Walter Volpatto

Members
 View Profile  See their activity

  • Posts

    30

  • Joined

  • Last visited

 Content Type 

Everything posted by Walter Volpatto

  1. Walter Volpatto
    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).
  2. Walter Volpatto
    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.
  3. Walter Volpatto
    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.
  4. Walter Volpatto
    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...
  5. Walter Volpatto
    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...
  6. Walter Volpatto
    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)
  7. Walter Volpatto
    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. Walter Volpatto
    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. Walter Volpatto
    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.
  10. Walter Volpatto
    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.....
  11. Walter Volpatto
    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.....
  12. Walter Volpatto
    BTW after a while I got used to do the contrast as is, I dont turn into BW anymore... I think is practice....
  13. Walter Volpatto
    BTW after a while I got used to do the contrast as is, I dont turn into BW anymore... I think is practice....
  14. Walter Volpatto
    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
  15. Walter Volpatto
    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
  16. Walter Volpatto
    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.
  17. Walter Volpatto
    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.
  18. Walter Volpatto
    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..
  19. Walter Volpatto
    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..
  20. Walter Volpatto
    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.
  21. Walter Volpatto
    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.
  22. Walter Volpatto
    If the client has no preference, I work in YRGB and i manage my own color.
  23. Walter Volpatto
    If the client has no preference, I work in YRGB and i manage my own color.
  24. Walter Volpatto
    Lut, Look, whatever is appropriate for the project.
  25. Walter Volpatto
    Lut, Look, whatever is appropriate for the project.