Soumitra Sarkar

How to render embedded matte DPX for color grading. Suppose I have chroma shot. Now I have to render embedded matte DPX after remove the green matte for DI software 

Ok, sir... Thank you. But some other software like assimitate Scratch can't  give any banding in Image in log space. exr file

Can I render .openExr file  from Baselight like log because my vfx vendors want to log file. Also I have to render  only cg. exr files and grade have to done in some where else. So we can't do BaseGrade for vfx render.plz help with giving the scene and render setting  for. Exr( log ) render. Although as I know .exr File itself linear file.

In preferences, where is the setting of getting colourful layers

Hi, 

     Now I graded my all project in ACES but yet I can't understand the CDL workflow. Plz give me some suggestions to understand cdl workflow and give me some references of video tutorial of cdl workflow in Baselight

Thanks in advance

Plz give me some suggestions and tips for a feature Film black and white grade...

Thank you sir, I am using Flanders display

Ok, I understand. But which one 4:2:2 or 4:4:4 full to legal...

In recent time I grade a web series keeping my Baselight SDI output setting 4:2:2 full to legal . When I saw the output in another machine keeping setting 4:4:4 RGB full to legal, it's look like shadow up and look my not poper grading. I don't understand why happened. As I know 4:2:2 and 4:4:4 effect only chroma label. 

Usually I kept my settings 4:4:4RGB full to legal. 

Plz help me to understand...

Usually I grade in SDR in ACES workflow. And I keep my viewing colour space ACES : Cineon Log / APO. But after this article read I just test the those theree type of viewing colour space ,

1) ACEScc : ACEScc / AP1

2) ACEScct : ACEScct / AP1

3)ACES : Cineon Log / APO

I feel when I import Arri mov. rush in Cineon Log it's giving some clipping highlights than the other two and also in Cineon Log when I saturated too much it's became pixlete colour but the other two are not giving .

I also want to know difference between the 

REC.2020:ST 2084PQ/Rec.2020/108nit

REC.2020:ST 2084PQ/Rec.2020/600nit

REC.2020:ST 2084PQ/Rec.2020/1000nit

REC.2020:ST 2084PQ/Rec.2020/2000nits

REC.2020:ST 2084PQ/Rec.2020/4000nits

And when they use. Which viewing and mastering option  is correct for HDR10 and Dolby Vision Grade

I am using Baselight v5.2 and want to use Display look American night and negative look. My scene workflow is filmlight authorise Filmlight T-log/E-Gamut workflow and using T-Cam DRT. But when want to use Display look it's totally different look form the other workflow and all Colours are clipping . It's also same problem in Arri log C/wide gamut and viewing P3 colour space workflow but when I grade in DCI P3 working and viewing colour workflow look fine. Is there any setting for use Display look in T-cam workflow.

thanks in advance....

I am came from telecine style grading system. Now I want to shift my workflow  to scene reffered colour space. In ACES I use Truelight video 1 DRT as give some low contrast. But problem is that when I import some type of shots that have pick highlights colour the highlight colour are cleping and that can't recover. I also use other all DRT but problem is same. Specifically red or blue colours are cleping. For this reason lots of DOP are not want to move in ACES but ACES is future. How I fix the problem. Is there any HighlightFix CTL in Baselight and how I get it and install it in Baselight 

On 11/2/2016 at 12:49 PM, Margus Voll said:

Point is that you can get REC709 perfectly calibrated on reasonable price and work like this and then later when doing DCP converting it perfectly you get accurate results comparing with cheap monitor not doing accurate P3.

You could work on P3 with projection but i would say you need to buy "cheap" projection starting from 20 to 30 thousand € or USD. Not very feasible for many so REC 709 workflow is used. If you have budget for good projection calibration and such then sure go P3 if not then good monitor like FSI is my suggestion. 

I do all my features on 709 displays and it is perfect in cinema.

If I am wrong... P3 in 2.6 gamma and rec709 in 2.4..when you grade in rec709 and project in theaters how its look as same as grade.. I think it would be  gamma issue 

I am using Baselight 4.4m1. When I try to desaturate the shadow and Highlights by the the HSL Curve 'Lum VS Sat' ... then I was difficult to me because in our Baselight system there was no any 'Lum VS Sat' curve tool like as Resolve. In Baselight I find only the 'light VS Sat' curve by which tool I can't desat the highlight or shadows.. 

