Dale Grahn shares his experience on color timing his first film, Predator (1987.)
Dale Grahn Color is currently in the new and noteworthy section of the iPad App store. To learn more check out our Dale Grahn Color page or take a look at the app in the iTunes store.
“All you need is six buttons,” he said. “We can revolutionize the industry.”
It was a bit hard to believe. Color grading was a highly technical, semi-mysterious science. Power windows, HSL keys, tracking masks, eyedroppers, scopes, giant control surfaces in dark suites – our understanding was that you needed power tools to even play the game. A lot more than six buttons.
Nevertheless, it was difficult to discount what Dale was saying. Dale Grahn was a color timer – the film world antecedent to the digital colorist. And he wasn’t just any color timer – he had crafted the look of Saving Private Ryan, Gladiator, Munich, and hundreds of other films. When Apocalypse Now needed to be re-timed for Apocalypse Now Redux, they went to Dale Grahn. When Steven Spielberg needed a color timer, he went to Dale Grahn.
Dale doesn’t immediately slice up the image and start tweaking it. As a color timer, you don’t have those tools. You have to look at the image as a whole, and work with it on its own terms. It’s an absolutely, fundamentally different way to look at an image. Sometimes, that’s a lot more limiting than working with digital tools. Power windows are handy.
Often, the best way to approach these questions is to get back to basics. With, for instance, just six buttons.
“The goal is to learn how to think color,” Dale had said when we first met. It makes sense to us now.
This is just our first collaboration with Dale – we also have some some very exciting tools for film and video editors in the works. For now, we hope you enjoy Dale Grahn Color for iPad. With the app launched, we finally have time to site down with a hot chocolate and try to figure out why, in that one lesson, Dale added those two points of cyan…
To learn more check out http://www.dalegrahncolor.com
There are some incredible new features in the latest Final Cut Pro X update, from the new audio editing controls to RED support to the new import tools – it’s one major update! FCP.co just posted an fascinating comparison of the render times between 10.0.5 and 10.0.6. The difference is mind blowing!
We’re happy to annouce that all of our Final Cut Pro X products work well inside 10.0.6.
FCP X has also updated how drop zones work. We’ve put together a tutorial to show the new workflow for SplitScreen X in 10.0.6. Check it out below.
Today we’re launching our new web site – we hope you like it. The goal was to make finding and previewing stuff a lot easier and more fun. We’re also doing some work to improve site performance for our friends in Europe. There should be noticeable speed improvements within the next week or so.
We have some very interesting new tools on the way. Some of them are VERY different from what we have done in the past. We’re super excited to announce these, and we think that the new site will present them nicely.
We’ll be fixing some (hopefully very minor) glitches with the site as we go, so if you see something that doesn’t seem to be working right, please shoot Sara an email at firstname.lastname@example.org.
Stay tuned for more announcements over the next few months!
Minneapolis, MN (July 18, 2012) – CrumplePop today announced Red Giant Carousel, a beautiful vintage camera film process that can be instantly applied to any Final Cut Pro X project. For creative editors who want to harness the emotive power of plastic cameras and 120 film, Carousel creates uniquely striking images that are useful in a wide variety of films. Carousel is the first product for Final Cut Pro X co-produced by CrumplePop in a new collaboration with Red Giant.
Carousel combines optical imperfections, vignettes, and color grades from a plastic camera to create a sophisticated effect that can be dropped onto any clip. Once applied, Carousel can be easily fine-tuned to create the perfect mix of film fade, light leaks, and color cross-processing.
“Working with the team at CrumplePop has been fantastic,” said Aharon Rabinowitz, Red Giant’s director of Communities. “As an artist, I’ve long admired their aesthetic, so when we decided to create something that really captured the feel of footage shot on a vintage camera, we knew we had to work with them. We’re really proud of the end result of both our efforts.”
“We’re extremely excited to be teaming up with Red Giant,” said Gabriel Cheifetz, co-founder of CrumplePop. “Working with Aharon Rabinowitz and Harry Frank has been a genuine pleasure – they have a big reputation in this industry, and their creativity and nimbleness says a lot about Red Giant as a company. We’ve got some truly extraordinary tools for filmmakers on the way, starting with Red Giant Carousel.”
A fast, easy way to create strikingly beautiful vintage camera looks in Final Cut Pro X
– Rich, compelling vintage effects.
– Drag and drop ease of use in Final Cut Pro X
– Powerful controls that allow you to fine-tune each effect
– Powerful film fading and color cross-processing
– Color treatments, vignettes, and optical imperfections captured from a real plastic camera
Pricing and Availability
Carousel for Final Cut Pro X is available immediately from the CrumplePop web site (pop.local–all-tables) and is priced at $49.00.
