios para ingresar a Resolve:

1. EDL (CMX3600 preferiblemente)

2. Offline (cuaquier formato)
3. Media a corregir (media manager)



Editando en Final Cut, se solicita por motivos de comodidad (y para evitar conflictos) que el EDL se realice desde una
secuencia que contenga una sola pista de video (suprimiendo todas aquellas que estén vacías)y 2 de audio.

Proceso FCP: Seleccionar secuencia a colorear en el browser-click derecho-export-EDL-Parámetros (como vienen por

Media a corregir (media manager)

Por comodidad es preferible realizar un media manager con la finalidad de traer solo el material a colorear.

Proceso FCP: Seleccionar secuencia a colorear en el browser-click derecho-Media Manager- Media Copy- Seleccionar Media
Destination-OK-Poner nombre a la nueva secuencia FCP que se creara dentro de la carpeta

Traer la carpeta copiada. Junto con el EDL y el Offline.

Todas las cámara son aceptadas por nuestro sistema Resolve, el flujo principal de trabajo es FCP, pero también aceptamos

Casos especiales:

RED ONE (importante!):

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La Camara RedOne, tiene un flujo especial para llegar a colorear. Para generar EDL correcto el material original de cámara a
de pasar por un proceso de LOG & TRANSFER en FCP. Esto evitara problemas a momento de conectar los proxis de
edición con los archivos R3D.

Proceso FCP: File-Log & Transfer- añadir las carpetas nativas de la red por editar-seleccionar todos los archivos que desea
generar proxies para editar en Log & Transfer- Add selection to queue.

Los archivos se irán sumando al browser de FCP para comenzar la edicion.

Este proceso asegura EDL correctos para vincular los archivos originales a la hora de colorear tanto en Color como en
Resolve de Gama Digtal.

Traer a Gama Digital las carpetas Red (r3d) a colorear.

Archivos Aceptados




OpenEXR Uncompressed and


Alexa Arri Raw

D21 Arri Raw


Cineform 3D

Phantom cine

RED r3d


Mpeg 4 Video


Uncompressed RGB QT

RGB 8 Bit

BGRA 8 Bit

ARGB 8 Bit

RGB 10 Bit

Uncompressed YUV QT

UYVY 8 Bit

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UYVY 10 Bit

Uncompressed YUV MXF

UYVY 8 Bit

Sony MPEG4 SS tP

Apple ProRes 4444

Apple ProRes 422

Apple ProRes 422 (HQ)

Apple ProRes 422

Apple ProRes 422 (LT )

Apple ProRes 422 (Proxy)


HDV 720p30

HDV 1080i60

HDV 1080i50

HDV 720p24

HDV 720p25

HDV 1080p24

HDV 1080p25

HDV 1080p30

HDV 720p60

HDV 720p50










DVCPRO HD 1080i50

DVCPRO HD 1080i60

DVCPRO HD 720p60

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DVCPRO HD 720p50


Apple XDCAM EX 720p30

Apple XDCAM EX 1080i60

Apple XDCAM EX 1080i50

Apple XDCAM EX 720p24

Apple XDCAM EX 720p25

Apple XDCAM HD 1080p24

Apple XDCAM HD 1080p25

Apple XDCAM HD 1080p30

Apple XDCAM EX 720p60

Apple XDCAM EX 720p50

Apple XDCAM EX 1080i60

Apple XDCAM EX 1080i50

Apple XDCAM EX 1080p24

Apple XDCAM EX 1080p25

Apple XDCAM EX 1080p30

Apple XDCAM HD422

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Media Manager
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Importante Film Storage Gama Digital 20 ene, 08:55 a.m.

Processed Film Storage

You can store exposed and processed camera films for a greater length of time than unprocessed exposed or unexposed film.

Processed Film Storage Conditions

Effects of Humidity on Processed Film

Humidity lower than 50% usually increases static problems and dirt attraction to processed film. At very low humidity, film curl

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may become a problem (e.g. Newtonʼs Rings - see text below). Click on this link to go to Motion Picture Imagingʼs storage
information: Storage - Relative Humidity

Newtonʼs Rings and Ferrotyping

Concentric bands of colored light sometimes seen around the areas where two transparent surfaces, such as two pieces of
glass or two pieces of film (as in contact printing), are not quite in contact are called Newtonʼs Rings. The rings are the result
of interference and occur when the separation between surfaces is of the same order as the wavelength of light.

