Mark Mulcaster

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About Mark Mulcaster

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  • Birthday 08/18/1981

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  1. I myself have always been told to use some form of I/O box to connect to a grading monitor and currently using the Ultrastudio Monitor 3G for short form projects at home on my Mac. But we’re looking at the future and a wider demand for editors and finishing artists to work from home and doing colour critical work remotely so my question was is using a HDMI port on computer connected to a hdmi port on a reference monitor going to give an accurate and reliable image to work from. From a budgetary perspective if the we wanted purchase several setups I’d prefer to have a more accurate mo
  2. I learnt on Mistika - coming from a editing background I was “wtf?!” But you get to grips with it and the colour tools came on leaps and bounds during my time with it. Im now on Baselight and that’s a lot more locked in and it’s not restrictive but with mistika’s open timeline it was easy to cobble things together and properly comp from scratch. I guess that’s to do with it’s Compositor background. Hands down though Baselight colour management is head and shoulders above any other tool I’ve tried ( I’ve not tried them all though). Admittedly I’ve not tried to finish a whole project in Baseli
  3. I think that may have been mentioned else where (infact i may have asked that too at on point) but if you hold down shift and the you can' find it in the expanded list then you'll need to contact Baselight support to request it.
  4. I’m meant to be working on a upcoming project that’s heavily relying on graphics in after effects. I’ll be working After Effrcts in CC 2019 and will be delivering HLG only. I’ll be working remotely for some of the project and so limited access to my BVM X300. I’m expecting to receive Sony F55 or Sony Venice footage shot in SLOG3. I’ve not really worked in a colour managed project outside of Baselight. Does anyone have any tips to setup my project in after effects? Thanks!
  5. Im on a Basleight Two so not entirely sure what functionality the student version does or doesn't have but What we do here is create two timelines ; a conform timeline and a separate reference timeline. Once the conform is complete we gang the two cursors and use the the wipe or 2x1 to shot check either by playing the show through or shuttling through it on the timeline. If its me i tend to do it in real time if i have the time so i get a feel for the job, otherwise im pretty sure our busy assistants do it as fast as they can
  6. Hiya, As the resident colourist at my facility I've been asked to put together a HDR primer course for people throughout the business, it doesn't need to be massively technical (which is probably why they asked me!). But what i'd like to offer is a snap shot of current industry trends for grading and finishing HDR. So if you have 2-3 minutes i'd be really interested in reading your experiences (can be as brief or expanded upon as you have time for.) Thanks! General questions Have you graded HDR? How often? What type of content are you working on? Who for
  7. The Arri Look Library is now a available for Baselight this adds additional looks and emulations that are worth taking a look at
  8. 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.
  9. 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 consume
  10. 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?
  11. 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
  12. I'd love to have seen her panel with Jet, and the demo afterwards. Did anyone here attend?
  13. 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
  14. 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