Walter Volpatto

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About Walter Volpatto

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  • Birthday 01/15/1971

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  1. In the color menu you have two ways to propagate: [ripple color change to current group] - or - [ripple color changes to selected clips]
  2. 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)
  3. 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
  4. 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).
  5. 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.
  6. 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...
  7. 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)
  8. 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.
  9. I have lots of space and I turn on [smart caching]... usually it works... The basic idea works in HDR/SDR/and ACES.... there will be appropriate transforms either at group level, timeline level or ODTs. i just played with V17, the color warp interest me, I played with teh Nobe plugin and I can do things that are difficult in a normal situation, but it is more for either repair a shot or create a look... the reordering of node in V17 is highly aggravating.....
  10. BTW after a while I got used to do the contrast as is, I dont turn into BW anymore... I think is practice....
  11. Roughly speaking, yes, just basic balance on the shot, then scene look, replicate the look to the scene then matching the shot to the hero one
  12. Using OFX color space transforms, you can pretty much do the same math that is is in RCM. It is identical... so it is a matter of knowing how to do it and where to put it.
  13. The idea is that at the trim node you are doing a “scene” look (if any) or client trims: it is not uncommon that after a scene is done, you need to do a small exposure adjustment or make it warmer or overall less contrast or whatever. Threat that as an overall..
  14. The basic idea is that the main tonal mapping is done at the LOOk level: LUTs, curves, look whatever you wan it to be at the node level, you are in the LOG of the camera and printer light simulate close enough exposure and white balance as if it is done in the camera. Therefore I use almost exclusively Printerlights/offset. Luma mix at 0. Gain if i need more contrast.