Anton Meleshkevich

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Everything posted by Anton Meleshkevich

  1. Not sure if I get you right. But color space transformations usually create values below 0 and above 1. It's essential to use some gamut mapping before any color grading, especially for operations like saturation. In your particular example, converting from a wider gamut to a lower gamut and then baking it in a LUT can be done, it will just clamp anything below and above 0 and 1 and also bake artifacts depending on your primaries.
  2. Nvidia settings has nothing to do with resolve deliver settings. Just leave it auto in deliver page. It will set it correctly most of the time depending on the format you choose. And for nvidia settings - make sure, levels are set identically in your monitor and in your nvidia settings. either full-full or limited-limited. Usually, for PC consumer monitors, correct setting in nvidia settings is full. Because usually these monitors are also full levels and it can't be changed.
  3. Search for Paul Dore DTCL. He made Film Density DCTL OFX. It makes colorful pixels darker. It's based on HSV color model. And it also has RGB weights and qualifying sliders. If you don't want to use anything but resolve built-in tools, you can add two nodes. In the first node desaturate your image from default 50 to, say, 25. Then right click on the second node, change its color space to HSV and turn off R and B channels. Also set Lum Mix to 0. Just in case you accidentally touch a trackball instead of a wheel. Then increase Gain wheel to bring back saturation. This will affect saturation
  4. First is 16 bit DPX + tons of contrast in Resolve. Second is ProRes 4444 export with unmodified ProRes 4444 preset + the same amount of contrast in Resolve. Of course 12 bit is less then 16 bit. But here is definitely 8 bit banding. I compared it to 8, 10 and 12 bit export from Resolve. I attached 16 bit DPX, that should be imported in Premiere Pro 2020 (or Media Encoder 2020) on Windows, then exported with ProRes 4444 preset. all_tests00000001.dpx This magenta tint and 8 bit encoding both can be fixed by enabling 'Render at maximum depth'.
  5. Actually even DPX presets are 8 bit. Yes, it shows 12 or 10 or 16 bt in Resolve, but in fact there is 8 bit information. I tested it about 2 days long with 16 bit generated linear gray scale ramp. It is easy to see if add a lot of contrast in Resolve. Magenta offset tint and 8-bit banding. Sure! I'll be able to send you a file tomorrow
  6. ACEScc is the only log space that lets to adjust white balance and exposure similar to RAW across the whole dynamic range using the offset. Any other log curve (including ACEScct) has a toe, that makes it impossible to do correct exposure and WB adjustments with the offset. Shadows will be affected more than necessary. For me , the main advantage of ACES is the ACEScc. But not the Resolve version of ACES full of bugs. I'm talking about DCTLs. Biggest thanks to @Paul Dore for the ACES 1.2 plugin.
  7. In adobe 2020 products on windows default prores presets are 8 BIT!!! And have offset to magenta! This can be fixed by enabling 'render at maximum depth' or something like that. I don't exactly remember the name. But what can't be fixed are the wrong colors with prores from alexa. Looks like something with rec601 vs rec709. But you have to add a retiming or scaling or add some text to force premiere to re-encode prores to notice this, otherwise it will just copy the frames. And you should check it somewhere which is not adobe, because this happens at the reading of the file, not at the expor
  8. If you're going to use the monitor with something like decklink, check if the monitor you're going to buy supports 24 fps HDMI input. Not all the monitors do.
  9. I made a video showing different ways of adjusting white balance and explaining why some of them never work. I'm not sure if this is ok to post my videos here and I'm definitely not going to do this every time I make a new video. But I'd really like to share this one with others at the best color grading community. Nothing new for professional colorists of course. But I think beginner colorists will probably find it useful. In short: An explanation of what is going on under the hood of Camera Raw and chromatic adaptation plugin. What's wrong with the eyedropper in Resolve
  10. Netflix recommends using ACEScct instead of ACEScc. I like the idea of a real logarithmic transfer curve of ACEScc, but unfortunately it has noticeable artifacts in the shadows. It's less noticeable with Alexa, but I often get bright pixels in the shadows with Red cameras as Margus mentioned. So I stick with ACEScct.
