Amada Daro

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About Amada Daro

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  • Birthday 04/11/1989

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  1. 16 bit is better than 12 bit, which is better than 10 bit. Technically. Colorists are more familiar with RAW, 3rd, ProRes than XAVC. I have worked with XAVC and I hate it. But I know a guy that like it. Do you want an objective answer, go read a pixel tech review. This is personal because today all modern formats are technically good enough for everything, but some feels better and is a better starting point for whatever you want to achieve. Sit down with the director and post and make your camera choice based on everything else than the format.
  2. I said I don't like the look of Sony and that I would go for Alexa. You can shoot 16bit RAW with Sony Venice, and you can shoot with ProRes compression. No idea why you would go for XAVC. You should consult the post house prior to shoot a full feature. It's much more to consider than compression when you are into the choice of going for one camera or another.
  3. This is more a question of what look you are going for. Personally, I prefer Alexa because it renders skin tones better than Red. It's also better in low light. If I had to choose between Red and Venice I would go for Red because the Sony sensors are too clean for my taste and the images looks too "digital". Any experienced colorist knows how to get the most out of the 3rd log file.
  4. A matte paint or clean plate with random distributed verticies? I also often comp back in some smoke on top to get a nicer fall of where the smoke ends.
  5. The tools are not only for grain, but also for emulations. Secret sauce
  6. What an amazing collection of useful editing lessons, I loved every one of them.
  7. That's a broad question, can you be more specific?
  8. I would be very interested in seeing an introduction series made by @Kevin P McAuliffe on Mistika Boutique. Any chance that could happen? I really enjoyed the Scratch series he created which was a totally new grading and finshing package for me.
  9. The checkbox is there to let the network know that the 100% black frame is intentional. The same goes for if you have audio that looks like mono because the same sample plot is played both on A1 and A2. This is a feature in the most advanced tools used for uploading to the European networks through various delivery services such as Adstream, IMD Cloud and Adtoox. The same tools remaps extended luma levels from data range clips etc. Not telling you this because these tools one day will kill the business of the man manually checking and adjusting for QC. I'm telling you this because that's the way it works in Europe for Ad delivery to most of, if not all of the big networks. I totally trust you in how things works in US, not saying a word about that because I have no clue at all.
  10. For the black frames Dermot mentions, the delivery services usually have a check box which let you tell them to ignore the black wholes. Same goes with audio and letterbox which the QC often kick on. In my experience the QC pass anything as long as your levels are between 16-235 and it's been years and hundreds of commercials since any trouble. What was a big problem back in the days was when delivering from Avid. The timeline in Avid is 16-235 (full range in Premiere/Resolve) and sometimes we had graphics with extended range because it wasn't imported properly (not remapped from data levels upon import). That would case illegal levels and make the render fail QC. I just learned to scroll through the timeline with the scopes open to scan for irregular luma levels. But for what I got from the colorists was never any trouble. I simply imported it with the RGB mark checked, which remapped everything to 16-236 and it worked absolutely fine.
  11. I have never inn ny entire life seen a colorist care a tad about broadcast safe. You can do whatever you want, clip chroma values and luma levels - full creativity, create what you want. When you render your sequence, render to e.g prores which will remap the full data signal to legal levels (16-235) Everything will fit perfectly in there. Then, deliver this file to the broadcast service or third part delivery service which create the interlaced TV ready file. I have delivered hundreds of TV commercials this way all over Europe and it works perfectly fine. All networks that I know about have a EQ service that creates the interlaced file while checking the luma/chroma graphs, clock, audio, letterbox and black frame issues etc and they eat mezzanine files. Grade, and be happy.
  12. Are you delivering directly to the network or through a delivery service such as Adstream and Adtoox?
  13. Anyone tried Mistika Boutique? It looks like they support BlackMagic Design output now so it's easier to check it out.
  14. I have been using DaVinci Resolve for more than a decade but these workflows are completely new to me as I have only been working display referred. I think you have managed to make this rather complex topic very easy to understand. Looking forward to dive into both RCM and ACES.