Emily Haine

Thanks for sharing your knowledge Mark!

On 5/4/2021 at 6:39 PM, nicolas horne said:

lesson 11: 6000Kbps is read as kilobytes

It's actually read as 6-8000 kilobits per second which is correct. 

On 5/4/2021 at 9:18 PM, Pablo Apezteguia said:

H Kevini! Referred to lesson 6 (LUT Management)....As far as I know, before you export the 3D Lut with the look from Resolve to be used within the camera, you need to disable the last node where the IPP2 conversion from RWG/Log3G10 to Rec709/BT.1886 happens, because that conversion is  then done automatically  by the camera when displaying the image on the monitor. And then, if you import that Lut again in Resolve, you need to activate the last node with the conversion again. At least, that's how it think it should be done until now...I'm I wrong? 

I'm sorry to say you are wrong. The last node in the chain (the log2rec709 transform) needs to be a part of the LUT generation in DaVinci Resolve and any transform happening inside of your monitor must be disabled.

 

Thank you so much for your insight @Douglas Delaney, love that you compare the scopes with your parents 🤣

6 minutes ago, Justin Oakley said:

Now this is Blackmagic RAW we’re talking here. I’m not sure exactly what’s going on under the sheets. 

Normal procedure is to watch through a log to linear transform on set in form of a look up table. Skipping this step means you have no clue how your footage looks until you're in post, and you might be surprised. I'm sure you will find a list of LUTs for your Black Magic Camera in Resolve, and that will be the closest representation of how MBD think your footage should look. Technically, that should be your starting point as it's designed for your camera, but if you prefer throwing on a different LUT - that will be entirely up to you.

 

Just now, Justin Oakley said:

But I pretty much never enable it

So you watched what you shot in log?

5 minutes ago, Justin Oakley said:

I personally haven’t used LUTs when filming

Sure about that? Have you shot log and watched log on your monitor without any log to linear transform?

Hi @Justin Oakley. Kevin is using the ArriK1S1 LUT because the footage in course is shot on ARRI with this LUT. When you apply the workflow demonstrated in this course with your own footage, you should switch the Arri LUT with the LUT that that your footage was looked through on set.





 

Amazing! you have managed to explain the most complex in color grading in a way that is easy to understand, and I must say that this course is in its very own league. I'm also happy to see that you did a whole course without  pulling keys (except tonal keys which is a must) and unnecessary use of secondaries. This truly is a best-practice course that values the base grade and the lessons are super tight! 

Great work Lee, very to the point and a lot to learn here. 

1 hour ago, Ryan Dean said:

When working with RCM, what is an appropriate timeline colour space to work in ? Is it better to work in something like an ARR-Log_C format or a REC_709 space. Thanks 

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.

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

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

I'm a huge fan of Kevin, and impressed by the high level of quality content on this site!