The mission of Proline Film Academy is to inspire students with an inventive method of education that concentrates on preparation for career opportunities in the Film & Photography industry. We do this with a curriculum that integrates technical knowledge with artistic exploration and creativity, taught by a staff of industry professionals.
Our education is delivered through reflective teaching methods and hands on learning in the heart of Kampala.
Our programs are designed to immerse aspiring talent in industry practices and current technologies, enabling them to discover their individual voices through collaboration and realize their career goals in the Filmmaking & Photography industry.
In this course PFA tutors explore the concepts of log and raw footage. Our tutors make you understand the disparity between the two recording methods and show you how to tell the difference when using DaVinci Resolve.
This course also shows you how to set your raw settings for a project and individually, shot by shot.
Explore the concept of color correcting flat footage shot on a DSLR and how that differs from shooting log and raw. Once you’re familiar with the differences between log, raw, and flat recordings, explore two different methods for color correcting that footage.
Many people when they think of color correction and talk about color correction most of the time they just want to know only how to create " a Look ". I really wanna emphasize that if all you are doing is getting Looks then you're missing the point.
Because Creating a " Look " is easy, But it's executing a look on a series of shots consistently that is the challenge.
In order to Learn color correction easily, you should first learn how to create the base grade, forming up the image, setting the saturation, then do the shot matching, because when we do the shot matching before the " Looks " Creation, all the Highlights, Shaddows, Color, Satulation, Color temperature all will match and when we apply a Look on top of that it affects all those different shots equally.
DaVinci Resolve is a mature product that has evolved from "big iron" (mainframe-based) post-production facilities and into a powerful but compact desktop application. It has a deep, robust feature set that allows users to grow into the software once they've mastered the fundamentals.
This course offers the advanced knowledge editors and colorists need to become Resolve savvy.
Proline Film Academy tutors put these more sophisticated features to practical use, color-grading shots from some of the documentaries and music videos.
Along the way, our tutors cover the Resolve Studio databases, media management, advanced primary and secondary color-correction techniques, and even Resolve performance optimization. Throughout this advanced teaching you will learn how to create a base grade, match shots, and build cinematic looks.
Plus, get a glimpse into the advanced features available only in DaVinci Resolve Studio, such as motion effects and noise reduction, to help you decide if you need to upgrade to the paid version of DaVinci Resolve.
We aim at providing every single student with unequaled personal support and professional training, which is the reason why we had to expand.
Entrance to any of our full-time filmmaking courses is based on a competitive interview and application process
DaVinci Resolve isn't just an amazing color correction tool; it's also a full-featured editor. This course covers the key techniques editors need to transition to Resolve and skip all the speedbumps. PFA tutors introduce editing techniques such as three-point editing, drag-and-drop editing, and trimming in the Timeline.
Then learn how to adjust audio using Fairlight, the powerful in-app DAW, and add transition and effects.
Through this advanced color grading course, learn the most benefits of Recording RAW, LOG or LUTs during Color Grading in the Filming Business. When we talk of recording RAW off the Camera what we mean is a file format that gives us the siginal straight off the camera sensor. In traditional cameras exposure, white balance, saturation adjustments these are automatically applied during recording to give us an immediately pleasing picture, just like the images you shoot on your smart phone, It looks good on a media play back. But the whole point in a RAW or LOG workflow is not to do that, the whole point is to give us as much Latitude in Post-Production, allowing us to mould the image the way we wnat it to look.
In this course we walk you through a wide variety of techniques we use as professional colorists to create stylized visual treatments, this class eschews a paint-by-numbers approach, instead providing an informal exploration of how to customize the types of looks frequently asked for by clients to create grades that are unique to the project at hand.
Blackmagic Design’s DaVinci Resolve draws on a rich heritage of color grading expertise and technology to deliver an outstanding grading product. Learn how to get the best out of your Resolve software with world-class training.
Problem Solving in DaVinci Resolve will help you answer the questions that all colorists ask themselves when sitting down to address common image related problems:
“Where is the best place to start?”
