Spooner04

I've been learning a lot about how they use color grading and post production in film to create a certain look or feel. It seems to me like a lot of arch viz images/animations have little to no post work or color adjustments done and we often just take whatever comes out of max. I am curious as to what everyone's process is on whether or not you adjust the image/animation in something like photoshop or after effects. Also what tools would you say you use the most (i.e. levels, curves, hue/saturation, etc.)

wda

Adjust every thing....everything in Post. Levels, color correction for temp-mode, underpainting.... it's not done until adjusted in post.


Always found that it takes way to long to create a perfect render in any application. The number of iterations and the length of render times to achive that is very 'cost-time' prohibitive. Many artists have a set lighting plan, materials and render settings which does bring one much closer to perfection the first time.

Guess I view it like this, how often to you take a perfect digital photo that works perfect without running it through a post process. You can take an average photo/render and make it outstanding in Post. Often in minutes

Cheers
Wax

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Spooner04

Thanks for the response wda.

Bumping this in hopes of getting a bit of a discussion going on compositing and post.

wda

XSI has similar capabilities, LOL and Nodal too.

Really in the end, so what? It's the workflow that counts. Wether it's one application or many. Spooner ain't lookin for a war from what I'd gather. He looking for discussion about the understanding / theory / process behind post -thinking and greater scheme of the artisitic representation of a subject.... Right?

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shaneis

Yep, sorry about my little rant there

I re-read the original post only to see that what I posted had nothing to do with Spooner's request. Sorry 'bout that.

mahorela

colour grading is just a small part of the things I generally do in post and my choice is digital fusion for stills and animation.......I tend to render out quite a few different passes and comp them in and colour grade as the last step. I also find rendering seperate passes invaluable for when architects make changes etc after the rendering is done.

Spooner04

I've typed probably 3 or 4 posts at this point and deleted them because they all turned into rants.

I guess I am just trying to figure out what move to make next. It seems like I can generate technically correct work very competently, and that is what most jobs call for. I know how to composite, do post, and quite a few other relatively advanced things. But, in an environment where I pretty much just re-texture the models I get from the architects how do I convince people that they are worthwhile. Supervisor's, Clients, etc.?

mahorela

If your asking how to make your supervisors etc understand the benefit of compositing just show them the before and after difference. When I was first getting into it I showed my boss a rendering which he thought was looking great and then I loaded the composited image into the right side of the screen in DF and showed him the difference........it was like pulling back a curtain and he instantly saw that his money was well spent.

philip kelly

What software are you using and can you give me some examples and links to tutorials.

Thank you

phil

Jim Mann

I can't do a project these days without putting it through photoshop or after effects/combustion. I try to get the best lighting, without any clipping from the render and then work on levels etc in post. Colour grading isn't something I get into that often because it is by nature a process of stylising the images. It works in film because the different colour palettes are used to add layers of meaning whereas with architecture the aim is to sell...or get planning approval...and the building is the star. I can see magic hour or night time shots working well for us with colour grading but would be interested to hear what approaches others have taken.

The one job that I have done that looks like it might have been colour graded didn't have anything done to it apart from a tweak to the curves and the reason for that was that it was meant to look like a purposefully lit TV studio with a very specific value range available to work within.

Jim

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