Nikola Stefanovic

Well, I don't have any Sony footage right now, but I would set working color space to some Sony flavor if all material is coming from Sony camera. I would leave input on automatic from metadata, set color result from stack and for DRT you can try Truelight CAM or Arri Photometric. Viewing color space I assume you want to be P3 DCI, if you monitoring on projector or P3 capable display. You can also set white point in Mastering color space. That should give you clean color space journey.

For me your setup looks completely wrong. To my understanding working color space should be scene referred while yours is display referred. Another thing is grade result should be from stack and on top of that you don't have DRT. Maybe I'm wrong. If everything is setup correctly you should see properly interpreted image which is not looking LOG. If you really want to look at the LOG image you can just change the interpretation to let's say REC709 so DRT is not applied or you can use Color Space identifier. In the input menu you can force slog 2 or slog 3 interpretation.

To be honest, I've never used Editions. I've tried once but I was so frustrated with Avid interface and lack of realtime playback so I gave up. Daylight is very capable software color grading wise. You should check that trial. 

Daylight doesn't have timeline so it's not like Baselight. It has all the tools but conforming is limited to one video track with simple transitions. Other than that is very capable.

Yeah, I had that feeling also. We will try with OCIO color management tomorrow. Hope that will change something.

Thanks again Andy!

All that make sense and is very similar to my understanding.

I've tested BLG ACES workflow today with colleagues and while Flame side was pretty straight forward and successful, Nuke was giving us very hard time. We also had negative color values issue, but I already know how to deal with it.

Basically, for the test that worked on Flame we were using AP0/2065-1 as input and output color space for BLG plugin, running Flame in ACES color template, all smooth, matching with reference DPX 99,6%

In Nuke we tried all the possible combinations but no luck. We had success using so called 'telecine' script preset in Nuke and that works fine, but ACES nope. Maybe I'm missing something. Also Nuke color management is far from artist friendly.

15 hours ago, Andy Minuth said:

Hi Nikola,

you would definitely render everything into an OpenEXR with a Linear colour space. The colour primaries of this space depend on your workflow (709, AP0, AP1, E-Gamut, etc.). During this render In BL you have the option to smoothly bend in out of gamut colours, which might cause problems while comping or grading down the line because of negative code values. Use a slight CompressGamut for that.

Then you need BLGs for the full look or at least the correct viewing transform for the content to look right. You can export the viewing transforms as LUTs out of Baselight. Let me know if you need help with that.

Cheers, Andy

Hi Andy, thank you for answering.

Can we break it down more detailed?

So, if I understand you correctly, from the Baselight side:

- I should use ACES preset for BL project

- my working color space should be ASCEcct/AP1

- my DRT should be set to Truelight CAM or ACES RRT 1.0.1?

- mastering color space set to automatic from DRT or to something else like REC 709 in case of TVC workflow?

- set the correct (or use automatic) interpretation for different camera footage

- during the grading add Compress Gamut to avoid negative values?

- render Open EXR in linear color space, using stack color space, rendering flat pass?

- export BLGs

- pass flat pass and BLGs to Flame and Nuke

Please feel free to modify/adjust

Hello,

I'm looking for some clarification, real world examples and best practice of using BLG workflow (in ACES) between BL, Flame and Nuke. Lets say if you have project shot with one camera things are pretty straight forward. Fun starts when you have timeline with Alexa mov, mxf and Arri Raw, few Red shots, little bit of Phantom Cine (that can not be loaded in Flame it seams) and few other exotic cameras and of course shots from CGI. I'm curious how other people tackle this problem. Especially from the Nuke side, since options in BLG for Flame are quite clear. What would be the best way to prep this kind of project?

Thanks,

Nikola

EDERLEZI RISING is set in a Socialist dystopian future some fifty years from now. Milutin, is an astronaut sent on a long space flight to Alpha Centuri to deliver an ideology to the colony there. However, on this flight he will be accompanied by a female android, Nimani. The film explores the essence of love and emotion between Milutin and his cyborg companion.

Official Website
IMDB

I think (almost) every shot was capture in camera and every shot was done in DI. 

2 hours ago, Amada Daro said:

Beautiful textured look, what is your secret to the painterly feeling? 

Thank you Amada, just trying to make it look analog  

Spot for the Government of the Principality of Asturias, campaign Come home to Paradise.

Director: Amar Hernandez 

Cinematographer: Daniel Meré 

I think you overthinking this

Look at rec 709 as a viewing conditions and delivery guideline. LogC or any other log flavour is on acquisition side and still to be interpreted  in rec 709 (or P3 or rec 2020) environment. How you going to interpret it its completely up to you as long as you and your clients are happy with the result.