“How do I know what aspects of my images need to be corrected?
“Is there an ideal approach to correcting my footage?” .
PFA advanced color grade tutors guide you through how to use video scopes in DaVinci Resolve to properly evaluate footage. But using scopes is not just about footage evaluation. This course will also explore how to use video scopes to guide your creative decisions and show why scopes are so important in helping overcome some of the limitations of the human visual system.
No matter which creative industry you plan on stepping into, they all have at least one thing in common: strong grasp of color theory is an absolute must.
PFA tutors take you on a thrilling journey into the subject of color theory.
This unique and comprehensive series will teach you how to think about the components of color, how to use color to create visual effects and mood, and how to quickly mix and block in color harmonies and other relationships.
This course culminates with a Color Bootcamp where you will paint a series of timed references designed to "drill" core color concepts.
Classical painters who spent their lives investigating light, color, and form can teach us a great deal about composition, color, and light in video.
This course enables editors to replicate the techniques of the masters in their own films, simulating visual techniques like chiaroscuro, sfumato, and the Impressionist style of capturing light, color, and specular highlights.
PFA tutors cover painterly treatments that are easily applied to a wide range of footage, including landscapes, portraits, interiors.
We also use Colorista and Magic Bullet Looks to achieve these effects.
[A] - All Independent filmmakers
[B] - Wedding filmmakers
[C] - Commercial filmmakers
[D] - Film editors
[E] - Anyone who's interested in color grading
Our film school is recognized as a place dedicated to developing your unique voice as a filmmaker and ultimately the place from which you can launch your career through the work you will produce and the many industry professionals you will meet during your time with us..
Part of what makes Proline Film Academy one of the best Media schools in East Africa is the vast variety of film workshops designed for every schedule and learning goal.
Our Media school is the perfect place to turn your passion into practice.
Our mission is to inspire a new generation of creative professionals. We bring the education and screen industries together in a creative environment, driven by great teaching and practical, hands-on experience, led by inspiring role models.
Beyond the theory and history of cinema, Our Media school places an emphasis on hands-on experience.
P.F.A offers a wide variety of workshops in filmmaking that allow students to obtain a strong foundation in a short period of time.
What are they responsible for? Let’s take a look at the ever-changing duties of colorists in film and video production.
The role of a colorist has changed dramatically over the past two decades. Much like the evolving role of a Digital Imaging Technician, the job has transcended from a role with fixed responsibilities to one with constantly changing duties.
Not only has the colorists job changed, the role has also fallen upon video editors to learn the basics of color correction and color grading for their own edits.
What Does a Colorist Do?
Colorists, specifically digital colorists, are those who color correct and color grade footage in post-production.
That said, the job is evolving.
A lot of colorists are now finding themselves in pre-production – working with cinematographers to create LUTs to capture the look the director wants.
There may also be colorists who work with the DIT on set to create color-graded dailies.
Primarily, the colorist’s main responsibilities are color correction and color grading.
The two terms are often used interchangeably, yet there are differences between correcting and grading. Historically, color correction was the term used in video production and broadcast, while color grading was used in reference to film production.
Once the color industries started using many of the same programs, the terms shifted in meaning.
Color correction deals with technical aspects and adjustments made to exposure, white balance, ISO, and contrast.
Color grading often refers to the overall look and style that sets the tone of the project.
Here’s an easy way to remember it all: Color correction is one individual adjustment. Color grading is the sum of all the adjustments made.
Colorists create the final look of a film or video by correcting any errors in color or exposure, matching shots captured on various days or different cameras, and creating style and depth.
What is the Colorist's Job Descrption?
Colorists are post-production technicians who adjust the color, tint, and hue of the final product.
They work alongside the director and the cinematographer to ensure the film or show looks exactly how the director wants it to.
In the old razor and tape days, this was done by changing the exposure time when developing film.
Thanks to computers and software like DaVinci Resolve, our methods have grown somewhat more sophisticated, and the definition of the colorist’s job has gotten broader.