Amada Daro

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  1. Amada Daro

    The difference between DNxHR and ProRes codecs

    Adobe has discontinued MOV for h264 files, and only allow h264 codecs in MP4 containers. Probably because the most known players doesn't always recognize the file as legal and fail to remap it to full range, resulting in lifted blacks and washed out images. I have experienced the same flagging issues with DNxHD inside of MOV and I would go for MXF too.
  2. Gain experience, practice your taste and get a mentor.
  3. Amada Daro

    Printer Lights

    Not sure about this, but I think she ment 'keep to 1/4 trims in RGB highlights, MIDTONES and shadows' Correct me if someone is more familiar to the Mistika toolset and think otherwise.
  4. Amada Daro

    The difference between DNxHR and ProRes codecs

    Read the new printer point article here at Lowepost to understand how to use them in your color corrector. By trims she means small adjustments as you can make micro adjustments instead of full printer points. By consistency she probably means that printer points are numbered so that you can easily communicate how many points are adjusted with the rest of the team. Then they can apply the same amount of points on the other images to keep consistency.
  5. Amada Daro

    Printer Lights

    I find this article above excellent, and I have never seen a more in-depth and correct presentation of the use of printer points. The techniques explained here is best practice in the high-end facilites and I like the fact that it a long way contradicts the way I have seen printer points being demonstrated in other learning resources online where the corrections and balancing are done without being watched through a curve. Controlling the separate tonal ranges with printer lights would work against what the tool is designed for and the point of creating a clean and cinematic image that preserves the lightning on set.
  6. Amada Daro

    The difference between DNxHR and ProRes codecs

    Good write, it seems like DNxHR is definitely taking over the codec throne. Some seem to use the Cineform codec, any reason for that?
  7. Amada Daro

    Gamma curve enquiry

    You are talking about contrast management, and it's perfectly doable to create a bold (and soft) contrast without going underexposed. It requires a combination of primary tools and some experience.
  8. Amada Daro

    Top Netflix serie

    Can you guys recommend a Netflix serie that is worth using time on this weekend?
  9. Amada Daro

    h264 Encoding Baselight

    I remember that it wasn't possible to manually set the bitrate for h264 in Baselight earlier, but this has changed now?
  10. Is a mezzanine file and a submaster the same?
  11. Amada Daro

    Peter Doyle interview
  12. Amada Daro

    Replacing audio file

    Any software that easily let you grab the audio file from one video file and insert it into another video replacing its audio? I know it can be done in any editing app but I'm looking for something easier and more accessible.
  13. Amada Daro

    Media Offline error In Davinci Revolve

    Normal procedure would be to import both videos in the media pool, insert them into a sequence, set in & put points and render them on the delivery page. The only reason I can think about if you experience media offline when rendering is that the media is moved to another folder on your machine. Then the reference is broken and that will result in a media offline message. The fix is to simply re-import the clip.
  14. Amada Daro

    Film Recommendations every Colourist should watch

    Amélie (2001)!
  15. Amada Daro

    How do you organize your references?

    Clear, didn't see that first.