Emily Haine

Hi Jussi. DWAB is more efficient than DWAA because the algorithm is optimized for increased performance in most of the common post production tools. You should be able to notice the difference.

What Abby said.

You can read more about DRT's and how it works in the Baselight forum:

Hi Orash. The color science teams is often asked to develop DRT's (Display rendering transforms) for specific projects. In other cases print-emulations (not the same as film-emulations) can be used to add texture. Maybe @Daniele Siragusano or the other Baselight users can chime in with some insight. 

A studio I worked for bought several of the PVM-monitors and used them on-set and in the editing suites. We experienced backlighting issues, spectral imbalance and that it was almost impossible to get rid of the green tint that were baked in from the factory. Sony sent their european representative to looks at them together with our calibrators but we sent all of them back.

I'm just getting used to Baselight and trying to understand how things works. When adjusting the contrast in FilmGrade it looks like it doesn't "roll off the shoulder". Is that correct?  I know I can "slide the curve" with the pivot in the Highlights and Shadows controls but with FilmGrade it feels like simply lifting the whites and dropping the blacks. 

EM

Hello everyone. Can I ask if you see any benefits of working in LAB color space? 

EM

Thank you for great inputs and for going into detail about this guys!

Thanks!

Hi all, I've noticed that many of you are very familiar with Baselight. How do you apply noise reduction in Baselight? Is that what the 'Median' operator is ment for?

Company 3/Beast/Method Atlanta is looking for a couple of entry level candidates for the runner program in Atlanta. 

bgabor@company3.com

What happened with this? Still in pre-order in Europe? Looks like many suites are being equipped with LG OLED client monitors these days. Personally I have loved Panasonic since the BT-300 and hate to see them being switched with other brands. 

In my experience, two days on a drama episode is usually enough. Sometimes the lead will do a touch-up and final adjustments when the whole season is worked through. With new digital delivery specifications, it could require some extra attention but that is usually performed by the mastering guys.

Many great shots, well done.

Facilis Technology got shared storage solutions that works well. TerraBlock is the most common and is used at many facilities to connect both audio system like ProTools, editing systems like Avid and Premiere and grading and finishing softwares. 

On 6/2/2017 at 6:41 PM, Joseph Owens said:

Would anyone be interested...? I set up an outline about 6 years ago and never followed up on it to do a sort of thought approach -- a board-less mental chess game working through the process of grade, using a Sontag-like no-image essay that subtracted all the knobs, rings, styluses, mice... basically no software involved whatsoever...

Joseph, it would be interesting to hear more about this project?

https://www.eventbrite.com/e/arri-certified-training-for-advanced-color-science-tickets-33702667586?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=escb&utm-source=cp&utm-term=listing

;-) 

Most of the linear primary tools will affect the mid range chroma levels in one way or another anyway. Even moving the luminance levels around will slightly affect the same values, unless you isolate them totally. I can't think about a reason why he doesn't want to touch those values directly, but he probably got his reasons. 

I'm a bit untraditional and like to use my pen and the keyboard when grading. I have used all the large panels as well but I prefer not to use them. Having said, it would be great to get access to the track balls as a separate element, does that exist?

7 hours ago, Frank Wylie said:

This causes some interesting problems for the timer, who has to establish a uniform methodology of bending the subject matter to the will of the director and DP.

At the same time, the unique palette of the print stock and the other parameters were often creative choices made by the production, so you could say that it was a part of the look development and supposed to be a great starting point for the color timers. Having said, (and what you are pointing out) it was not easy to control those elements so you could say it caused some interesting problems sometimes as well.

I think the best once are those on Filmlights site. Someone with some time/capasity should gather them in the tutorial section of this site 

Or format them to FAT32 / NTFS if you don't need the content.

Beautiful color palette @Nikola Stefanovic, interesting to see how you have hue-shifted all the whites in the walls to greener and bluish tones. Did you separate out those areas or was that already 'colored' by the light set-ups?