Mark Mulcaster

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About Mark Mulcaster

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  • Birthday 08/18/1981

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  1. The Arri Look Library is now a available for Baselight this adds additional looks and emulations that are worth taking a look at
  2. Apologies to be the necroposter and restart this topic but this video gives you an idea of what you can do in LAB. One thing that ive always wondered and not been able to do is split out the colour channels like he does in Resolve. It was something i was able to do in Mistika but i cant seem to do it on good ole BL.
  3. Thanks Andy, Putting it like that makes a lot more sense, i think i was approaching it from the wrong perspective, it makes sense about seeing the Rec2020 as a container. I'll have to look for the Dolby: ST 2084 PQ / P3 D65 / 1000 nits viewing option as from what i recall when i wrote my original post i didn't see it listed in my Baselight (we're running 5.1). My thought about grading in PQ/P3 was to play it safe a bit and make sure i wasn't grading any colours out of gamut that my monitor wasn't able to reproduce correctly, or that when the content hits the consumer screens. It may not be necessary but i wanted to try both approaches to see for myself. Ever so quickly what does the transfer matrix do on the X300? I've toggled it on and off but didn't see any difference to the image on screen. Thanks a lot for the links Marc! Thats really very helpful, theres alot of reading there....does it come in audiobook form 😉 Many thanks -Mark
  4. Its really cool to see Park Road using Mistika for this, Empire magazine have done a stand alone podcast with Peter and he mentions how for the most part the restoration tools used were off the shelf, i don't know if that means they're part of the Mistika tool set or if they're using 3rd party plugins like Neat Video?
  5. I'm about to grade some musical performances in HDR - The deliverable will be a HDR10 1000nits @D65. I've have been advised to set my Sony BVM X300 monitor set to P3 rather than the full rec2020 gamut setting as the majority of consumer screens aren’t likely to reach %100 Rec2020 but P3 is far more achievable by a larger cross section of consumer TVs, if i recall my Sony X300 doesn't even cover the full rec2020 colourspace. Is this generally the accepted approach to take for HDR? From alot of the HDR content i've seen (not including TV manufacture demos) the image saturation for HDR doesn't feel hugely more saturated from SDR, preconception-ally speaking. So other than dealing with some very saturated stage lighting i don't see this being a major concern? Looking at my Baselight cursor options I don't have a PQ/P3/100nits cursor on my Baselight. So keeping with the ST2084/PQ/REC2020/1000nits viewing cursor i switched the monitor into P3 and noticed a slight hue shift in my monitor on the test footage. Before i bother the lovely filmlight support team and rasie a ticket i wanted to ask if i need to, or just stick to rec2020 and be mindful of any highly saturated parts of the image? Thanks
  6. I'd love to have seen her panel with Jet, and the demo afterwards. Did anyone here attend?
  7. Pretty much what Andy says; if you're only delivering Rec709 at the moment then calibrate for that (unless you have lots of time to kill) If you're doing a variety of deliverables and can save presets into your monitor then calibrate accordingly but only work in the relevant preset to what you're being asked to deliver. Its an oldie but a goodie when i say its always good to check that your monitor is in the right settings before you start grading, many a good colourist (inc myself) has learnt that the hard way! LOL
  8. I have a question about AAF round-trippig with the Baselight Plug-in that im hoping someone might be able to shed some additional light one. I've always sent grades back as full to legal scale, but noticed that if i were to change the output in the baselight pluging to soft clip to legal it seems to introduce additional contrast compared to Full to legal scale. The way i see it is that whilst both are technical operations a soft clip affects the image more by allowing for a bit more contrast in the grade? From Filmlights Manual: On full to legal: "When image data is scaled from full to legal, full range data is scaled down to fit into the 64‐940 range. This modifies every colour value in the range." On soft clipping: "Soft clipping is very similar to clipping; however, values are clipped to provide a gradual, rather than a sharp, transition through the white and black levels." So when sending a grade back to Avid for online (Broadcast rec709) I've always selected the full to legal scale option as how I understand it is we work in Baselight in Full Range and to maintain the correct grade intent technically the full to legal option scales everything to fit inside the 64-940 vales of broadcast video. So if i were grade with the occasional sub-blacks lets say -3 would the full to legal operation clip or scale the whole image to fit the -3 black value to be 64. I hope that makes sense?!
