Walter Volpatto

Contributors
  • Content Count

    28
  • Joined

  • Last visited

Community Reputation

77 Good

About Walter Volpatto

  • Rank
    Member
  • Birthday 01/15/1971

Personal Information

  • Gender
    Male

Recent Profile Visitors

1,404 profile views
  1. Yes it is.... short of internet failure, I will be there....
  2. Yes it's me. It will be speaking for 4 hours. The head of TAC invite me and really pestering me and convincing me to do it.
  3. I work in Unmanaged color, i do my own color management.
  4. I think is too long of a discussion to be put in few sentences (i should do a color space/workflow with Lowepost...) but the general ideas are that either (or) in the timeline and POST groups, you want to put two things: the main look of the movie plus any transformation to adapt teh master to a different spec, like HDR. if you do a HDR mapping per scene, then it goes into the POST group, if you do globally, then it goes in timeline.
  5. In the color menu you have two ways to propagate: [ripple color change to current group] - or - [ripple color changes to selected clips]
  6. At home I use lightillusion, at work I have to ask the engineer team, but the most difference is fine by the probes we use, those are 20k... Yes rec709/2.4 for tv, P3D65/2.6 for cinema (usually), p3PQ for hdr Now, if you're talking about the setting in the resolve color management, that match the logarithmic hero camera (the log space im working on)
  7. There is the philosophical approach and the practical one. if I want to emulate negative film grain that modify with the color, it should be before the balance node. Nobody does that really, but it is a though. if I want to emulate as if the negative was perfectly exposed, then it will go before the LUT/Look/main tonal mapping, usually for me that is in the Timeline node before the “look” if you want to emulate print grain, it should go after the main look. But, all of this is purely academical: ALL of your material will pass thru a compression pass to be able to be seein: from thea
  8. I used resolve luts in the past as well as we do our luts from analytic data from film. At Co3 we have a proprietary system for film profiling, in the past at fotokem i used truelight profiling system. "Hustler" look was initially modeled to a resolve film lut (modified to taste).
  9. There is no secret in “compressing the luminance” the idea is to build a tonal curve that has a goos “S” curve, you want to preserve in a linear fashion the 7(ish) stops around the 18%gray, then gently put toe and shoulder to flatten the extra black and whites, the more gently you do it, the softer the image is, the harder you do it, th more contrast the final image is.
  10. it will be boring like hell!!!! keep in mind that when you work with excellent DoP, colorist have nothing much to do..... I work with excellent photography...
  11. I do use them at full opacity, they are designed to work in that way, but you need to transform the color space LOG you have in cineon log/709 primaries (that is what the lut is expected for my understanding)
  12. I like the math with luma mix at 0, especially when I need to use LGG controls (rarely) Funny enough, in ACEScc/cct the logarithmic is such that a offset is really mathematically equivalent to a exposure change.