Ferrotyping describes a smooth and shiny blotch or series of blotches on the emulsion surface. It is caused by the presence
of heat and/or moisture with pressure. Sources of ferrotyping can be improper drying conditions on the processing machine,
the wound roll of film was wound under excess moisture (high humidity conditions), or the wound roll was subjected to high
heat either before or after processing. For more information click here: ferrotyping.

Effects of Contaminants

Certain gases such as formaldehyde, hydrogen sulfide, hydrogen peroxide, sulfur dioxide, ammonia, illuminating gas, motor
exhaust, and vapors from solvents, mothballs, cleaners, turpentine, mildew or fungus preventatives, and mercury can damage
unprocessed and processed film. Keep film away from such contaminants.

Short Term (less than 6 months)

Processed B&W

21°C (70°F)

below 60% Humidity

Processed Color

21°C (70°F)

20 to 50% Humidity

Long Term (more than 6 months)

Processed B&W

21°C (70°F)

20 to 30% Humidity

Processed Color

2°C (36°F)

20 to 30% Humidity

Extended Storage Time - 10 Years or More

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Color dyes are more prone to change than silver images when kept for extended periods of time. The following minimum
guidelines are suggested for keeping films for 10 years or more:

• Adequately wash the film to remove residual chemicals such as hypo. See ANSI PH 4.8-1985 for recommended levels and
a testing method for residual hypo.

• Some color films designed for processes other than ECN-2 and ECP-2D may require stabilization during processing (e.g.,
some reversal films using process VNF-1). Always follow recommended process specifications and formulas.

• All film should be as clean as possible, and should be cleaned professionally. If you use a liquid cleaner, provide adequate
ventilation. Adhere to local municipal codes in using and disposing solvents.

• Keep film out of an atmosphere containing chemical fumes. See “Effects of Contaminants” above. • Do not store
processed film above the recommended 21°C (70°F), 20 to 50% RH for acetate or polyester. • Wind films emulsion-in and
store flat in untaped cans under the above conditions.

Additional information can be obtained from ISO 2803 or ANSI PH1 43-1985, “Practice for storage of processed safety
photographic film.”

Airport X-Ray Fog

Processed film is not affected by the x-ray scanners at the airport.

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Telecine Gama Digital 15 ene, 06:03 p.m.


With the advent of television, broadcasters quickly realized the limitations of live broadcasts and they turned to broadcasting
feature films from release prints directly from a telecine. This was in the days before 1956 when Ampex introduced the
first VTR (VRX-1000). Live shows could also be recorded to film and aired at different times in different time zones by filming
a video monitor. The heart of this system was the Kinescope, a device for recording a television broadcast to film.[1]

The early telecine hardware was the "film-chain" for broadcasting from film and utilized a film projector connected to a video
camera. As explained by Jay Holben in American Cinematographer Magazine, "The telecine didn't truly become a viable
postproduction tool until it was given the ability to perform color correction on a video signal."[2]

Today, telecine is synonymous with color timing as tools and technologies have advanced to make color timing (color
correction) ubiquitous in a video environment.

How telecine coloring works

In a CRT system, an electron beam is projected at a phosphor-coated envelope, producing a beam of light the size of a
single pixel. This beam is then scanned across a film frame from left to right, capturing the "vertical" frame information.
Horizontal scanning of the frame is then accomplished as the film moves past the CRT's beam. Once this photon beam
passes through the film frame, it encounters a series of dichroic mirrors which separate the image into its primary red, green
and blue components. From there, each individual beam is then reflected on to a photomultiplier tube (PMT), where the
photons are converted into an electronic signal to be recorded to tape.

In a charge-coupled device-(CCD) telecine, a “white” light is shone through the exposed film image into a prism, which
separates out the image into the three primary colors, red, green and blue. Each beam of colored light is then projected at a
different CCD, one for each color. The CCD converts the light into electrical impulses which the telecine electronics modulate
into a video signal which can then be color corrected-color graded for use.

Early color correction on CRT Rank Cintel MkIII telecine systems was accomplished by varying the primary gain voltages on
each of the three photomultiplier tubes to vary the output of red, green and blue, respectively. Further advancements

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converted much of the color-processing equipment from analog to digital and then, with the next-generation telecine, the
Ursa, the coloring process was completely digital in 4:2:2 color space. The Ursa Gold brought about full 4:4:4 color space.[2]

Color correction control systems started with the Rank Cintel TOPSY (Telecine Operations Programming SYstem) in
1978.[1] In 1984 Da Vinci Systems introduced their first color corrector, a computer-controlled interface that would manipulate
the color voltages on the Rank Cintel MkIII systems. Since then, technology has improved to give extraordinary power to the
digital colorist. Today there are many companies making color correction control interfaces including Da Vinci
Systems, Pandora-Int. Pogle, and more.