  9. Its partly inherent with a lot of 3rd party plugins that they seem to be much more render intensive or wont allow real-time playback as esily in avid as other NLEs My online editor told me her avid reported back 69hours of rendering time to render a 8minute uhd sequence on a z840! After some investigation we found that the issue was 3 fold: -UHD 50p rendering -There's an update for the drivers for the avid BM box which helped -A semi-complicated grade was created by yours truly, ive found anything over a couple of layers and it really affects rendering time. The system played better simply by bypassing the avid box and that's how we found the driver issue, like I said above the driver update helped and it was
  10. I do a lot of non-scripted factual and light entertainment work, 50minute programmes and I'm usually booked 16hours for that (2x8hr days). For me that works out a day to grade the whole show, then review and tweak the next morning. Client signs-off at 2pm and I deliver back about 4pm. This is averaging about 800-1000 shots per film, and 2hours per part - some parts take longer and some less time depending upon duration. Ive recently completed 5 x 10minute short indie films and that was 1x 8hour day per film that was with DOP and client present for the whole day. I think its sometimes hard to know exactly how long to quote for a job as it maybe a short piece with many cameras, cuts and locations or a long piece with only 1 camera and a single location. As soon as you start to add keys and qualifiers your time can get easily eaten away very quickly!
  11. We use the Baselight plugin here at Sky for both round trip workflows and standalone grades. For the roundtrip the benefit comes from the online editor having access (assuming I don't lock my grades :p) to the main Baselight toolset so if shots need to be extended, or replaced they have the option of doing this in the online suite rather than sending this back to grade and dear I say it if the client changes their mind it can happen without its becoming a big "thing" From a logistics point of view not having to do a flat render passes makes the workflow very flexible and quicker getting it into online, with one caveat - render times. The draw back is render times, I've noted that event out top spec UHD workstations struggle with real time performance when more than a couple of layers have been used in the grade But I may be being unfair as we're doing a lot of UHD 50p work at the moment. The other workflow is that the online editor grades in the baselight plugin, the new version allows you to hop from shot to shot without leaving the timeline so this was a huge issue originally. The main problem is that if the online editor cant really review complicated grades without rendering. So what ive encouraged them to do is use the standard Avid symphony colour corrector toolset for the bulk of the their work but any troublesome grades or things that need more love and attention "promote" this to the baselight plugin. Sorry gone off on a tanget, regarding the Baselight vs Resolve debate I think that if you get the fundamentals of what and how colour grading is down the tools become less of a issue for the most part until you start really need to get to grips with color managed workflows and big jobs that may require more specifc tools. Keep it simple and you'll be able to easily go between softwares without too much stress. Its only when you start to get complicated will you run in to trouble when tools don't behave or react the way you expect. My vote would be for Baselight for all the above reasons that people have stated. The only other thing to consider, and its a real world issue above my pay grade is budget. If you don't have the budget for a Baselight then go for Resolve. If your facililty is limited on funds id much prefer a good Monitor I can rely on and calibrate than compromising on that. And the two software's are differently priced If you're just starting out you can get really far without any need to pay for anything by using resolve, As resolve is free id recommend downloading it regardless if you go down the Baselight root. Spend the time to understand their colour managed workflow and it'll make you appreciate Filmlight's software and the similarities and differences between the two programmes. I started grading on Misitka and there were somethings I missed when I went over to baselight - but that was due to not finding the right tool for the job and leaving the more online\finishing aspects to someone else.
  12. I have a bit of downtime at the moment so I thought it might be fun, interesting & very useful for people to suggest films that you think every colourist should watch, These could because the grade is really amazing, or as importantly doesn't work for some reason.
  13. Heres my cave: Sky TV - London Baselight 2 with blackboard 2 Sony BVM x300
  14. Its great to see some decent indepth tutorials coming from filmlight! One question (forgive me if i missed id in the video) - what do the ratios in the texture equaliser refer to?
  15. Tends to be DnxHr for me too, although im still requested to deliver ProRess422 HQ from time to time