In this advanced technical look at grading and managing EPIC footage, we will aim to both build upon our earlier EPIC production courses and our color science understanding. This course presents a range of detailed options for EPIC workflow. It will present some simple workflows but also aim to cover more complex issues leading into grading. All EPIC footage is shot to be graded, and while we will cover some effects work, our primary aim will be to present a way to get great graded footage from the EPIC and make sure that what you are shooting produces the best possible footage.

fxphd has had an EPIC M since March 2011 and then one of the first EPIC X (#22) as well as one of the first field EPIC Canon mounts.

We will have a series of micro shoots so we can examine a really wide range of material from macro food shots to luxury cars, from Primates to exotic night fire shoots. Material will be made available as .r3ds for you to download and explore.

course syllabus

An unconventional use of the HDRx feature of the Epic and grading Epic stills in Lightroom.

Grading with the feature rich and yet free RedcineX Pro.

Advanced color logic.

A look at grading Epic footage in Assimilate Scratch 6 on Mac.

Working with HDRx materials in Nuke, Scratch, and Resolve, looking at Luma keys, simple blends and Add compositing mode.

Dealing with noise and grain in Epic footage and a look at the differences in image quality with/without the Red Rocket.

Mike looks at the various permutations when shooting daylight vs tungsten on blue screen vs green screen with the Epic.

Mike shows the power of Mistika for RED and stereo projects. Its use of optical flow and GPU makes it the perfect tool on a lot of the large stereo projects currently in production and a product to keep an eye on.

Mike talks about his workflow of dealing with noise and HDRx in Flame.

A look at the Adobe Epic workflow, including Lightroom beta 4 and Johnmont's tips and tricks in Premiere Pro/After Effects.