Some of the main functions of electronic (digital) color grading:[1]

Reproduce accurately what was shot

Compensate for variations in the material (i.e. film errors, white balance, varying lighting conditions)
Optimize transfer for use of special effects
Establish a desired 'look'
Enhance and/or alter the mood of a scene — the visual equivalent to the musical accompaniment of a film; compare
also film tinting.

Note that some of these functions are contrary to others. For example, color grading is often done to ensure that the recorded
colors match those of the set design. In music videos however, the goal may instead be to establish a stylized look.

Traditionally, color grading was done towards technical goals. Features like secondary color correction were originally used to
establish color continuity. The trend today is increasingly moving towards creative goals - improving the aesthetics of an
image, establishing stylized looks, and setting the mood of a scene through color. Because of this trend, some colorists
suggest the phrase "color enhancement" over "color correction".

Primary and secondary color correction

Primary color correction affects the whole image utilizing control over intensities of red, green, blue, gamma (mid tones),
shadows (blacks) and highlights (whites). Secondary correction brings about alterations in luminance, saturation and hue in
six colors (red, green, blue, cyan, magenta, yellow). The main objective of secondary controls is to adjust values within a
narrow range while having a minimum effect on the remainder of the color spectrum.[1] Using digital grading, objects and
color ranges within the scene can be isolated with precision and adjusted. Color tints can be manipulated and visual
treatments pushed to extremes not physically possible with laboratory processing. Special digital filters and effects can also
be applied to the images.

Masks, Mattes, Power Windows

The evolution of digital color correction tools advanced to the point where the colorist could use geometric shapes (like mattes
or masks in photo software such as Photoshop) to isolate color adjustments to specific areas of an image. These tools can
highlight a wall in the background and color only that wall — leaving the rest of the frame alone — or color everything but that
wall. Subsequent color correctors (typically software-based) have the ability to use spline-based shapes for even greater
control over isolating color adjustments. Color keying is also used for isolating areas to adjust.

Inside and outside of area-based isolations, digital filtration can be applied to soften, sharpen or mimic the effects of
traditional glass photographic filters in nearly infinite degrees.

Motion Tracking

When trying to isolate a color adjustment on a moving subject, the colorist traditionally would have needed to manually move
the mask to follow the subject. In its most simple form, motion tracking automates this time-consuming process using
algorithms to evaluate the motion of a group of pixels. These techniques are generally derived from match moving techniques
used in special effects and compositing work.

Motion tracking can be combined with other techniques to add light to a subject's eyes or achieve the final look wanted for a
scene. This not only saves time on the set (and money) but, when done in close collaboration with the cinematographer,
allows greater flexibility in adjusting the overall feeling of the scene.

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El primer telecine 1937

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Workflow para REDCAM & Final cut ----- para Color … Gama Digital 11 dic '10, 10:40 p.m.
Articulo extraido de apple:

Finishing Projects Using RED Media

RED media has become an important acquisition format for both broadcast and digital cinema. When you install the
necessary software to use RED media with Final Cut Studio, you get access to a variety of workflows for ingesting, grading,
and mastering programs using native RED QuickTime movies in Final Cut Pro and Color.

This section describes the various RED workflows that Final Cut Studio supports. For information about grading controls that
are specific to native RED QuickTime clips, see The RED Tab.

When youʼre working on a project that uses RED media, there are essentially four workflows you can follow:

Transcode All Native RED QuickTime Media to Apple ProRes 422 (HQ):

If youʼre mastering specifically to video, one very simple workflow is to transcode from RED to Apple ProRes 422 (HQ) clips,
and then master Apple ProRes 422 (HQ). After initially ingesting and transcoding using the Log and Transfer window, this
workflow is similar to the master flowchart shown in Video Finishing Workflows Using Final Cut Pro.

Keep in mind that whenever you transcode native RED R3D media to Apple ProRes using the Log and Transfer window, you
preprocess the original RAW image data.

Advantages: Simple workflow for video mastering. Apple ProRes 422 (HQ) can be easily edited on most current
computers. Apple ProRes 422 (HQ) is suitable for high definition video mastering, and media can be sent directly to
Color for finishing without the need to reconform.

