Mark Mulcaster

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About Mark Mulcaster

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  • Birthday 08/18/1981

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  1. 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.
  2. 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!
  3. 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
  4. 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? (broadcaster, on demand streaming service etc) Workflow questions Are you grading HDR first or SDR first? Are you using a Dolby Vision workflow? If you're not using a Dolby Vision workflow are you doing a manual trim or using some automatic tone mapping? How much time are you given for the creation of your secondary delivery format ie 1 day for a SDR trim pass Do you grade only in PQ ( even without a dolby vision workflow) or do you work in HLG? What grading software are you using? On what platform is the final online being carried out on ie Avid, Premiere Pro, Flame etc? Many thanks -Mark
  5. The Arri Look Library is now a available for Baselight this adds additional looks and emulations that are worth taking a look at
  6. 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.
  7. 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
  8. 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?
  9. 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
  10. I'd love to have seen her panel with Jet, and the demo afterwards. Did anyone here attend?
  11. 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
  12. 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?!
  13. 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
  14. 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!