  11. Totally agree. Tons of bugs in color tools aren't fixed from one version to another. Nodes colorspace work wrong in ACES: timeline colospace is rec709 gamma 2.4 instead of ap1 acescc(t). Node AP1 color space change white point which is useless. Gamut mapping works wrong in ACES. Canon Cinema Gamut have wrong white point in CST plugin. Unusable WB eyedropper and colorchecker matching in ACES. I reported most of these bugs with no luck. Hope someone from blackmagic read this post and finally add these bugs to a schedule for fixing. Finally they added a possibility to type in numbers for co
  12. A look comes as a global correction for the whole program or a scene at timeline or a group level accordingly, if you're in Resolve. Skin adjustments (hue-vs-hue for example) go at per clip level after primary per-clip basic adjustments (color balance, exposure, contrast). If you need a greenish look, usually the skin tone should be greenish. But if you decide to keep the skin tone natural as a creative decision, you should do it at a look logical level. In Resolve it would be somewhere in group or timeline nodes. But keep in mind that more crappy shot footage you got, less stylized look yo
  13. For strong greenish look I'd probably use (and I did) fuji 3513 LUT and wheels to make green tint even stronger. Also I often use RGB Mixer for creating looks. Usually when director wants strong teal orange. But I always try to add anything for creating any look before and through a print film LUT or something similar to what print film does. I'm writing an article about how I made LUTs for a netflix show. Lots of screenshots with all the settings. But I write in English really slow and bad. Some day, when I finally finish it, I put a link here. Actually I use 3x3 matrix in DCTL format. But
  14. If you attach an example of your grade, probably I could say something more specific than basic "good source and good color balance is a key"
  15. I never do this. And can't recommend it as a part of a look corrections. Primary color balance and exposure/contrast is the main tool for everything. You should get a good looking image just with this looking through a look LUT or a manually created look. Sometimes you can get an unwanted reddish or yellowish skintone. And usually this is the only reason I do something with the isolated skin. But often I don't even isolate it. Just make some hue adjustments with hue vs hue curve at per clip corrections level. Usually it's ok if your skintone aren't at the skintone line on vectorscope. It alw
  16. Actually I don't see any special 'secret' color grading technique that makes it to look like this. What you see here is a good lighting and lens. Probably also a filter. Something like a promist. I'm not a DP so I can be wrong here. Of course it can also be a glow effect at post production. Talking about actually colors. Again, looks like a usual print film LUT or manual corrections that replicate all these typical things of a print film like shifting blue to cyan, yellow to orange, skintone to red (brought back before this by overall color balance tinted to yellow/green), RGB curves, so
  17. Can you attach the screenshot? I'm not sure I understand what you mean. I searched for "creamy skin look" and found pics with top front lit faces. Probably what you mean is just a soft box placed above the camera for flat lit commercial beauty shot.
  18. @Daniel Tuerner In HSL and HSV saturation works differently. In HSL desaturating makes colors darker. In HSV - brighter. So at first I make colors darker by desaturating in HSL. And then I also make them darker by increasing saturation in HSV. In another video I select lowest saturation colors, because they are basically almost neutral colors (with little to no saturation). Then I tint them with a strong and noticeable green fill by curves. This allows me to see all neutral gray colors in green. Actually not just true neutral gray colors, but also pixels with a little bit of saturation.
  19. Can VFX department confirm, that source footage and vfx shot match 100% on their side? You should compare files with and without vfx. Probably this isn't their fault. Maybe they received incorrectly encoded prores. For example Premeire Pro has some issues with video/full levels on DNxHR 444 import. Maybe somebody did something wrong somewhere in the pipeline before VFX. Import a shot that VFX received for their work and import the shot with their work done and compare it.
  20. 3D LUT often contains not a precise math for color space transform but more artistic changes like s-curve, highlights compression and soft clipping, saturation remapping and sometimes more. And usually it clips highlights above 100 IRE (actually not IRE of course, I mean above 1024 on Resolve waveform monitor). But color space transform ofx also can do some of these things. I prefer to use color space transform for from log to another log conversions. And I often use new arri log to rec709 LUT from their website for from log to rec709 conversions. But I use color space transform with
  21. Same thing. Toning curves + print film LUT. I never select skintone using qualifier in Resolve for that kind of purpose. I either use resolve or light illusion or my own LUTs, or just create a LUT for the project in 3D LUT Creator. Usually it's just a "make blue to be more cyan, make yellow to be more orange, make these saturated colors darker" and so on. Rarely I use skin selection in 3D LUT Creator. Usually it's just a AB-grid instead or a color matrix. And then, if I need to get a cold day, I just set WB or color balance of the clip cooler. Before the LUT of course. This skin sep
  22. Usually color separation is made on set by location design or by cold lighting for a background and warm lighting for an actor. Then it's just slightly increased by print film LUTs or a color matrix (RGB mixer for example), and RGB toning curves at master level before the LUT or individually for each shot (CDL or shadows/highlights or whatever). Trying to separate skin from a beige wall usually isn't a good idea.
  23. My favorite 'Steve Shaw VS sRGB' thread here also now! Final argument for me, that sRGB displays should have (and as I've noticed they have) just pure gamma, was "sRGB was created to display images on CRT pure gamma ~2.2". Many thanks to Steve Shaw! Not sure what your signal path was, but keep in mind that ACEScc(t) is not linear. It has log gamma curve. If I understand you right, you want to add pure gamma adjustment AFTER ODT, but since the only place where you can do that is before ODT. So you should go from timeline ACEScc(t) gamma to pure gamma, then do you gam
  24. I know, you don't want to use qualifier, but this can be done one time and saved as a preset for later use. Select perfect skintone color (skintone line color for example) using only HUE in qualifier. Then make the selection soft (I mean, soft selection depending on hue, not blurring). Then change color balance (using wheels or whatever RGBcurves-like) to make selection extremely orange (actually lying on skintone line). Then decrease saturation to match saturation of the original. Now you killed hue variations in the selected hue range. Skin looks plastic now. Then change Key Out
  25. You should work in linear gamma for compositing. In Resolve in camera raw tab of r3d files set color science to IPP2, gamma curve to REDlog3G10, color space to REDWideGamutRGB. Then export dpx sequence / prores / dnxhr. Then, in compositing app, you should to transform these files from REDlog3G10 to Linear gamma. Then you do your compositing, looking at it through 'linear gamma to redlog3g10 transform + IPP2 LUT + rec709 gamma to linear gamma transform'*. When you finished, turn off transformations and a LUT, you've used for preview, add linear gamma to redlog3g10 transform and export it ba