On-site in Melbourne, Australia or Remotely Worldwide.
Learning what buttons to push is easy and there's books and videos for that, but having a
veteran film colourist at your side as you learn how to "see colour" makes this course unique.
Point Cook, Melbourne, Australia. Now also offering worldwide remote classes.
Currently only weekends.
Two day, 14 hour course.
Please see the Bookings tab.
It's one-on-one training. You operate the Resolve Micro Panel and I provide guidance and feedback. The trackballs help you to "feel" colour and get you up to speed fast. There's a couple of books on grading, but the Color Correction Handbook is the best one. We'll work through the tutorials together. Of course, we can also experiment with your own footage.
9am - 4:30pm with half-hour for lunch.
Tim Farrell has worked as a film colourist in Sydney and Mumbai and has been a DaVinci user since 1995. Tim has graded millions of feet of 35mm film and knows the ingredients to make immersive cinematic imagery. He's been running Resolve courses since 2010.
I started working as a colourist in 1995 at Frame, Set & Match (now Vandal) in Sydney. One of the most memorable projects was all the 35mm and VistaVision transfers for The Matrix sequels. He also worked on countless shows including Farscape, My Brother Jack, Who Dares Wins, The Mole, The Shark Net, music videos for Alex Lloyd and many documentaries and commercials.
In 2003 I began working in India at EFX and Famous Studios. During this time he graded TVCs for major brands such as Pepsi, Sony, Colgate, LG, Orange, Revlon, Chevrolet, Revlon and Tata Indicom as seen in the showreel below.
I don't like the idea that I'm not in control of my image.
I believe the five basic tenets of successful colour grading are:
Learn how to break an image down into lift, gamma and gain. You can't grade if you don't use scopes. You'll learn the importance of the parade, vectorscope and waveform. I'll demonstrate why using the image gallery is vital to a successful grade. And you'll also learn about the impact of colour on image depth. Additionally, I will teach you how to create strong and distinctive looks without flattening off the picture plane. Finally, we'll discuss tonal and colour contrast and how to maximise it to create images that pop off the screen! It's very easy to create a distinctive look, but can you create one that maximises depth and draws the viewer into the scene?
Everything from basic primary and secondary grading and how to use scopes, through to shot matching and creating stylized looks. We can also cover things like equipment choices and display calibration.
A good option is to spend the first day learning some fundamentals and the second day grading one of your projects. As it's one-on-one training we can focus on your specific objectives and work at a pace you're comfortable with. Topics can include:
Cinematographers and camera assistants, film and video editors, directors and producers, film and media students, multi-media content makers, digital imaging technicians, VFX artists, image retouchers, post-production coordinators and supervisors, web and graphic designers, or anyone who just wants to make better looking images.
I won't lie and say there's not a lot to know. However, I'm also struck by the amount of convoluted nonsense that you see on blogs and forums. I'll teach you what's important and what you don't have to worry about.
Less nodes is almost always better. Simpler is almost always better. There's a lot of different tools in Resolve, but that doesn't mean you have to use them all. I'll teach you what I think are the best and easiest to use.
Learning the software is the easy bit and there's books, videos and other courses for that. But the secret of colour grading is really learning how to see. How do you find the sweet spot of an image? It's not always easy. But having a veteran film colourist by your side and pointing you in the right direction is a good start.
I was lucky enough to be taught by two talented colourists and also watched them at work. If I'd had to learn colour grading through books and videos alone, I'd still be clueless. So, if you think you can learn everything from Youtube, you're kidding yourself. I've watched them all and there's literally only a couple of people I could actually recommend. Most Youtubers have never graded a big professional job and a large proportion have no absolutely no idea what they're talking about. Of course, they're also experts on "cinematic" grading. The fact that 99% of them have never laced up a telecine or a scanner, or put film through a motion picture camera seems to be completely incidental!
I've been using DaVinci since 1995, which is 14 years before it was acquired by Blackmagic and ported to Mac OSX. You will see certified courses that are run by people with little, to no, high-end colour grading experience. This might be a an option if you simply want to learn what buttons to push. However, if you want to learn to see and think like a professional colourist, you're going to be disappointed. And the courses that are run by experienced colourists, are group sessions, so you never get that one-on-one attention.
And you might expect very experienced DOPs to have an innate colour sense and pick up grading very quickly. However, that hasn't been my experience. It takes a lot of time for most people to train their eyes to see subtle colour casts. I teach different techniques to get you seeing like a colourist.
I'll also teach you how to analyze colour from your favourite movies, so you can replicate distinctive looks in your own work. Take this example from Amélie (2001).
