- Color Journey
5 Months, Part-Time Program
WITH NIKOLA STEFANOVIC
Color Journey Fundamentals Course is for aspiring colorists but we will cover topics that all visual artists and filmmakers can find interesting.
We will start with human vision and how our eyes and our brain see things. We will take a look at the film legacy, meaning and use of colors in movies, photochemical processes in the laboratory and telecine and characteristics of film stocks.
It’s hard to talk about the colors without considering cultural heritage and varieties in visual education around the world. We will talk about skin tones and differences in the approach between grading narrative and commercial content.
Before we dive deeper into the art and craft of color grading we need to consider available tools, color grading systems, hardware equipment and image monitoring.
Modern days color grading has replaced lab processes and also opened endless possibilities in image manipulation, so you will learn what is achievable in modern grading software and also explore different jobs related to color grading like DIT, color assistant, dailies colorist and so on.
We will start with human vision and how our eyes and our brain see things. We will take a look at the film legacy, meaning and use of colors in movies, photochemical processes in the laboratory and telecine and characteristics of film stocks.
It’s hard to talk about the colors without considering cultural heritage and varieties in visual education around the world. We will talk about skin tones and differences in the approach between grading narrative and commercial content.
Before we dive deeper into the art and craft of color grading we need to consider available tools, color grading systems, hardware equipment and image monitoring.
Modern days color grading has replaced lab processes and also opened endless possibilities in image manipulation, so you will learn what is achievable in modern grading software and also explore different jobs related to color grading like DIT, color assistant, dailies colorist and so on.
Next, we will cover aesthetics in films and commercials and how to recognize and achieve a unique element of style.
As an introduction to the science of color grading, we need to get familiar with modern digital acquisition formats, cameras, CMOS sensors and codecs. Also, we will cover basic post-production workflow including mastering.
Finally, we will look into the craft of color grading and that is where you will learn about look deconstruction, how to use primary and secondary tools, how to control the texture of the image and how to deal with basic continuity. We will go trough look creation with examples in different software, for film and commercial work.
In a final chapter, you will learn about preview and delivery best practices and how to become a professional colorist and getting paid for your work.
As an introduction to the science of color grading, we need to get familiar with modern digital acquisition formats, cameras, CMOS sensors and codecs. Also, we will cover basic post-production workflow including mastering.
Finally, we will look into the craft of color grading and that is where you will learn about look deconstruction, how to use primary and secondary tools, how to control the texture of the image and how to deal with basic continuity. We will go trough look creation with examples in different software, for film and commercial work.
In a final chapter, you will learn about preview and delivery best practices and how to become a professional colorist and getting paid for your work.
- IMPORTANT NOTICE
Since a limited number of students will be admitted and the early bird promotion, we suggest you Apply to our portal to get priority.
ENROLMENT FEE
$ 3,000.00
TUITION FEE
$ 10,900.00
FULL PRICE
$ 13,900.00
$ 3,000.00
TUITION FEE
$ 10,900.00
FULL PRICE
$ 13,900.00
WITH NIKOLA STEFANOVIC
Color Journey Fundamentals Course is for aspiring colorists but we will cover topics that all visual artists and filmmakers can find interesting.
We will start with human vision and how our eyes and our brain see things. We will take a look at the film legacy, meaning and use of colors in movies, photochemical processes in the laboratory and telecine and characteristics of film stocks.
It’s hard to talk about the colors without considering cultural heritage and varieties in visual education around the world. We will talk about skin tones and differences in the approach between grading narrative and commercial content.
Before we dive deeper into the art and craft of color grading we need to consider available tools, color grading systems, hardware equipment and image monitoring.
Modern days color grading has replaced lab processes and also opened endless possibilities in image manipulation, so you will learn what is achievable in modern grading software and also explore different jobs related to color grading like DIT, color assistant, dailies colorist and so on.
We will start with human vision and how our eyes and our brain see things. We will take a look at the film legacy, meaning and use of colors in movies, photochemical processes in the laboratory and telecine and characteristics of film stocks.
It’s hard to talk about the colors without considering cultural heritage and varieties in visual education around the world. We will talk about skin tones and differences in the approach between grading narrative and commercial content.