You don't need to do anything to image to call it rec 709, just flag it in metadata like rec 709

I had hard time watching this film. I've found look so disturbing and texture so obviously manipulated. 

Lets say like this: with good cinematographer there is no big difference. But if cinematography is not that great, its much easier to deal with images from Alexa then from Red.

If you want to suffer in the grading, ask for Red.

Red Giant Universe.

Neat Video is coming to Baselight soon.

Anything new about phantom interpretation?

Here is updated version and credits. Let me know what do you think. Thanks.

AMG, The Flying Finn Mika Häkkinen⎪Director: Marcos Mijan, Cinematographer: Luka Milićević
BUICK, Progress⎪Director: Salomon Ligthelm, Cinematographer: Khalid Mohtaseb
TAOBAO, Fashion Week⎪Huang Xing Yu & Wang Xile, Cinematographer: Liang Cui
JD.COM, Hectic Breaker⎪Director: Jovan Todorović, Cinematographer: Albert Salas
ADIDAS, This is me⎪Director: Paul Guesbroek, Cinematographer: Daniel Bouqet
DELL, Street Fighter⎪Director: Li Hailong, Cinematographer: Ray Zhong
TOYOTA, Levin⎪Director: Olivier Megaton, Cinematographer: Garry Waller A.S.C.
MERCEDES BENZ, Grow Up⎪Director: Wang Li Min, Cinematographer: Jin Chenyu
AMG, Performance Speaks for itself⎪Director: Adam Rosey Rosenblatt, Cinematographer: Eric Treml
MERCEDES BENZ, Intelligent Light⎪Director: Laurentius Emmelmann, Cinematographer: Thomas Wildner
LELO, Beyond The Wave⎪Director: Goran Gajić, Cinematographer: Gianpaolo Lupori
BOLON, Anne Hathaway⎪Director: Kai Z Feng, Cinematographer: Thomas Kloss
ADIDAS, Superstar⎪Director: Dave Meyers, Cinematographer: Johan Palm
BUICK, Regal GS⎪Director: Scott Speer, Cinematographer: Richard Kendall
ACURA, MDX⎪Director: Jeff Yeats, Cinematographer: Paul Meyers
MICHELIN, Let’s Go for a Tasty Drive⎪Director: Jonathan Knuckey, Cinematographer: Jorge Calderón
NIKE, Rise⎪Director: Michael Lawrence, Cinematographer: Ross McLellan
GILLETTE, Scandal Shave⎪Director: Marco Gentile
PHILIPS, Parents⎪Director: Marco Kalantari, Cinematographer: Chris Reed
NIKE, Own The Night⎪Director: Rob Chiu, Cinematographer: Daniel Gottschalk
CHERVROLET, Malibu XL⎪Director: Jeff Yeats, Cinematographer: Vikash Nowlakha
VUELVE AL PARASO⎪Director: Amar Hernandez, Cinematographer: Daniel Meré
SUNING, 818⎪Director: Tseng
VOLKSWAGEN, Departure⎪Director: Stewart Hendler, Cinematographer: Oliver Millar
LEVI’S, Revel⎪Director: Gustav Johansson, Cinematographer: Niklas Johansson
TOP ELEVEN, Locker Room⎪Director/Cinematographer: Kosta Glušica
TENCENT GAMES, Demi-Gods and Semi-Devils⎪Director Zhang Zhe, Cinematographer: Ray Zhong
CHEVY, K227⎪Director: Andrew S.T. Gregg
ZESPRI, Sweeter Than You Think⎪Director: Rafael Lopez Saubidet, Cinematographer: Marcus Autelli
ZTE, Axon 7⎪Huang Xing Yu & Wang Xile, Cinematographer: Ray Zhong
ALIENWARE, We’re Game⎪Director: Zou Fei, Cinematographer: Zhao Xuhui
SPRITE, LOL⎪Director: Marco Kalantari, Cinematographer: Vikash Nawlakha
DORITOS, SpiderMan⎪Director: Igor Borghi
DELL, XPS⎪Director: Li Hailong, Cinematographer: ZhongQiang Liang
SPRITE, Night In The Museum⎪Director: Paco Cruz, Cinematographer: Oliver Millar

Music: Daft Punk & The Weeknd (remixed by Eufrat Prti Bee Gee)

Thanks Emily. Some scenes already had that as a lighting decision, but it was more towards green color.

Thank you Tom!