Disadvantages: Transcoding may take a long time.

Ingest Transcoded Apple ProRes Media for Editing; Conform to Native RED QuickTime for Finishing:

The most practical workflow for long-form work when you want to be able to grade using native RED QuickTime media

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involves transcoding the original RED media to Apple ProRes media for efficient offline editing, and then reconforming your
edited sequence back to native RED QuickTime media for final mastering and color correction in Color. This workflow is
illustrated in Offline Using Apple ProRes; Finishing with RED Media.

Advantages: Apple ProRes 422 (HQ) can be easily edited on most current computers. After you reconform, this
workflow provides maximum data fidelity through direct access to each shotʼs native R3D image data.

Disadvantages: Reconforming is an extra step that requires good organization.

Offline Using Apple ProRes; Finishing with RED Media:

An advantage to editing with Apple ProRes media is that itʼs less processor-intensive than editing using RED QuickTime files,
which makes editing in Final Cut Pro more efficient. After you reconform, you can still work in Color at the higher quality with
access to all of the raw image data in the R3D file, since Color can bypass QuickTime and use the RED framework directly to
read the native 2K or 4K RGB 4:4:4 data inside of each file.

The only real disadvantages to this workflow are that the initial transcoding stage can be time-consuming, and that later,
reconforming is an extra step that requires careful organization.

Resumen del proceso (para Color o Resolve) desde FC:

-Ingestar los archivos nativos R3D con el LOG & TRANSFER de final cut para facilitar la edicion en Apple pro res.

-Exportar un EDL o XML (de la sequencia a colorear, preferiblemente sin audio y en una unica pista de video).

-Traer a Gama digital el EDL o XML + las carpetas originales de RED (r3d) *En lo preferible un dia antes.

A partir de ahi comienza la colorizacion, con final en SD HD o DPX,Cineon para impresión.


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Como hablarle a un colorista. (eng) Gama Digital 8 dic '10, 09:17 p.m.
In todayʼs digital age, the concept of Do-It-Yourself has been taken to a new level; especially if you listen to the product
manufacturers. However, just because one technically can do everything doesnʼt mean one should do everything.

There are still aspects of creative production best left to highly specialized individuals, and one of those remains firmly in the
hands of the colorist.

As a former film cinematographer, the concept of a colorist or color timer is something that Iʼve grown up with. When shooting
film, color timing is an impossible step to skip; someone has to set the exposure values for red, green and blue light passing
through the negative to make a positive print. As it happens, a considerable amount of creative control comes with that task.
Adjusting red by a few points can drastically alter the final look of that film print — and from that creative control was born a
symbiotic relationship between cinematographer and color timer.

When telecine came onto the scene and the machines were able to transfer film negative onto videotape as a positive image,
the same principles applied, but, suddenly, there was even more flexibility over the image. It wasnʼt just red, green and blue
densities, but yellow, cyan and magenta, in addition to gamma, toe and shoulder control. It wasnʼt long before a telecine
colorist had the ability, quite literally, to turn a day into a night. With this amount of control, a very clear and concise
communication was required between the cinematographer and colorist to make sure that no misinterpretation of intentions
happened. For instance, the cinematographer may have intended a scene to be underexposed and mysterious but the
colorist interprets that as a mistake and makes the image bright and clear. For years cinematographers and colorists worked
to refine their own methods of communication, but nothing goes beyond the cinematographer sitting in the same room while
the colorist is working, offering specific guidance on his or her intentions when the image was originated.

At its most basic, color timing, also known as color correction, is a technical process to iron out the kinks and inconsistencies
in original photography. Inconsistencies arise from differences in exposures, lighting, color, film stocks, white balance, etc. In
a particular scene, the sun might have passed behind a cloud during one take, rendering the shot slightly cooler in color than
the other shots around it, or a particular shot in a scene may have been shot months away from the next shot in the scene
and the lighting wasnʼt exactly the same. These inconsistencies can arise from something as simple as the exact same model
of lighting fixture has a slightly different color temperature than a previous fixture had months before. While shooting, no one
would be able to see the difference, but when the shots are edited together side-by-side, the difference becomes glaring, so
the color-correction process smoothes out these inconsistencies and makes the picture a cohesive whole.

Over the years, this process has evolved into an extraordinary creative tool. Digital color correction has gone far beyond a
simple smoothing of inconsistencies to a further extension of creative image enhancement. An experienced and talented
colorist can elevate your images to a whole new level.

