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  2. Daphne FilmLight
    Submissions open on May 1, 2024. The FilmLight Colour Awards celebrates the art of colour across the world and aims to reflect the cultural, visual and technical values of the international colour grading community of today. Watch the trailer :
  3. Marco Paba
    @Lee LeongCinelook 709 it's a paid product. https://ravengrade.com/cinelook/
  4. Lee Leong
    In my DCTL List, I only have the CKC Exposure Chart 1.3, but not things like Cinelook 709. Have I installed it wrongly? Thanks!
  5. charles w rodriguez
    Hey Cullen, I've been using and grateful for your Look Development Starter Kit. Yesterday, 4/1/2024, I tried to access the Ravengrade Assistant dctle and was met with a message saying my dctle had "expired". I checked my membership with Lowepost and Ravengrade and my membership looks paid thru december. Whaddup? Best regards, Charles Rodriguez
  6. charles w rodriguez
    Wondering if anyone else has encountered this error? I tried to access the dctle's and I get an error message saying my dctle has expired. I checked with Lowepost and Ravengrade and my license looks current thru 12/24. What's going on? Regards, Bill Ravens
  7. KRISHNA KUNWAR
    Dci p3 to rec 709 how to trim pass...any one know.....
  8. Ali Khan
    Hello, everyone. I'm a little bit confused and seeking suggestions. Should I go for the DaVinci Micro Panel or the Tangent Element for DaVinci Resolve? I only use Resolve, by the way. So, is it worth it? I'm leaning towards the Element kit because I can get it even cheaper than the Micro Panel.
  9. Jason Bowdach
    HDR panel is not the best name - I feel a more accurate name is "Wide Gamut \ High Dynamic Range Panel" but thats clearly a mouthful. You can use them for both SDR and HDR grading. Some may say they're "technically" more correct but I would not venture to say "better". Personally, I adjust exposure using a DCTL (or HDR Panel) and creative adjustments using primary panel. Can't help but fall back on printer points frequently though...... Nope - not unless I get a QC note. If it looks good on my calibrated reference, it is good. Happy to apply soft clipping to a clip \ scene if needed 🤷‍♂️ Also, most finishing I use have some type of auto-limiter which you can set up in your template project as a "safety blanket".
  10. Jason Bowdach
    You may want to check out this recent PowerGrade collection. May even see a few familiar faces in there - with permission, of course.
  11. Tenzin Sherpa
    One thing I don't like about this tutorial is the fact that it's very dependent on shortcuts, for example when you talk about linking, instead of mentioning about the big link icon, you dive straight to the shortcut menu and worst you don't even point out that icon at all!
  12. Andy Knox
    We've received a few requests to make a tutorial video showing how to create custom maps for Wave and Wave2 panels when used with Resolve. So here it is... Note the Mapper and Warp Engine is compatible with both macOS and Windows.
  13. Dave Vidissimo
    I'd love to mention as a PC editor, ProRes is easily accessible in 2024. Adobe Media Encoder, Avid Media Composer, Shutter Encoder, and Magix Vegas can decode and encode ProRes of all resolutions and frame rates. I'm sure Premiere can encode it too, but I don't use Premiere. I recommend ProRes for one extra reason above DNX: ProRes is variable bitrate. This makes it optimal for GFX encoding while maintaining a smaller file size with high quality and performance. I rendered a UHD 30 minute countdown clock in ProRes HQ 422, and it came out to 5.5GB!
  14. Kyle O'Brien
    I've seen a lot of film emulation plugins and luts on youtube, but I can't help but think there must be better ones out there. Like are professional colorists using film emulation luts from youtube? I use Juan Melara's stuff all the time as it is the best i've ever found. Curious about if there are certain secret luts LOL. I have also used the brim which is pretty cool.
