Emily Haine

Uniformity issues means you see color splotches on the screen. Load a white solid to test the panel before you buy or mount it on the wall.

No, but might be for clients if you can find one without too much uniformity issues. Look at Eizo or FSI for cheaper monitor alternatives.

If you want to make a trim pass for YouTube watched on a mobile device or whatever, simply turn on the lights and make a simple trim pass at the end. Some people tend to be completely obsessed with gamma, numbers and complicated things too much.

Licensing gets more and more intricate so I guess the software providers will do what they can to ensure you stay updated.

The color controls will feel a bit different but it's totally up to you if you prefer to work in the standard range or in one of the others.

Need to check my glasses 😎

Thank you for this, I have always been curious about learning Scratch.

How is Autodesk doing with Flame these days?

Depends on the context, but density is brightness and tone could relate to the tonal curve. Brightness and individual curve adjustments are a good combination to work a desirable contrast into the image.

One of the main differences was that you you couldn't load footage directly into the Resolve version, but now you can through the "Loader node" in V15.

Hi Jeremy. I simply mean that a film image often have deep blacks in the mids.

I love this presentation, you make everything look so easy.

Watch your corrections through a curve and see how the image acts. For every little curve adjustment you make, the prior corrections will behave differently and you will get a different result. Good luck.

Can't think of a better place than Lowepost for these things, it's really mentioned everywhere, you just have to know what to look for. From the Hobbit article: "Luma curves are one of my favourite tools to use in achieving a richer, bolder look. By grabbing a still of how a shot sits with the desired exposure levels etc and playing with the curve in conjunction with Lift Gamma Gain, you are able to get some extra tone into areas of the picture that the standard tools can’t reach alone. Often you end up in the same place as your still with no perceivable difference, but sometimes, with enough experimenting, you can come up with some beautiful richness and depth and still keep the same exposure level to what you started with and desired in the first place, just a much richer frame in certain subtle areas. This doesn’t always work so you have to be judicious."

I didn't necessarily mean to say that you need to work with the curve controls. What I ment is that you can reach a more filmic contrast by sending primary contrast corrections through a custom curve or a pre-defined one in a LUT. The corrections on your first layer will then be altered by how the curve on your next layer swing and that combination will give you more control of in which range the deep black falls. Film bend of the top of the curves very gently and I can agree that lowering the brightest values can look more cinematic. Pivoting the deepest black towards the mids is also a thing many colorists do.