Before we dive deeper into the art and craft of color grading we need to consider available tools, color grading systems, hardware equipment and image monitoring.
Modern days color grading has replaced lab processes and also opened endless possibilities in image manipulation, so you will learn what is achievable in modern grading software and also explore different jobs related to color grading like DIT, color assistant, dailies colorist and so on.
Next, we will cover aesthetics in films and commercials and how to recognize and achieve a unique element of style.
As an introduction to the science of color grading, we need to get familiar with modern digital acquisition formats, cameras, CMOS sensors and codecs. Also, we will cover basic post-production workflow including mastering.
Finally, we will look into the craft of color grading and that is where you will learn about look deconstruction, how to use primary and secondary tools, how to control the texture of the image and how to deal with basic continuity. We will go trough look creation with examples in different software, for film and commercial work.
In a final chapter, you will learn about preview and delivery best practices and how to become a professional colorist and getting paid for your work.
As an introduction to the science of color grading, we need to get familiar with modern digital acquisition formats, cameras, CMOS sensors and codecs. Also, we will cover basic post-production workflow including mastering.
Finally, we will look into the craft of color grading and that is where you will learn about look deconstruction, how to use primary and secondary tools, how to control the texture of the image and how to deal with basic continuity. We will go trough look creation with examples in different software, for film and commercial work.
In a final chapter, you will learn about preview and delivery best practices and how to become a professional colorist and getting paid for your work.
- IMPORTANT NOTICE
Since a limited number of students will be admitted and the early bird promotion, we suggest you Apply to our portal to get priority.
ENROLMENT FEE
$ 3,000.00
TUITION FEE
$ 10,900.00
FULL PRICE
$ 13,900.00
$ 3,000.00
TUITION FEE
$ 10,900.00
FULL PRICE
$ 13,900.00
FUNDAMENTALS BEHIND THE ART
We are not just covering the functionality of specific color grading software,
this course is about the fundamentals behind the art and craft of color grading.
NIKOLA STEFANOVIC
HEAD OF COLOR AT MPCNikola has worked in the Television/Film Industry for the past 22 years. He started as a 3D & Motion Graphic Artist in 1998 at National TV in Serbia, and later moved on as a video editor.
For a few years, he was doing offline editing for advertising. It was in 2004 when he started working as an online artist and colorist when he fell in love with color grading.
He has worked as a Senior Colorist in Serbia – Media Plus, Korea – Eliot VFX studio, and China – Technicolor SFG and BE Colour.
He joined MPC in 2017 from Digital Domain with almost 14 years’ experience grading commercials and feature films, the last 7 predominantly in the Asian market.
NIKOLA STEFANOVIC
HEAD OF COLOR AT MPCNikola has worked in the Television/Film Industry for the past 22 years. He started as a 3D & Motion Graphic Artist in 1998 at National TV in Serbia, and later moved on as a video editor.
For a few years, he was doing offline editing for advertising. It was in 2004 when he started working as an online artist and colorist when he fell in love with color grading.
He has worked as a Senior Colorist in Serbia – Media Plus, Korea – Eliot VFX studio, and China – Technicolor SFG and BE Colour.
He joined MPC in 2017 from Digital Domain with almost 14 years’ experience grading commercials and feature films, the last 7 predominantly in the Asian market.
COURSE SYLLABUS
MODULE 1
INTRODUCTION
We will start with human vision, perception, and how our eyes and our brain see things.
FILM LEGACY
We’ll bring examples from different films and the meaning of colors, laboratory processes, telecine – explainer, and film stock.
CULTURAL
HERITAGE
We’ll discover visual education around the world, how to manage skin tones, the difference between Film and Commercial color grading.
TOOLS
We’ll have an overview of available color grading systems, equipment and monitoring used within the Industry.
INTRODUCTION
We will start with human vision, perception, and how our eyes and our brain see things.
FILM LEGACY
We’ll bring examples from different films and the meaning of colors, laboratory processes, telecine – explainer, and film stock.
CULTURAL
HERITAGE
We’ll discover visual education around the world, how to manage skin tones, the difference between Film and Commercial color grading.