Although many editing platforms now include powerful color-correction applications, the software and its capabilities are not a
replacement for an artist controlling it. During the course of my career, Iʼve had the luxury of sitting with some of the top
colorists in the business, and I can say, in no uncertain terms, that the talent of the colorist is a considerable attribute to the
success of the color session. Merely having the tools, and even a qualified understanding of how to use them, does not
replace the talents of a good colorist by any stretch of the imagination.

That said, the first session with a real colorist can be a bit intimidating for the novice filmmaker. Understanding the basics of
what is possible and what the colorist is doing to manipulate the image will help alleviate some of the trepidations you might
have going in for your first session.

At its most basic level, there are three major image controls that need to be understood: the blacks, the gamma (or midrange)
and the whites. Blacks and whites, or shadows and highlights, are relatively self-explanatory. Brightening the blacks is often
called “raising” or “lifting” and it will make the shadow areas less dense, less dark and render the blacks more gray-like,
lightening the picture. The reverse of this, “crushing” or “lowering” the blacks, takes the low-end shadow detail and eliminates
it, strengthening the blacks and darkening the picture

The “whites” control the highlights of the image . It is important to note that, in the digital world, once you have overexposed
an element — in the photography — beyond 100 percent white, there is no longer any detail information remaining and it can
no longer be brought down. Whereas underexposed elements of the image can be raised toward “proper” exposure and still
have detail.

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The trickier, but possibly the most important, area is your gamma or midtone range . This is where most of your skin tones,
with the exception of dark black skin, falls. Just like the blacks and whites, you can lift and/or lower the midtone range to
control the image look overall. If your faces are a little too overexposed, you may want to bring down the gamma a bit to
correct that; or if theyʼre a little dark, bringing up the gamma can help considerably.

All of these areas have independent control, but they also all work together. A combination of crushing the blacks, popping
(raising) the whites and raising the gamma can result in a “poppy,” contrasty, commercial look.

Communicating your needs to the colorist is as simple as asking: “Can we raise the gamma here a bit?” or “Can we crush the
blacks a bit?” Youʼll see the results immediately.

Once you get beyond these basics, you have primary color correction, which is manipulation over red, green and blue
elements of the picture. In additive color mixing (light), these are your primary colors and any combination thereof can create
any color from pure black to pure white. You donʼt always have to know what a little green will do to the picture, you can
simply talk in conceptual terms with your colorist. For example, you might say “Iʼd like this scene to be really warm, but more
yellow warm than orange” or “I want this scene to be very cold, but more steely than deep blue” and let your colorist work
their magic.

Itʼs a good idea to start with a defining shot for a particular sequence. You may have started shooting a scene with inserts or
cut-aways or coverage on a secondary actor, but the most important shot for the scene is the close-up of the actress that
happened to be the 10th shot for the day. Itʼs a good idea to start with that 10th shot, establish the look that you want for the
sequence on that hero shot and then have the colorist go back and match the rest of the sequence to that key shot. This not
only saves time — as the colorist can match the look quicker if they know where theyʼre going with it — but it also sets the
right tone for the most important moments of a scene. Sometimes if you start setting the look on less important shots, when
you get to the important ones — the look you liked earlier just doesnʼt work and you have to go back to the beginning, costing
time and money.

The frame store is one of your best friends. Most color suites have a frame store option where you can capture a single frame
from a colored sequence and recall that frame later for reference. This is used to match shots and sequences that donʼt sit
right next to each other on your camera rolls.

Itʼs best to establish your own working cadence with the colorist, but itʼs a good idea to let them work on a shot first, let them
get to a point where theyʼve done their technical adjustments and then start giving input. Thereʼs nothing more frustrating than
having a filmmaker over your shoulder saying “No, no, thatʼs too bright, thatʼs not what I want” when the colorist is actually
setting a range for the whites and has no intention of keeping it there; youʼre just speaking too soon. If youʼre not comfortable
with your cadence yet simply tell the colorist your general idea for the scene then tell them “Go ahead and work and let me
know when youʼre ready for comments.” They will appreciate that more than I can explain in the space allowed here.

Many digital shooters donʼt feel color correction is a necessary step, but thatʼs a mistake. Color correction, at its
most basic technical application, can elevate the consistency and professionalism of your image to a whole new
level. Working with a talented colorist and allowing their creative input can improve the final look of your images well
beyond your imagination.


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