How I can do this with curve.... Not by use Any key

Try yours settings... But result is like that... My DoP saying, he hasn't shootings like that

Hi, Nikola Stefanovic, can you send me the yours saying Scene Settings and Colour Space Journey as I can test it... 

I am using Baselight from last 5 years. Basically in our film industry we are use mostly Arri or Red cameras. But in recent time a clint to me With his film shooting Sony F55 rush to grade. But when I import those Sony F55 clips, are looking not Poper S-log. My workflow viewing colour space DCI P3 and my working colour space is P3. Basically for Arri or Red raw rush I used imput formats are No Conversion. when I used imput formats No Conversion for Sony F55 clip they are looking linear. Instead of No conversion I set Atomatic for Sony imput formats but looking not Poper log which Resolve or other grading software are doing... My DoP was upset for me because he want to grade From log file. I Used Baselight 5.1 and results is same.. But we get the Metadata which have colour temperatures and ISO... not giving option to change S-LOG 2 or S-LOG 3...Also highlight are clipping and much bright than my DOP was shoot... 

How I get Poper log image... Plz help

Hi! When I import footage in Baselight 5.1 in workflow film light T-cam all cut view footage are looking too much clipping. Also after grading all cut view footage are looking clipping... In the time of log turelight workflow all cut view are looking fine... Plz help... 

Hi, I want to buy professional lut for Baselight. PlZ let me know from which can I purchase the the advanced look lut. Is the colougrading central luts are applicable for Baselight. Plz send some link from which can I...

Hi,

      Suddenly I faced a serious problem in my 5years Baselight useing carrier. I bl 4.4m1 VideoGrade RGB GANG button getting disable or hide in both Bl software layout and Blackboard. I can't able to ungang the RGB gang button in videoGrade. I search many setting in Baselight preferance  setup but I am getting fail to ungang this. Is there any setting BL. 

PLZ help me.......

Thanks, Andy

I understand your settings. Basically In Bl5 , I set the scene setting as you said. But problem is that I have to grade most project which lots of multi camera footage in a same scenes e.g arri, red, sony and dpx. For that I set my scene    input colorspace " no conversion".

After that my scene contain shot are looking too much contrast and to my saturated. Basically all red footage are looking to bad contrast and clip the shots highlights.

Andy, Is that ok or not..I want to grade in HDR and I am happy to grade in BL 5 If all are ok. 

I can use the below scene setting ?

• Input CS: No Conversion
• Working CS: Your preferred scene-referred space, e.g. Filmlight T-Log / E-Gamut or ARRI LogC WG
• Grade Result: From Stack
• Display / Render CS: Your target display, e.g. Rec.1886, DCI XYZ, DCI P3, etc.
• DRT: Choose one that suits Your artistic and technical needs, e.g. Truelight CAM

I had just use Base Grade, I think its cool and it's change the Gradeing history. But I am little bit confused when I read your conclusion para, You wrote In Base Grade scene setting is so important without poper scene setting Base grade are not work properly. I want to know what is the poper scene setting.

Basically In India, Kolkata, we all are used to grade footage upon flat log Image. We can't do grade in linear space. Its my mental problem andalso our client are not satisfied to seeing like this procdure grading. 

Baselight authorise colorist said that the scene setting  must are for Base grade,  Viewing colour space -DCI P3 and Grading colour space -Filmlight T log and the DRt Truelight T gamut.But in this setting are footge are showing linear and I can't Do my grading in such type of linear footage.

Is there any setting for Base Grade keeping footage in Flat log image.

And I also want to know about description of all parameters in Base grade.

I just loved the Base Grade......Please help me..

Hi! Andy , At first I want to thank for such type of Video grade, film grade and also Base grade describing.

I had just use Base Grade, I think its cool and it's change the Gradeing history. But I am little bit confused when I read your conclusion para, You wrote In Base Grade scene setting is so important without poper scene setting Base grade are not work properly. I want to know what is the poper scene setting.

Basically In India, Kolkata, we all are used to grade footage upon flat log Image. We can't do grade in linear space. Its my mental problem andalso our client are not satisfied to seeing like this procdure grading. 

Baselight authorise colorist said that the scene setting  must are for Base grade,  Viewing colour space -DCI P3 and Grading colour space -Filmlight T log and the DRt Truelight T gamut.But in this setting are footge are showing linear and I can't Do my grading in such type of linear footage.

Is there any setting for Base Grade keeping footage in Flat log image

I just loved the Base Grade......Please help me..

Thanks