Mark Mulcaster

The new denoise in V5 is awesome, ive been using a preview of it for sometime and its far better than the the degrain. not as good as neatvideo still but it renders alot faster so for general denoise it gets my vote

Thought id update this incase this is useful to anyone - With the help of the support team at Filmlight we set-up a mac gateway system that acts as the name suggests as a gateway. Avid work-spaces are mounted via the client manager on the mac gateway and that in turn is mounted on the Baselight Twos. Media can then be streamed vai the 10Gb network without much drop in performance. As Daniele suggested we cache bigger jobs at the point of conform and this also helps with UHD playback.

Thanks Daniele! We've had Tom in last week and Ivan is in today looking at this and a few other items from the install of our second Baselight. The support guys are really awesome!

Our QC department approached me today to ask how they would go about QC'ing HDR content from a technical approach. They'll be reciving HDR10 (PQ) and so were asking about how to read the metadata associated with it, how important it will be or if its something that is mainly to drive the screens so to QC the asset like they would do any other SDR show. Im assuming that people are doing this already else where and that there must HDR Rec 2100 etc compliment scopes and QC'ing hardware available already? (Not looked)

We've been using version 4.4m1.9029 and it seems fine on our baselight two, if you get a solution let us know its always handy to build-up the knowledge base

Welcome to the Board Kristopher! Theres some really nice work in your reel, Andy offers some good advice, personally for me whilst i like the track its a bit slow, so there fore your cut feels a bit too long. Unless you have have a wealth of projects and differing looks i'd try and keep the video down to maybe a minute. This will save you having to return to the same shots. Its always easier to remove shots than add more im my opinion Maybe adding a few before and afters might be interesting or even taking some shots that you've graded and regrade them in differing styles or time of day could help you show the scope of your skills even though you have a limited number of projects to work from?

A CMX3600 edl should carry over any constant speed timewarps but any form of variable speed change probably wouldn't be. In that instance you could use an AAF? (Although we've never had 100% success with translating variable speed ramps from one software to another) but it normally handles simple variable speed changes ok. Alternatively create video mixdowns of the timewarps and cut them into to your pre-grade sequence.

Other than the aforementioned reason, is there any particular reason\benefit for converting to RLAB?

Cheers Abby, We currently have 3 Isis with multiple work spaces and we're having great success with working directly from them with Baselight. All except with a 4k project where by the connection between the Baselight & Workspace is dropped. After the loss of the connection i've been unsuccessful remounting the workspace via the isis client manager and the only way to reset the system director is by a full restart of the Node. We're running off a 10Gb connection, but as Baselight is new to us we're working through the problems with Filmlight Tech Support who are incredibly helpful, but i thought it would be good to ask the community to see if others have experienced any problems with connecting to Avid Isis in general

Just to follow up on this - after reading some of the user guide the group grade only works on the primaries and not keys or curves. I know that in version 5.0 there is going to be improvements made in the selection of groups via the shots panel but i don't know what actual group grading functionality will be upgraded. Personally (and again this maybe because i need more time to sit and play) id like to see: -Curves and Selections carry over in group grades -Way to navigate from shot to shot in a group,

Do any of the post houses that people work for on here pull media directly off of an Avid Isis workspace to grade directly on Baselight? If so i was wondering what your experiences have been positive or negative? Thanks

Thats it exactly Asa, at least with the firmware builds we've been testing hdr on the consumer screens are limited to the settings you can change, the "Cinema" mode seemed to be the default which i suppose makes sense, I was in another facility last week where they were looking at a SDR - HDR conversion and seeing where the pit falls were for doing something like this on a existing delivered master. We spent some time going through some scenes and found that the most important thing is not straying to far from the intended artistic intent. So whilst we the test clips we were playing in were converted from 709 to 2020 we matched the saturation and let the HDR follow a similar route. We chose not to push everything just because we could, but instead let it sit naturally and compliment the look and style of the test clips, whilst at the same time expanded the speculars. Its worth noting that the clips we looked at were shot and graded beautifully so we didn't have to deal with issues of clipping or crushing. It was an interesting test to see from a broadcast perspective if a HDR service could be complimented with SDR material rather than having to exclusively request HDR programming and commercials for example Our internal testing was mainly been on Mistika due the benefits of its open time and robust toolset, we're now also looking at HDR on Basleight.