It's a red, yellow and green colour palette. So, everything is stacked to the left side of the vectorscope. There's a green tint through the blacks and a yellow wash over the rest of the image. When I worked in Mumbai I graded a TVC with a version of this look, which you can watch in my showreel.
Elsewhere in the film there's a warmer, more orange wash over the entire image and a splash of blue for some complementary colour contrast.
One of the great misconceptions about colour grading is it's just pushing a picture around until you find something you like. There's not really any good and bad, it's all just personal taste. This is just flat out wrong.
I think of colour grading as about 60% technical and 40% creative. Before you can get creative, you need the knowledge, training and skills to get you to that 60% level. This is where you're properly assessing tonal contrast, overall colour balance, skin tones, saturation and image depth.
Once you've mastered these technical aspects you can start to get creative with things like colour washes and tints, secondaries for hue and saturation changes, and power windows to sculpt the frame. But, without a perfect primary grade as a starting point, you're just wasting your time.
Take your time and really try a lot of different options at the start of a session. Learn to use your scopes! Eyes get tricked easily and also get tired very quickly, so if you can't use scopes, you're flying blind.
When you're just starting out, aim to spend most of your time in the Primary tab. It takes a lot of practice to get the perfect balance, so the more time you spend using lift, gamma and gain, the better! Think of your primary grade as your meat and potatoes, which is 90% of your meal. Everything else is just gravy.
Always look for depth in the frame and try to create imagery that immerses an audience. Also take lots of still and constantly A-B them. Ever get the feeling that you're inside a movie. The perfect primary grade creates the image depth that helps draws an audience in. While it's tempting to keep just adding node after node, a lot of the time, less is actually more. A single node with a good primary balance is sometimes all you need.
Unfortunately, these days you see a lot of flat, desaturated images with elevated midtones. The look isn't based on any sort of reality and it's also incredibly aesthetically unappealing. It's people not knowing how to grade modern log cameras that capture an enormous dynamic range. Just as a creative DOP uses lens choice, composition and lighting to create depth, the colourist has to utilise tonal contrast and colour contrast to create the illusion of three-dimensional space.
"There is no blue without yellow and orange."
Yes. There's lots of great colour grading software out there. Products such as Baselight, Scratch, Lustre and Nucoda are popular with many professional colourists and widely used within the professional industry. Baselight especially seems to the favoured system of the world's top colourists.
The course is about the concepts and principles of grading. The skills and techniques you learn can be easily applied to other software programs.
Everyone perceives colour differently and if you work in the game for a while you're bound to encounter people who are unaware of their colour vision deficiency. So, for your own peace of mind, it's important to understand how accurately you actually perceive colour. I can conduct the Farnsworth-Munsell 100 Hue Test, which has been a global standard for more than 60 years for evaluating an individual's ability to discern colour. It consists of four trays containing a total of 85 removable colour reference caps spanning the visible spectrum. Colour vision aptitude is determined by your ability to place the colour caps in order of hue.
Farnsworth-Munsell 100 Hue Test
If you're doing colour grading it's critical to use a properly calibrated display. If not, you're just wasting your time. You can bring your laptop or desktop display and I'll take you through the steps of creating a 3D LUT and loading it into Resolve.
Calman Studio from Portrait Displays
Nothing, but feel free to bring some of your own footage. Lunch is provided, so let us know if you have dietary requirements. If you're a DOP, bring your camera and charts in and we can shoot tests with various profiles and see how LUTs & Colour Transforms affect the image.
You might also like to bring in some stills from your favourite films and we can use the scopes to analyse their tonal and colour composition.
No need to worry if you've never used the software or graded anything before. We'll take it slow and start with the fundamentals.
You should definitely purchase the Color Correction Handbook. Also see Blain Brown's Cinematography: Theory and Practice, for brilliant explanations of raw, log and setting exposure. For a discussion on the use of colour in film, see Patti Bellantoni's If It's Purple, Someone's Gonna Die. Finally, here's a selection of some movies and TV shows you might have missed.
We use the new collaboration features within Resolve 18, which allows live colour grade sharing. Remote learning is offered to users worldwide!
Currently only weekends.
A$1120 (US$750) for 2 days (14 hours) of one-on-one training.
Please see the Bookings tab. Pay via bank transfer or Paypal.
Please read the pdf for detailed instructions.
Check availability on the calendar and email me your dates. If you're a remote customer, please send me your preferred start time for your location. You may book consecutive, or non-consecutive days. I'll send you an invoice, which is due the day after you book.
