Margus Voll
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Everything posted by Margus Voll
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Hi. I wonder which tutorials users here would suggest? I'm playing now with student versions and looking at some of the videos on Baselight vimeo but was wondering if any other places ones should look around? Thanks.
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Glorified laptop i would say? For now it seems that colorist would need a machine that runs on 7 ghz with 10-20 cores and has fast bus speed and ram speed plus it would have system os drive reading and writing 5000 MB/sec. Also 2 to 4 fast gpus would be good for 8k work. Somehow new iMac feels like editors or assistant machine not full workstation. Just my subjective feel.
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Graded food type of spot series. Shot on Alexa. Graded with ACEScc in DaVinci Resolve Studio 12.5.5 Director: Jan Erik Nõgisto DOP: Mait Mäekivi Colorist: Margus Voll, C.S.I.
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Eizo Calibration with Lightspace
Margus Voll replied to Orash Rahnema's topic in Monitors/Projectors
It seems i can play again next week with calibration. Lets us know how it goes with smaller patches. -
Eizo Calibration with Lightspace
Margus Voll replied to Orash Rahnema's topic in Monitors/Projectors
Have you tried 1000 and 4000 patches for testing? I have had similar issues with Delta lately as i was testing one monitor for a supplier. 1000 patch and 4000 patch as i remember i did not have such issues but 9000 looked rather similar. I'm not sure yet why this happened but i have some ideas. (win power management and some other things) Will try to investigate in near future. Monitor by itself should hold up nicely. -
This is why on some platforms users say it is not for everybody as the options are so overwhelming. Hope that it works out for you in the end.
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If you meant me then we have full setup here in the city and i got curious. It has big Precision panels, DVO tools and Clipster attached and such. Do not get me wrong DaVinci is till my main tool i'm just learning new tools to have more wider perspective.
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Learning is fun and sometimes new tools open up possibilities your old app did not have. I'm rather curious now with BL and Nucoda while i'm home in Resolve.
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I just finished grading BELDONA: summer 2017 «Escape» for Cheese & Chocolate Film. Yet again good example how remote work is done in simple way. This spot is produced in Switzerland, shot in Mexico, edited in Switzerland, post and grading done here in Estonia and final delivery to Switzerland again. director: Sven Wedekind director of photography: Daniel Kunz grading: Margus Voll, C.S.I. Shot with RED Epic. Graded in DaVinci Resolve Studio 12.5.5 with ACEScc.
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If they switch the whole system i would say not. I bet it is more cost effective t have software keys and not millions of dongles shipped out at that price point.
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Thanks. I had to take in consideration DOP's and director wishes so this is where we landed in the end. It s team work.
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Thanks!
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Here is my latest work for a beer commercial. Shot on Arri Mini and graded in Resolve Studio 12.5.5 in ACEScc. Last products shots have some external mattes from Mocha Pro to get more precision in masks.
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I could fly in from time to time
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Lets wait till Tuesday then
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To me ot seems like Mini panel is middle module of new advanced panel by the functionality and old advanced panel comparison.
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This is something i have done with documentaries when they shoot those Sony "consumer" cams. Those with bad colors i mean.
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Think of ACES in colors like DPI on photography and print. REC will be like 100 DPI ACES is more like 2400. Overall different camers getting to more similar baseline for sure helps but it should be doable without it also. Matching different cameras sometimes is depending also how well different cameras have their color science made. Why i use ACES as much as i can is to eliminate all that fuss around LUT management specially with VFX involved. Overall i agree that in some ways you get more even starting point in a way but to me it is due to more clean transform without any lut mayhem lets say Arri FIlm matrix removal from the footage for example.
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I read on another thread @Marc Wielage pointed out that something is happening. We will see and read more when he gets to the battle ground. Also Paul Saccone from BM stated this "I can't say much, other than it's gonna be HUGE!" So if you are Resolve user you will have some sleepless nights ahead like with any other NAB.
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You just run dual save on separate tape and you have dual copy? Most people i know do not do dual tapes as they somehow trust tapes more than drives.
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I'm just thinking of getting LTO7. Have been using desktop drives with dual copy till now. I find Drobbox to be rather slow.
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Maybe it is to late already as at least half of the people are converted and other half might go to linux world. They need to pick up that pace and give users machine that spits out fire and molten lava then they would get Pro back. For now what ever they say it is a phone and laptop company but we need to work on raw 8k stuff. Lets hope future proves me wrong.
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This happens a lot lately for some reason.
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So dop was making look in camera so to say ? This is bad in most cases.
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I have no experience with F55 as we do not have any of those here. Monitoring is not that important with ACES but you just have to have proper output transform to make it all "fit" in colors to your screen. That side i would say is covered. Now getting raw to common workflow color space seems like a good idea specially if there is VFX and other tasks involved. Under exposed in some cases need tiny bit different approach as you have to push it up a bit in ACES but i would say the grain is the same in REC. Getting cleaner material out of any footage seems much faster to me with ACES. Also whites and blacks do not clip hard like they do in REC so you have really creamy falloff. If you have any specific questions i can try to answer them as as i can by my small experience or direct you to some place.