For more information or to purchase Carousel, please visit:
About Red Giant
Founded in 2002, Red Giant (www.redgiant.com) creates an ever-expanding universe of effects tools ranging from plug-in suites, applications and mobile apps to Guru Presets, free products and sharing communities. We provide software for motion design, photography and color correction that is used for everything from major motion pictures to worldwide television programming to web production. Red Giant offers the industry-leading Trapcode tools for broadcast design; Magic Bullet Suite for color correction; and over 60 products that run in After Effects, Final Cut Pro, Motion, Premiere Pro, Photoshop, Lightroom, Aperture, Avid, Vegas, Nuke, and Avid Studio. Our effects have enhanced dozens of feature films such as Angels & Demons and The Social Network, and added sparkle to networks like NBC Universal, ESPN, Disney, CNN, Comedy Central, MTV, and TNT. Join us on Facebook (RedGiantSoftware), follow us on Twitter (@RedGiantNews) and get free content at Redgiantpeople.com.
CrumplePop (pop.local–all-tables) is a leading provider of film and broadcast effects for Final Cut Pro X. Founded in 2009, CrumplePop developed a popular suite of third-party effects for Final Cut Pro 6/7 before moving to Final Cut Pro X in June of 2011. CrumplePop effects have been used by the BBC, USA Today, and smaller studios around the world. You can find us on Facebook (CrumplePop) and Twitter (@crumplepop).
This weekend we are flying out to Las Vegas for the 2012 National Association of Broadcasters Show. I cannot wait to try out all the new gear and see what projects people are working on.
We will also have a table at the CPUG Supermeet on Tuesday. We will be featuring some of our upcoming projects. So if you’re going to be in Las Vegas, come stop by and say hi!
Less than a month ago we launched our very own Kickstarter project: Grain35. Throughout the past few weeks we’ve been amazed at the wonderful support we’ve received in order to launch our very own comprehensive set of 35mm and 16mm film grain scans. We’ve luckily reached beyond our goal – meaning the product is well on its way. We’re well into the development and it’s looking great. We can’t wait to get the film scans to all of those who helped support us. If everything goes as planned we will be shipping Grain35 to supporters at the end of the week.
Today will be your last chance to pick up Grain35 at a heavily discounted price. Thanks to everyone who has supported us so far. It’s been a great experience!
To support Grain35 check out our Kickstarter page.
A few days ago, Gabe was a guest on the Digital Convergence podcast with Carl Olson, Chris Fenwick and planetMitch. They looked in depth at the announcement of the Canon 5D mark III, the history of how CrumplePop started (and where we’re headed,) our thoughts on FCP X and much more. It’s a great hour discussion on the world of video. Check it out here.
Also listen to the prior Digital Convergence podcasts for fantastic analysis of the happenings in video (subscribe on itunes.) It’s a great podcast!
Thanks a bunch to Carl for having us on!
If you follow our blog and watch our product videos, one thing my become very clear: here at CrumplePop we like biking. After seeing Lumineux in Scot Litteer’s teaser for an off road bike race (Whiskey Off Road,) we knew we wanted to do an interview. Lucky for us Scot took some time to answer a few of our questions on his video.
Could you explain the project for us?
I was approached by Todd Sadow of Epic Rides in Tucson, AZ to produce a promo piece for a mountain bike race held in Prescott, AZ called the Whiskey Off Road. It is a three day event featuring a Pro fat tire criterium in downtown Prescott, a day of armature racing and a final day of pro racing (men and women). It is a 50 mile course and most of it, as the name implies is off road. His goal going in to the project was to promote next year’s (2012) event for riders and to get more and larger sponsors. My job was to show that this is a major cycling event and if you are in the mountain bike world and you are not here, you are missing out.
The first piece is the 2:00 promo currently running. The second component is a 5-6 minute piece featuring more in depth interviews with pro racers, armatures, sponsors and vendors plus Prescott businesses and how they all really get behind this event. That piece is in post right now and hope to be finished by end of July.
What camera (or cameras) did you use to shoot this? What was your workflow like?
The shooting budget was microscopic. I could only afford to bring one other shooter (the brilliant Ashley Maddox). Between the two of us, we had two 7D’s, a 5D and a 60D…plus a bunch of lenses…some super speedy canon primes and two zooms, Canon 70-200 IS and the 17-55 IS. We also shot some Super 8mm, just to give us that look and vibe sprinkled in with the clean look of the digital image.
Also had a shotgun mic and a ZOOM H4.
We would start the day by making sure all cards are cleared and batts charged then shoot some event/race set up or time lapse of sun rises, get the race action then shoot until the parties ended. Our last things to shoot would be the night life. At The Raven for example, after getting the last shots, we’d order some food…maybe sample a fine local IPA, open up the MACBOOK and download all cards to drive #1, double check all downloads were correct and accounted for, then once we get back to the room for the night, copy drive #1 to drive #2….just to be safe. Clear all cards, charge all batts and be ready for the next day.