  15. Mazze
    Hi friends, I'm selling a used Rageboard for the Tangent Element panel. It definitely has it's marks, but otherwise works fine. It can hold up to 6 panels (e.g. Mistika configuration) and comes with - 8-port powered USB 3.0 hub - Cherry kc4020 illuminated keyboard (US-layout) - placeholder plate with USB 3.0 port - placeholder plate clean (for e.g. mouse pad) Item is located in Germany and can be shipped EU-wide. Asking Price is 400€, but I could be talked into less 😉 . Cheers, Mazze
  16. Mazze
    Hi friends, looking to sell the board incl. the silver stands with the corresponding holes in them. The Element panels themselves are not part of this item, but just for better visualization as to what this is 😉 . Price is 150€ Item located in Munich, Germany Shipping EU-wide. Cheers! Mazze
  17. randy thompson
    ARRI_Reference_Tool_GUI_1_4_0_Release_Notes.pdfHow to adapt any LUT for the Alexa 35 Cullen Kelly shows how to make a lut compatible with the Arri Alexa 35 camera with the new Lut creation workflow inside of the ARRI Reference Tool version 1.4 Link to ARRI Reference Tool version 1.4 download ARRI Reference Tool | Learn & Help Link to ARRI Reference Tool version 1.4 PDF linked below.ARRI_Reference_Tool_GUI_1_4_0_Release_ARRI_Reference_Tool_GUI_1_4_0_Release_Notes.pdfNotes.pdf
  18. Jackey Lee
    Hi All, I'm an aspiring colorist trying to learn how to grade professionally in Davinci Resolve. I have two questions that confuses me and I hope that I could have some insight from the community. 1. There are two terms that was constantly mentioned in articles and tutorials, display referred and scene referred. I work in Davinci YRGB which is a display referred color managment system. However, I'm grading everything prior to the color space transform which is a scene referred color grade workflow. Therefore, am I working in display, scene referred, or both? 2. I was wondering what preferences does everyone have for timeline colorspace. I currently do a CST to transform my log footages into DWG and set my timeline color space to DWG. From what I understand, timeline color space affects how the coloring tools behave. Are there any benefits coloring in the camera color space (Arri LogC) instead of DWG. Thanks for your insight and time to reply this post. Cheers,
  19. Robert Rodriguez
    Many thanks Dylan for sharing your insight. A quite enjoyable masterclass.
  20. Andy Knox
    The latest release of the Tangent Hub now has an updated Warp Engine with a record feature. So you no longer need to write scripts by hand. Warp Engine allows you to map any control, on any of your Tangent panels, to any application. This is done through assigning scripts to controls to emulate mouse clicks, drags, scrolls and keypresses. Examples of typical use are: To add and remap controls in applications that support Tangent panels but do not allow customisation of the map. For example, DaVinci Resolve. The fixed map is retained, but the user can jump between that and their own custom map*. Adding controls previously unavailable through the Tangent Mapper in applications that already support Tangent panels through the Mapper. For example, Adobe Premier Pro. To control applications that don’t support Tangent panels. For example, Avid Media Composer. * Applies to Element, Ripple, and the Element-Vs app with Resolve. For Wave and Wave2 with Resolve you can only create your own custom map. Both Windows and Mac operating systems are supported. Head over to our support page to find downloads and more information. We’ve posted a tutorial to YouTube showing how simple it is to add extra controls to Resolve:
  21. Vicent Acosta
    Such an inspiring article, thank you so much. Cheers from Spain.
  22. Antonios Ara
    My 2 cents... In DaVinci YRGB, and Rec709 (scene) set as timeline color space (the default setting)... ...if you want to simulate a color managed workflow by working between two color space transform effects that cancel each other... ...the right setting for the second effect is: Output Color Space: Rec709 Output Gamma: Rec709 WITH THE "APPLY FORWARD OOFT" SETTING TICKED. I don't know what the setting does, and I would appreciate somebody telling me in simple terms. Don't need a full explanation of Gamma, I am a colorist for 10 years.
  23. Pourang Kakouei
    Thank you
  24. Jackey Lee
    Hi, I'm just starting to build my portfolio as a colorist and found this course very helpful. I have two questions and was wondering if you can provide some clarification. 1. All of my projects currently are outputting to SDR. Is there a benefit of working using HDR tools? If HDR tools behaves more naturally because it is color space aware, is it more "better" than primaries? Would you still use primaries to adjust the exposure/ contrast on a clip level. 2. I really enjoyed lesson 5 and 7 about creating the silver bleach bypass and the film emulation look. As a novice, I've been told to always keep blacks within the legal range 0 and looking at the scope is a good way to do that. I can't help but noticed that altough you've lifted the blacks when creating the look using the Arri test image, there are still some signals that are sitting below 0. Is that a problem? Cheers, Jackey
  25. Darren Shearer
    Hi Bruno (and all). Update! I discovered that if you change the clip metadata from "tape" to "name", it crashes way less. I think this might be due to the Baselight not having to constantly search for the tape metadata, especially on bigger sequences. Let me know if that works for you. Cheers, Darren
  26. Vicent Acosta
    Thank you so much Dylan!
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