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  1. Today
  2. Are closed captions available?
  3. Last week
  4. Currently planning a "working with HDR" series. It will be the next one I record.
  5. Excellent! Would love to hear one in depth on HDR set up and workflows, and also having to deliver an SDR version.
  6. At this year’s IBC, FilmLight (stand #7.A45) is hosting the free two-day seminar series, Colour On Stage, on 14-15 September 2019. The event provides an opportunity for visitors to participate in live presentations and discussions with colourists and other creative professionals at the peak of their craft. To view the programme and register to a session: https://www.colouronstage.com
  7. Some speculate Scope box update might come in near future. IBC seems to be behind the corner or year end. I'm exited about it a bit. Sent from my ONEPLUS A6003 using Tapatalk
  8. Hey fellow colourist, I've made a youtube video explaining the benefits of using colour trace as to oppose of other methods of copying a grade timeline to another timeline. Let me know if you have any suggestions or comments for my video, I'm very knew at youtube, but welcome any feedback. Thanks in advance. Drew
  9. If you are using RCM, and the footage is not RAW, then you'll want to try to apply a matching Input Color Space. As for the clipping, perhaps there is a mismatch between the camera exposure LUT and the default Rec 709 space in Resolve. If there is clipping, maybe skip the Tone/Gamut Mapping and instead grade the footage into an acceptable range in the Color tab - at least that pushes any destruction of color values to the end of the pipeline. Not sure if that helps - I must admit color pipeline issues can be very convoluted.
  10. Hello thank you for this course! It's great to get some reassurance on somethings I've learned elsewhere. (Going to look at skin retouching next) However I'm now thinking about changing my workflow. I've been using a RCM workflow with SLog3/.Cine footage from an a7S and I've been bypassing the Input Colorspace as well as not assigning clips a profile in the Media Bin. I'd basically grade to where I want it to look and have the Output Colorspace set to sRGB / rec709 in Project Settings. So it sounds like I've basically been using a display referred system. I'd like to follow your lead and have the Input Colorspace match what I'm shooting (slog3) in Project Settings but when I do so my highlights are clipped even though I've exposed using a display with a r709 LUT. I'm guessing this might be from the limited data range on my camera (8-bit 4:2:0)? When I turn tone and gamut mapping on (along with the necessary drop down options) it displays about how I shot it, but like you said this is destructive and I can't grade it much down the line. Any recommendations? In general if I use RCM should I just set the Input Colorspace to what I shot on in the Project Settings and grade from there? Will things like noise reduction work as good this way or should I bypass Input Colorspace and have my last node be Color Space Transformation? Thank you!
  11. Go to the Settings tab (4th tab) on the Tracker tool. There's a Motion Blur switch you can activate. The motion blur will naturally erode the edges. For additional edge blur, you could insert a Blur or Erode/Dilate tool between the Screen sequence and the Tracker (you can force a tool to work on the alpha channel alone).
  12. I haven't see this movie yet, but after reading the article I must see it asap. Which system was it used to grade it? I'm particularly interested in the oversaturation/desaturate technique. Was it done with a spliiter/combiner? To make it work the signal needs to be clamped someway? I'd love if someone can answer this!
  13. So with corner pin tracking and corner positioner, how does one add motion blur to make the tracking look less pasted on there? And is there a way to feather edges? Can't seem to find options for this, but I'm pretty new to fusion so 🤷‍♂️
  14. Earlier
  15. Cristian Baitg

    TRUE DETECTIVE

    Great show. Thank you for the explanation
  16. Are blacks crushed in source footage? If they are, you can try to add a little bit of lifting blacks. Maybe blacks softclip slider. Just to match black level to other shots. Or just leave it as is. Also you can try to slightly desaturate or softclip highlights to fix this strange color on his nose and fingers
  17. thanks Rakesh, i've had great support from HP in the past, but that was all about hardware issues, our local support in Vancouver Canada is amazing top to tail, but not able to help on this file now an update: i got RGS working, painful and tedious, but working... after setting RGS to easy login, restarting the machine (not mentioned in the manual) i got it to work inside the firewall at the studio, the machines need a static IP, already had that, but worth mentioning then we needed to set up a VPN to get through our firewall from my suite at home, and my MBP good stuff after an hour with it: -it's fast - as in i see 24Fps playback without dropped frames playing Resolve's UI on my laptop in a local cafe with a crap connection, far, far better than Teamviewer, have both on the MBP so could run them one after an other, the diffrence is quite noticable -far better image quality than Teamviewer can offer as well, by a long shot bad stuff: - supremely user unfriendly to set up - need to manualy enter IP addy, machine name, and password EVERY time, every single time...it has no list of approved / safe machines - no scaling options - it’s only 1:1 making navigation a needless pita with a smaller screen - yes Mr MBP, i’m looking at you… - need to give anyone you want to share a screen with your VPN addy, machine name and password! Ekkkkk! like that’s gonna happen… in the last three days on my machine i’ve had clients approveing VFX / editor sorting conform issues / Assist transferring DRP and checking - all logged on with TeamViewer and every time i reset the password after they logged out i’m not going to re-set the machine name and password endlessly, not to mention i have to restart the machine for windoze to accept a user name change every time... ouch.... HP support got back to me, they are esclateing, but that was before i got it going, still going to ask question to make sure i'm understanding the login process, and see if there's a way to have a cleint/assist/ VFX artist whomever log on without needing to give them access to the machine permently Jason Myres @ LGG suggested looking at "NoMachine" https://www.nomachine.com/ so i'm leaning toward haveing both NoMachine for cleints to log on, probbaly on the z800, and me to use from my laptop so it can scale, and RGS between machines both at the studio and at home, where i'm comfortable that i can keep the IP / user name / password info under control any machine can be accessed from the z800 via RGS so the z800 serves as a hub and a one year subscription to NoMachine costs less than a month of TeamViewer one thing's for sure, i'll be dropping TeamViewer when the yearly contract runs out.... the same resources could pay for a year of Kognat, NoMachine, upgrade BCC to current and more....