How was working with 8mm? Did you have use any tricks to get the footage into FCP?
I love shooting super 8mm when I can or when the project allows. There is nothing like exposing celluloid. There was a TV commercial for Jamaica that ran back in the mid-90s that used super 8mm. It was right around the time I was gearing up to shoot some 35mm for a tourism piece for Tucson, AZ. I remembered reading about a company in Burbank, Pro8mm (pro8mm.com) that had been trying to revive super 8 and I think Michael Bay used them for Pearl Harbor around the same time. I found them and decided to shoot some super 8 to mix with the 35 for that project. It was great.
Now, I call the good folks at Pro8mm, simply pick the stock, the amount and the format for editing. I usually buy one of the packages they offer. On this last project, I bought the 8 roll package (about 20 minutes of footage-shot at 24 & 18fps) and it includes transfer to ProRes. I send the exposed film and a hard drive to them and I get ProRes files I can drop right in to the time line. Easy…you just have to plan for it because there is time and expense involved. Oh…and I do have a camera. A Nikon R10. One other thing about shooting with older cameras, you do need to allow for wide screen transferring since the framing of older cameras is not wide screen. I tend to allow for a bit more head room so transfer framing is not cutting heads off.
It seems like you we’re shooting some secluded areas. How was shooting in the wilderness? Did you encounter any problems?
Planning is the key to any shoot. The city of Prescott and the forest service is very welcoming of all outdoor enthusiasts. Chris Hosking is in charge of the area trails and he was extraordinarily crucial in helping transport us to the key areas for wilderness coverage. He is also part of a group called Prescott Mountain Bike Alliance. He knew the course and suggested access points to some really cool areas. We scouted the day before the first race by riding around and getting ideas of what is important to cover. Since we only had two shooters, we had to be very efficient with where we needed to be at various points of the race.
The high point on the trail has a great look in to Skull Valley and a great view of the 14 mile climb out. There is also a great transition area at that same spot with a food/water station, transition from a really steep climb to a big down hill and easy access for spectators.
There was a bit of climbing up rough areas and running to get from one spot to another….climbing up some rocks and into crevices, but that is where the cool shots are. Chris would drop me off and say “There is a little water fall crossing up that hill. Should be a good shot…you have 30 minutes until we have to move to the next spot to see the leaders come by.” So I’d shoot the riders go by one spot, say a climb up a switch back, then I’d go straight up to meet them at the top to cross the waterfall or a technical rock outcrop. Then I run back down the hill and meet Chris and we’d go to another pre-determined spot. In the mean time, Ashley is back at the start finish line setting up cameras for the finish, getting sound bites from finishers and spectators…the kids race, stuff like that.
Ashley and I have shot in some funky places so we know how to travel light. We have some carbon fiber Manfrotto tripods with these tiny little fluid heads so weight is not much of an issue. In town, we used bigger tripods for bigger lenses and important interviews. We also had a Kessler pocket dolly.
I think we avoided any serious problems because we planned well and made sure to have extra batts and cards with us always. It helps to be in shape too because we did get a work out everyday and the elevation of Prescott is about 5,500 ft.
You have a few different tracking shots with the bikers. We’re you riding along with them?
There is one segment of the trail that is parallel with a fire road. I shot out the side of a jeep to get those pictures. Again, following our plan, we knew that area was the end of the race. It is the last segment of single track before the riders get back on the pavement and head to the finish line. The riders would be very spread out there and we’d have several opportunities to get a shot. It is only about a half mile segment so we shot about five chunks there.
What made you want to use Lumineux and how did it effect your production?
The email promoting Lumineux arrived on a day when I was going though footage and getting my super 8 ready to send over to Pro8mm. I thought immediately Lumineux would be working on this project. I do have some old film chunks from when I used to shoot more film and have scraps of leader and such transferred, but nothing HD. I also have the old Art Beats Film Clutter, but not HD and the SD stuff just looks bad if I try to drop it in a HD timeline. Lumineux looked like a great solution and the price is terrific. I downloaded it right away, picked a couple of random shots from the Whiskey and in less than five minutes, had a clip I uploaded to show Ashley (//vimeo.com/23239759). He responded “I downloaded it already.”
I ended up using a clip for the end graphic since it just seemed to work, especially with the music and coming out of the rider winning, the sun setting and the flare. It made building of the end graphic much easier. I layered a couple of clips so a flash would be right where I wanted it for a type transition or piece of the music.
I could tell the look of this product would work very well with the gritty, guerrilla film feel of a mountain bike promo. Just seemed obvious to me. You guys have some great products.
Thanks to Scot for answering our questions. Check out some of Scot’s videos over at Litteer Film’s Vimeo Page