Upcoming Dates

Color Managed Workflow for Film & TV Productions


This class takes place at Abel Cine at AbelCine - 609 Greenwich Street, New York, New York through our partnership with the ICA. 

Color management establishes and maintains the desired look for a production throughout the production process: from on-set monitoring, editorial and VFX to finishing and final mastering. Without color management, digital production and post production can become a costly nightmare. If ungoverned, the color of the same image seen by different departments – the production unit, editorial, VFX, grading – will be inconsistent, leading to a huge waste of resources. The appliance of color science avoids this and gets everyone on the same page.

With the advent of digital motion picture cameras, the art and science of digital color grading has become more important than ever before. While in the traditional, linear production process, color grading was left until the end of post-production process, a newly emerging approach is challenging this view. 

This three-day course looks at the process of color management in modern digital film production. From capturing of motion pictures as digital images to the final delivery of digital master files. It teaches all the tools, technologies and processes of color management in digital cinematography, explaining how color management works on-set, post-production workflows and the best practices and common issues. 

To work in a creative role in this industry, in the age of digital cinematography, it's increasingly essential to understand the fundamentals and concepts behind color and look creation, control and management. 

Color Management for Film and TV Productions training has been designed to run as a five module training session. The class mixes the theoretical side of color management with practical real world training on workflows, approaches and techniques as well as creative look development.

What you will learn:

Day 1 - Color Managed Workflow Fundamentals 
• Light and the human visual system:                                        • Color Managed Workflow overview 
How we perceive and react to color
                                                                                                   • Color management On-set             
• Digital camera sensors 
                                                                                                   • Color Management in Datalab, Digital dailies
• The truth about resolution, bit depth and                                        and Transcoding 
dynamic range Gamma, linear, log, PQ 
                                                                                                   • Color Management in Post Production 
• Color spaces 
                                                                                                   • Color management for VFX 
• RAW – why do RAW cameras need
color management?                                                                   • Color Management for Masters and
• Common digital camera models,
formats and metadata                                                                 • ACES – Academy Color Encoding System  

• Naming conventions

DAY 2 - On-Set Looks and Show LUT Creation
• How to load Colourlab software and                                        • Create a look from RAW camera files:
get started                                                                                 Panasonic, Sony, Red, Alexa
• Colourlab interface overview                                                   • Input and technical profiles and how to
                                                                                                  use them                                     
• Basic colour theory and how this works                                      
in Colourlab                                                                               • Film stock emulation profiles and how to
                                                                                                  use them
 • Waveforms, vectorscopes and
histograms                                                                                 • Creative palettes profiles and how to
                                                                                                  use them 
• Primary color correction
                                                                                                  • Output and technical profiles and how to
• Secondary color curves                                                              use them
• Primary color correction                                                          • Making a LUT, exporting LUTs and looks
• Secondary color curves                                                          • Applying LUTs
• How look development tab works and                                   • Creating ASC CDLs
how to use it correctly  
                                                                                                 • Working with Box I/O 
• Getting different RAW camera formats
into Colourlab Content Outline                                                 • Working with Fuji IS 

                                                                                                 • Working with Teradek COLR 

DAY 3 - Creative Look Development 
• Monitor set-up and calibration            

• Spectra Cal Calman5 monitor calibration 

• The techniques that are most effective for primary grading 

• What you can do to protect image quality 

• Effects of color: Examples of correction, enhancement and effects 

• Popular Recipes: 
- Film Stock Emulation 
- Bleach bypass 
- Duotones 
- Hipster looks 
- Cross process 
- Natural color vs color washes vs tints 
- Day for night 
- Color isolation
 - Classic black and white 
- Orange and teal 
- Naturalistic look 
- Classic action movie look 
- Grunge and horror movie look 
- Flashback looks

Who is this class for?
This course is perfect for anybody who whats to learn color training from the scratch, but on the more sophisticated level to be able to create their own style immediately.

Applicants must have a minimum of 2 years experience working in the fields of production or post-production to be eligible for this class.  

May 18, 2017 - May 20, 2017 (Thursday - Saturday)
August 14 - 16, 2017 (Monday - Wednesday)
November 6 - 8, 2017 (Monday - Wednesday)

Location: This class takes place at Abel Cine at AbelCine - 609 Greenwich Street, New York, New York through our partnership with the ICA. 

Cost: $1,595

Two-Day intensives are from 10am - 5:30pm.  This class is under the three-day drop down menu.



Cost: $1,595

Certification cost: NA