Teo

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About Teo

  • Birthday 07/11/1985

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    http://nuframe.si/colour-grading/

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  1. This is how I prefer to work, I believe there is as many workflows as projects This is default RCM
  2. If you use Luminance Mapping or Saturation Mapping color transform is not 100% reversible. But like Abby explains this is the main difference between LUTs and RCM/ColorTransforms. I prefer to use "manual RCM", for instance P3-D65 to P3-D55 it will clip highlights, so I do it with a luminance compensating (just a tuch of lowering the gain) and similar manual tricks...
  3. I know it sound ridiculus, but in that combo of lenses/camera (Canon Primes) + C300 (Mark I recording via SDI to ProResHQ) it was feeling more organic on the 2K projection. Blur is set to 50% opacity, that softens the edges a bit than sharpen made all look better, hard to explain in words.
  4. There are now Resolve FX, Sharpen, Soften, Edges,... nodes, have tried a bit with them, but not fully. Some time age I was quite happy with a primitive trick in Resolve for C300 HD to 2K DCP upscale looking more "film like" 1st node Blur 0.55 + opacity of the node 50% 2nd node Blur 0.47-45 (sharpening)
  5. Have anyone used FilmConvert? https://www.filmconvert.com Does it supports also P3?
  6. Hi Nicolas, I like to work in similar way as Juan Melara expains here: http://juanmelara.com.au/blog/an-easier-way-to-grade-log-footage For film grade I would use P3-D65 as my working colorspace with an output transform to P3. Film emulsion LUTs for P3-D65 I create them with LightSpace. I prefer to use contrast from the emulation LUTs, sometimes look needs less contrast, than LightSpace LUT manipulations come in handy to lower the contrast in LUT or even only get the gamut emulation from LUT/film profile. https://www.lightillusion.com/free_look_luts.html