Walter Volpatto

I might do another one day, and it will be a repetition....

I might do another one day, and it will be a repetition....

Thanks, it was fun!!

Thanks, it was fun!!

Yes it is.... short of internet failure, I will be there....

Yes it is.... short of internet failure, I will be there....

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.

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.

too kind....

too kind....

you should ask Stig....

you should ask Stig....

I work in Unmanaged color, i do my own color management.

I work in Unmanaged color, i do my own color management.

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.

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.

In the color menu you have two ways to propagate: [ripple color change to current group] - or - [ripple color changes to selected clips]

In the color menu you have two ways to propagate: [ripple color change to current group] - or - [ripple color changes to selected clips]

It will be boring as hell....

It will be boring as hell....

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)

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)

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 theatrical (low) to streaming (technical term is “shit-ton of it”). So, the compression will attack the hi frequency of your signal first, if you have light grain it will be gone, if you have a lot, it might reduce the efficiency of the compression algorithm. it is a losing battle. I still like to see grain, resolve OFX is good for me, and it is mainly before the main LOOK in the timeline, if a shot or a scene need more, It will be in the shots. for a movie where two different worlds LOOK where created (Bliss, amazon, this coming February) the look and grain was moved at the group/scene level, so each set of scene had its appropriate look. But it was a bot of an odd ball... the fact that I did not use the group for anything (not corner yourself if you dont have to) allow me to do that.

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 theatrical (low) to streaming (technical term is “shit-ton of it”). So, the compression will attack the hi frequency of your signal first, if you have light grain it will be gone, if you have a lot, it might reduce the efficiency of the compression algorithm. it is a losing battle. I still like to see grain, resolve OFX is good for me, and it is mainly before the main LOOK in the timeline, if a shot or a scene need more, It will be in the shots. for a movie where two different worlds LOOK where created (Bliss, amazon, this coming February) the look and grain was moved at the group/scene level, so each set of scene had its appropriate look. But it was a bot of an odd ball... the fact that I did not use the group for anything (not corner yourself if you dont have to) allow me to do that.

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).