Price for the two day, 14 hour course is A$1120 (US$750). If you are visiting Melbourne and require accommodation, Quest Apartments are only 5 mins away.
"I travelled over from South Australia for the colour grading course - it was absolutely worth it. Tim has so much experience and insight, and is a great teacher. Because it's individual training he was able to adapt what we were doing to be most useful for my workflows and skill level. I can highly recommend it."
Creative Director at Replay Creative
"I have been to hundreds of colour grading sessions throughout my career and thought I knew a reasonable amount about correction. That was until I spent two days with Tim Farrell learning to use DaVinci Resolve."
DOP at Tumbleweed Films
"I flew down from Sydney to attend Tim's two-day course and it didn't disappoint. By far the best value professional development course I've attended. Would recommend to anyone looking to take their images to the next level. Grading is now the desert I look forward to at the end of an edit!"
Qantas Video Producer
"Just wanted to say thanks for everything I've learned the last couple of days. Was a hell of a lot of fun, and it's definitely ignited a passion for colour!"
Video Editor at Creswick Creative
"Tim was able to cater to my needs exclusively, and work at a level that suited me. That way, I made better use of my time and learnt much more than would otherwise ever be possible."
Cinematographer at Aerial Film Australia
Erika Addis - Cinematographer
Ben Alpers - Content Director
James Anderson - Videographer
Chris Baker - Creative Director
Kim Batterham ACS - Cinematographer
Peter Beeh - Cinematographer
Kenny Bower - Filmmaker
Marcus Buckley - Filmmaker
Peter Butterworth - Video Post Manager
Aaron Carroll - Editor and Director
Dr. Satya Prakash Choudhary - Filmmaker
Peter Coleman ACS - Cinematographer
Trent Cliffe - Video Producer
Thomas Dawe - Urban Screen Coordinator
Daniel Decarli - Video Editor
Luke Dove - Video Editor
Joel Egan - Cinematographer
Warwick Field ACS - Cinematographer
Carl Gaerlan - Digital Media Specialist
Marie Gatt - Dailies Colourist
David Gear - Cinematographer
Rueben Gibbes - Director/Editor
Ben Hall - Video Editor
John Hall - Cinematographer
Alex Harkness - Videographer
Josh Harris - Director
Terry Hope - Cinematographer/Editor
Shane Ingram - Senior Multimedia Officer
Ben Jones - Filmmaker
David Josue - Filmmaker
Jason King - Video Editor
Sam Laidlaw - Video Producer
Adam Lockman - Video Editor
Cecilia Low - Filmmaker
Rodney Mansour - Video Editor
Lachlan Millsom - Videographer
Jamie Morris - Videographer
Vivian Nilan - Videographer
Sam O'Reilly - Videographer
Andrew Packer - Senior Editor
Arthur Panagiotaras - Colourist/Video Editor
Carlin Plumb - Post Production Coordinator ABC-TV
Hamish Pattison - Cinematographer
Andy Richards - Cinematographer
Jack Schiller - Video Editor
Patrick Schiller - Video Editor
Pat Sofra - Senior Designer
Marc Spicer ACS - Cinematographer
Matt Stewart ACS - Cinematographer
Chris Tomkins - Director, Editor, Colourist
Cassy Vincent - Video Editor
Kane Waldron - Video Assist Operator
Darcy Yuille - Filmmaker and Lecturer
Elahn Zetlin - Video Editor
Carlin Plumb from ABC-TV Melbourne (2023)
If you're doing colour grading it's critical to have an understanding of monitor calibration. If you're not grading on a calibrated display, you're just wasting your time. This doesn't mean that you need a multi-thousand dollar reference display. Even more affordable displays will benefit from calibration. I will provide an introduction to Calman Studio and the C6 Colorimeter from Portrait Displays.
In 2003 I began working in India at EFX and Famous Studios in Mumbai. There I graded TVCs for brands like Pepsi, Sony, Colgate, LG, Orange, Revlon, Chevrolet, Revlon and Tata Indicom as seen in the showreel below. This was back in the days when adverts were shot on 35mm and graded to standard definition interlaced video. But, if I can channel Larry David, I think they still look "pretty good".
Graded with Spirit telecine and DaVinci 2K
"Bookends" - Directed by Patrick O'Neill
"Making of the Cup" - Victorian Racing Club
"Making of the Cup" - Victorian Racing Club
"Moss" - Vip Insyxiengmay
"Centrum" - Buchanan Advertising
"Midmorning" - Directed by Patrick O'Neill
"Suite for Fleur" - Ron Brown Productions
"Fovever House" - Directed by Matt Poidevin
0468 747 371