  18. I didn't mean to imply that I have something against using power windows, just that I don't use them as much as I used to. But I think I was using them a lot because of the fact that my lighting wasn't great. so rather than using power windows to enhance the images, I was using them to FIX the images. Not allowing them at all sounds excessive to me too, but not relying on them to fix my blunders has been liberating. Now I have more time to be creative rather than spending most of my time in the color suite fixing things. I'm looking forward to seeing One Upon a Time in Hollywood... when I manage to free up some time to go to the theater
  19. Bear in mind that Richardson was working on a $100 million dollar movie, so he had the time and budget to have his crew go in and fix a lot of lighting issues on set. In the real world, I think power windows and masks and keys and all that are still very necessary. To me, Tarantino's approach is unnecessarily dogmatic (ala Dogma 95), and the trick to me is make all the VFX and color work completely invisible. If you can't tell there was ever a window there, then it works. The moment you can see evidence of it, then the illusion is shattered. On the other hand: I think Once Upon a Time in Hollywood is a brilliant film, it looks great, it's very entertaining, and I've paid to see it twice. I can't offer any higher praise of a movie than that. Tarantino has earned the right to have strong opinions on where and how he does things, and that extends to post.
  20. Hi all, FilmConvert Nitrate beta is out now for Adobe Premiere Pro - go to www.filmconvert.com/nitrate and sign up to get the beta download links. Nitrate will be coming to FCPX and Resolve by the end of the year.
  21. I don't have any experience with the remove viewer myself, but I have had good luck getting help from Alex Salazar at HP: alex.tsu.salazar@hp.com He probably doesn't know much about the remote viewer since he's AFAIK a hardware guy, but he might be able to get you in touch with someone who can.
  22. Doing my own color is one of the things that's made me a better cinematographer. It meant that whenever I screwed something up on set, I was the one who had to fix it in post... so I had front row seats on finding (and fixing) my own blunders... so on subsequent shoots I'd remember those blunders and avoid them. Nowadays I use power windows a LOT less than I used to, because I learned to sculpt and control light a lot more on set because having basically screwed myself, I knew what to look for the next time around. Of course there are always new ways to screw things up, and when you end up shooting one scene in two parts split two months apart (we needed the waterfall to change its volume drastically during the scene, so...) or when you film one of the actors 80 miles away and in completely different light (the elk didn't get the call sheet) and have to match those it's still work, but for me lately that sort of extra work is a lot more common than, "Ah crap, I should have flagged the light off of that wall back there." I honestly think I've learned more about cinematography by studying color grading and editing than I have from any cinematography oriented class/seminar/etc I've taken.
  23. has anyone got it working? i wanted to test it, installed sender/receiver on four HP z class machines, and receiver on my MBP, set all senders to easy logon, and get the same error message on all machines as i've entered correct ip / machine name / password, and made sure RGS passes through the firewall, i'm thinking it might be #2... i've read the manual, and no help that i can see there i've reached out to HP support forum, no answers i've emailed support and they sent me the manual, and have ghosted me since i've asked local HP tech's and they deal with hardware only TeamViewer yearly contract is up at the end of the month, i'd love to eval RGS, but can't get connected to even take a peek at it any help appreacated
  24. This is those moments when "of i see" in life.
  25. When I'm teaching Avid to my students, I start with a short presentation about how most features and long-form drama is edited on Avid. The question I'm often asked is why? My answer is that it's not necessarily to do with the editing itself, but the handling of metadata and the media management. The workflows with Avid are long-established and work reliably.
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