I worked on a TV show last year where they wanted to insert alternate story lines into older music videos. One was Cry Me a River and the other was the Band Aid Do they knows it Christmas. Cry Me a river was an interesting challenge as they could only get a youtube quality version but after some trial and error and using some resizing passes plus heavy compression i was able compress the new Alexa pictures to fit in with the original, what sold the video was the online editor created a youtube style frame to help explain the poor video quailty The second video was more interesting, because they were trying to get the look and feel of the video the production company opted to hire an old 1980s JVC camera! It worked a treat and probably looked worse than the orginal footage. Hiring an old school camera was a novelty and i think was done more for the directors amusement but to help the two sources sit better together i found an old FX elements tape in my locker and comped some extra shash and break-up across the video. I think its harder to reproduce the more analogue errors of yestayear without a decent plug in, soon top of the that i also added a slight chroma aboration that came and went and i think it sold the whole thing pretty well.

Hiya! My first thread i have a few user questions hope someone can help me with - i hope people dont mind me asking or think im being lazy in not figuring it out myself - i probably am! lol Im making the transition from Mistika to baselight so a couple of queries of silly things that ive yet to work out - part of the trouble and fun of working on a new system! I work in UHD a lot and i currently have a lot of 1080p footage i need to upscale to 3840x2160. I have Formats applying the rescale for me, but what id like to do is selectively sharpen fine edge detail. I was able to do this in Mistika where by i could create difference matte using a shrink node (sort of a sharpen filter than works on the inside edge rather than outside edge of an image) also, in mistika at times it was good to be able to make a selection and either effect or recover just the luma or chroma from a source or previous layer - again it maybe because im relying to much on the inside\outside grade to do everything - but is there a similar way to achieve that on baselight? thanks for your time!

Ive come from Mistika where there was no real way to group grade multiple shots together on the timeline, So the group grading in baselight for me is alot better, but i don't know if ive gotten the hang of it or if its a limitation of the function but i noticed that keys and shapes didn't update and carry across the group? Maybe its new user trouble if im honest ;-)

Im using Neat on Ressolve 12.5 to denoise 2hrs worth of footage in uhd, to render out on my 2016mac pro it took 30hrs to render to ProRes which was slower than when we did the same process on Misitka on a Z820

Ive done quiet a bit of testing comparing HDR (HLG) to SDR, we wanted to really get to grips with limitations or forseen problems right down from post to transmission. The first thing we noticed that when your grading on a X300 in sdr its limited to 100nits, and so when you switch to an HDR mode you notice that increase in brightness and contrast ratio. But what was interesting was when we were viewing the same material on consumer screens (LG) what we were somewhat confused by the lacklustre HDR we were seeing compared to a side by side SDR comparison; consumer screens don't limit their SDR to 100nits so when we measured the screen the peak brightness was 380nits , so when switching from SDR to HDR you didn' get that "wow" jump in brightness. This may only be a problem if theres a simulcast show where the viewer decides to jump from SDR to HDR (or vice versa) to compare the difference between the two standards. From a WCG perspective we couldn't of been happier - for live sport we noticed we were seeing that overly saturated parts of the picture in 709 - which may have been clipped had the headroom to exist in the image. But when i was grading in 2020 i didn't feel the need or desire to really push the saturation that dramatically, unless the style requested it i still wanted to keep things fairly natural. But it was handy with somethings such as plants and flowers that can sometimes sit right on the edge of 709. I will say is that when i was grading scripted drama i found that some highlights needed extra special attention in darker scenes they became more distracting. Also you might want to consider lowering the luma on any captions a smidge

I have done the colourist strategy course a few years back, and at the time it was incredibly helpful, that course was really helpful with ways to approach a number of areas. Ultimately how you grade is going to be up to you and trial and error but the course did equip me with some good fundamental ideas and notions and also reinforced i wasn't going to far wrong!