Alex Winker

I am working on mastering a project inPQ ST2084 at 1000 Nits. It is a short documentary shot on a couple different formats. but mostly all very high quality captures, with the exception of a few outliers. These outliers are my issue. Some of the material captured and encoded already in Rec709, when tagged with the rec 709 IDT and the PQ ST2084 1000NIT ODT produce really harsh and garish highlights near areas that would be peaking in Rec709, for example a drone shot with car head lights in it, or some of the archival materials that have clipped whites. When monitoring rec709, and using the rec709 ODT the highlights do not go so disgusting, but running a Dolby Trim for the down convert still leaves them clipped and gross. Has anyone else encountered similar errors with ACES when working in HDR spaces? Any potential solutions? My current solution is going to be to run a sort of fake aces using CST's at the node level so I can try to correct the footage before the IDT to neutralize the garish clipping then do the rest of the grading in ACES space, however this seems like it will be a lot more work just to handle a few problem shots.

What is the Autochrome function?

Wow, This is all very interesting. Does anyone know of a way to manipulate frequencies like this in Resolve?

Only a few of the pieces were cut from web exports - most were made from Prores deliverables. I'll see if a better encode helps.

Thanks for the feedback Cary! Sadly, some of the footage was taken from the web exports of the final grades, as that is all that I had on hand... in terms of the bitrate, I was under the impression that Vimeo Restricted the bit rate to 10Mb/s so I jus exported with the standard Vimeo settings out of Resolve.

I'm 23 years old and am always looking to learn! Any feedback/mentors welcome! In a small scene in Austin, any advice on growing out from a smallish industry much appreciated! Also cut this in Resolve too!

Yes, but who will relight the scene when the DP messes up? 🤨

I tried to start taking this, but you really need to define what "automated colour grading" means here. Are you talking AI? LUTS? LUT based plugins? This needs a lot more clarity before anyone will be able to give you any useful meaningful information.

Found this video posted on Lift Gamma Gain that might be of interest:

I'm looking to affect the image in the inverse way that resolves LUM vs SAT curve works, which adjusts saturation based on luminance. I want to adjust luminance based on saturation as a way of managing highly saturated color for a more "filmic" response. Yeah I'm definitely thinking there is a hue shift involved, but If I were to try to make this a global correction, I don't think the desirable hue rotation would be uniform across colors. It almost looks like Yedlin's filmic desat is just a drop in the luma only channel. I've seen this - Thanks for the reminder! I need to do some testing to see if it that effects saturated areas uniformly. It would be nice to have a tool to affect it with as much control as a curve.

I'm looking for the best way to affect an image the way a Saturation vs. Luminance curve would work in Resolve in order to approximate the way film deals with high saturation. My initial though would be a qualifier, but I wan't something more scalable than a SAT only qualifier with the offset rolled down, not to mention the range and fall off of saturation in the qualifiers in resolve are really small and can't be fine tuned as well as with a curve. Does anyone have any tips or tricks on how they do something like this, or how you think this could be accomplished? Also wondering if anyone has any insight into the maths or transforms Yedlin is doing here to control saturation and how they might be accomplished? seems to me that its similar to a SAT v LUM curve to a degree, but I'm not sure. http://www.yedlin.net/140914.html

What is the first step in these videos? Is it a logC to Rec 709 LUT or a specific print LUT? Looks like Resolve's Kodak print LUT, but just was curious!

What is the first step in these videos? Is it a logC to Rec 709 LUT or a specific print LUT? Looks like Resolve's Kodak print LUT, but just was curious!

What is the peak luminance of the monitor? If it isn't an HDR reference monitor, and doesn't get up to at least 1000 nits, callibrating it to HDR specs would be useless because you wont be able to monitor the full range of the HDR image. If you are finishing for web or broadcast just stick to the standard Rec709 Calibration. I have had mixed results with generating monitor luts through Displaycal/Resolve. Just be weary.

What controls are these in reference to? The Log controls?