TOOLS
We’ll have an overview of available color grading systems, equipment and monitoring used within the Industry.
MODULE 2
DIGITAL LAB
We’ll see how the photochemical process is replaced with modern days color grading, what is possible to achieve in color grading and different jobs related to color grading (dailies, DIT, assistant, color science).
ART OF
COLOR GRADING
Let’s discover esthetics in film and commercials, how to achieve a unique element of style and what is actually good color grading?
SCIENCE OF
COLOR GRADING
Modern digital cameras, CMOS sensor – explainer, acquisition formats, codecs post-production process – explainer, and mastering.
MODULE 3
LOOK
DECONSTRUCTION
How to analyze the image, reference image as a starting point, and reverse engineering of a certain style.
INTRODUCTION TO
PRIMARY TOOLS
Knowing camera raw parameters, basic balancing, analyzing with Parade, analyzing with Scope.
FILM
GRADE
Exposure, contrast, saturation control, shadows, mid tones, and highlights controls.
VIDEO
GRADE
Lift, gamma, and gain controls.
LOOK
DECONSTRUCTION
How to analyze the image, reference image as a starting point, and reverse engineering of a certain style.
INTRODUCTION TO
PRIMARY TOOLS
Knowing camera raw parameters, basic balancing, analyzing with Parade, analyzing with Scope.
FILM
GRADE
Exposure, contrast, saturation control, shadows, mid tones, and highlights controls.
VIDEO
GRADE
Lift, gamma, and gain controls.
MODULE 4
BASE
GRADE
Perceptual grading, exposure zones, contrast and saturation.
SECONDARY
TOOLS
How to isolate/qualify only certain parts of the image? How to refine the mask? How to blend the result with the original?
TEXTURE
Soften/sharpen image – when and why? Add or reduce grain/noise – when and why?
CONTINUITY
How to balance shots across multiple scenes, consistency and when is necessary and when not (examples).
BASE
GRADE
Perceptual grading, exposure zones, contrast and saturation.
SECONDARY
TOOLS
How to isolate/qualify only certain parts of the image? How to refine the mask? How to blend the result with the original?
TEXTURE
Soften/sharpen image – when and why? Add or reduce grain/noise – when and why?
CONTINUITY
How to balance shots across multiple scenes, consistency and when is necessary and when not (examples).
MODULE 5
TERMINOLOGY
Contrast, Density, Exposure, Saturation, Low-key, High-Key.
LOOK
CREATION
How to decide what to do with the image? How to choose the direction for a certain film/TVC? Elements of style.
EXAMPLES IN
DIFFERENT APPS
Creating the same or similar look using Base light, Resolve and Final Cut X, similarities and differences between grading systems.
TVC
GRADING
Example of grading short TVC with comments.
TERMINOLOGY
Contrast, Density, Exposure, Saturation, Low-key, High-Key.
LOOK
CREATION
How to decide what to do with the image? How to choose the direction for a certain film/TVC? Elements of style.
EXAMPLES IN
DIFFERENT APPS
Creating the same or similar look using Base light, Resolve and Final Cut X, similarities and differences between grading systems.
TVC
GRADING
Example of grading short TVC with comments.
MODULE 6
SENDING
PREVIEWS
Best practice
DELIVERY
How to render finished material, timecode, real names, and metadata.
CONCLUSION
How to become a colorist and get paid for your craft.
- Hardware required
- Mac or Pc
- Webcam
- Microphone
- Headphones or speakers
- Broadband connection
- Software required
- Baselight Student
- Davinci Resolve
- Final Cut X
LINKNETIC IS THE VFX BUSINESS ACADEMY
SPECIALIZED IN FILMMAKING, ANIMATION, AND VISUAL EFFECTS
WITH A UNIQUE TRAINING METHOD
DEVELOPED ON REAL PROFESSIONAL NEEDS
A Data-Driven Vfx Academy, with a Strong Human Heart
LINKNETIC IS THE VFX BUSINESS ACADEMY
Specialized in Filmmaking, Animation, and Visual Effects.
WE HAVE THE BACKGROUND AND THE VISION TO SUCCEED
