Anton Meleshkevich

  • Content Count

  • Joined

  • Last visited

  • Days Won


Community Reputation

41 Good

About Anton Meleshkevich

  • Rank

Personal Information

  • Country
  • City
  • Gender

Recent Profile Visitors

383 profile views
  1. Anton Meleshkevich

    Technical correct LUT

    It is close to impossible to replicate film LUTs' nonlinear transforms in Resolve. For example, more saturated blue becomes darker cyan. While less saturated blue becomes lighter magenta. Also brighter saturated colors become less saturated but brighter colors. Low saturated red becomes low saturated orange (closer to skintone), but only if it was brighter than 15 % luminance. More saturated darker reds become magenta. These are just completely random examples. This isn't what film LUTs do. This can be done in 3D LUT Creator using AB and CL grids or similar instruments. I mean nonlinear transforms. Not precise film emulation (those LUTs are created from real world film process measurements data) In resolve you can use node colorspaces and rgb mixer. I prefer AB grid or other tools of third party software for that. But often you don't need true film emulation. You can create a 'film look' using just Resolve controls. And it will be much more forgiving compared to film emulation LUTs. I mean, noise or similar problems with your footage.
  2. Anton Meleshkevich

    Resolve Gamma 2.4 vs Rec709 (Scene)

    I know that 2.4 monitor gamma for dark environment broadcast, 2.2 for lighter room, etc. I know what bt 1886 is. My question is about WHY default resolve colorspace gamma is 2.4, while all rec709 LUTs have 1.90 gamma. Which is darker than 2.4 and 2.2. And this is not strange, because this isn't monitor gamma (which would be brighter) but colorspace gamma. So it is darker. Resolve has rec709 (Scene) gamma in RCM settings. Which is similar to, for example, ARRI rec709 LUT or all BMD rec709 LUTs. As far as I know these LUTs are 1.90. Not 2.2 or 2.4. And of course not bt1886 which is only for screens. It's gamma depends from black level. It's 2.4 only if black level of a screen is 0.00000000 nits. Otherwise it has lower (brighter) gamma in shadows.
  3. Talking about levels, you definitely should make some tests. For example when I rendered out MXF OP1A DNxHR 12 bit and VIDEO levels from Resolve, Premiere Pro incorrectly interpreted this so I got washed out picture. When I did the same thing but 10 bit and again set levels to VIDEO, Premiere Pro now interpreted levels correctly.
  4. Anton Meleshkevich

    Defining Density and Tone

    I guess, density is a printer lights (offset) control applied to log footage. Not a mathematically correct way to change an exposure. But still close to be similar to changing exposure in RAW settings. While more correct way is to adjust gain in linear gamma (I mean really 'linear', not 'video', which sometimes incorrectly called 'linear' also), but the offset control is the way many colorists prefer for historical reasons.
  5. Anton Meleshkevich

    Release of DaVinci Resolve 15.2.1

  6. Anton Meleshkevich

    BL and aces pushing hard

    Still didn't finished any project in ACES. It looks noisy. Dark saturated colors get clipped. And I would also like to know if it is only Resolve thing.
  7. Anton Meleshkevich

    Resolve Gamma 2.4 vs Rec709 (Scene)

    Why default Resolve timeline colorspace gamma curve is 'gamma 2.4'? But all the Resolve Log to Rec709 LUTs, ACES Rec709 and so on are look like 'Rec709 (SCENE)' gamma curve. What's the point of 'gamma 2.4' curve as a default gamma curve? Well, I know what gamma 2.4 is. But Resolve also has 'gamma 2.2' curve and 'Rec709 (Scene)' curve. So we have 3 curves for rec709 delivery. And the last one is look like regular, typical and familiar rec709 curve. So why 'gamma 2.4' is the default? What am I missing?
  8. Anton Meleshkevich

    What is the best color grading software?

    The best camera is the most lightweight 😃 For a cameraman, I mean. Definitely not for a steady handheld shot.
  9. Anton Meleshkevich

    Sky Replacement in DaVinci Resolve Fusion

    Thank you! Anybody know how to add expressions to "center" and "angle" linking to lower the strength of moving the background for more realistic parallax effect?
  10. Anton Meleshkevich

    3D LUT Creator OFX Plugin is out!

    It's slower than using a LUT loaded directly to Resolve, but it has GPU acceleration. I tested it on a PC with one nVidia GTX 770 installed and I got real time playback in 1080p 25fps timeline with 9 OFX plugins loaded into 9 serial nodes at one clip. Also, it's a wrapper, that send a still from Resolve playback cursor position to 3D LUT Creator and when pressing apply button at the 3D LUT Creator interface, it sends the LUT (and all the 3D LUT Creator settings) back to the wrapper.
  11. Anton Meleshkevich

    3D LUT Creator OFX Plugin is out!

    Just informing you Probably it's a good idea to set modal plugin mode in expert settings. Or may be it is the default now.
  12. Anton Meleshkevich

    RGB Mixer problem

    Sometimes I use RGB mixer with node gamma set to linear. Especially for teal orange thing, when I add green channel to red channel and subtract blue channel from red channel. When set to linear, separation to complimentary colors is a little bit different. It can help if you don't want to shift greenery to yellow when you make teal orange things by RGB mixer. It will shift. But not so much. Of course timeline color space should be set to footage color space. And your footage should be log. Otherwise it will be difficult to notice the differences. Here is a colorchecker shot on URSA Mini 4.6K in CinemaDNG, then cropped and zoomed. A Log to Rec709 LUT is applied after RGB mixer in the next node. First image - RGB mixer applied to log gamma footage. First image - RGB mixer applied to linear gamma footage. I adjusted RGB mixer slightly different in terms of effect strength, because it acts different when applied in different gamma. So it's easier to compare the difference now.
  13. Anton Meleshkevich

    Smart Filter Depending on Multicam Angle

    Is it possible to create a lightbox smart filter which shows clips depending on multicam angle or at least on a name part of a source clip of a multicam clip?
  14. Anton Meleshkevich

    3D LUT Creator ACES support

    I'm an alpha tester of 3D LUT Creator and 3D LUT Creator OFX plugin. It's about to support ACES (alpha or may be also beta versions). Could you tell a bit about workflow you'd like to be possible while creating LUTs for ACES color space? This is not an official request from the app creator. I'm just trying to make the app better regularly providing useful insights to him. For those who are new to ACES: Typically grаding in ACES means that your timeline space (in davinci resolve) is ACEScc(t) (which is LOG!!! not linear) gamma and AP1 primaries. After all the corrections made, using all the tools available, RRT (so called film look curve and (afaik) saturation remapping) and ODT (so called ACES to rec709 or whatever transform) are applied. You can't modify RRT and ODT.
  15. Anton Meleshkevich

    Fixing makeup in grading session.

    @Adéyẹmi Oh, I know what you talking about. Half reddish and half yellowish face. A powder which has a different color from the concealer. I met this on a couple of projects. As far as I remember, I exported stills to 3D LUT Creator, then made AB grid correction to fix this. Then I applied the LUT using power window tracked to the face with smooth edges or with additional subtractive power windows to preserve lips and ears natural redness. But that was not even close to fixing yellowish teeth on singer's CU shots. A LOT of roto.