Nico Wieseneder

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About Nico Wieseneder

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  • Birthday 07/06/1992

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  1. On most TV documentaries I've worked on yet there was a really tight deadline and the workflow wasn't ideal from the set on (lots and lots of different cams which weren't set up correctly, doubled filenames on some cams because they started every shooting day with A001 or something like that, different framerates, etc. etc.) so such a project is really a pain to conform with a XML especially if you're under a really tight deadline and you need a very fast turnaround. So with such projects I'll ask for a ProRes4444 with EDL. But if you have enough time, budget and not a super tight deadline and
  2. Hi Clay and welcome to the forum! Here on Lowepost you'll find a lot of great articles and tutorials. Furthermore I really recommend to read the articles more than once over a certain time span. I get some things out of the same article let's say 6 months later than the first time I read it just because my knowledge wasn't there to discern the additional information. Also check out and for great online professional learning resources. And if you get your hands on the CO3 magic lut feel free to share with me 😄
  3. Thanks a lot everyone for the quick responses and detailed help & insights. Very, very appreciated and helpful! When I get it right it's best to do everything manually. So for chroma/gamut safety I'm best of using the Gamut-Mapping OFX inside Resolve and for luminance issues I'm just using soft & hard-clipping. Is that right? @dermot.shane May I also ask which error-logging software/hardware you are using? Really curious. Thanks a lot everyone!
  4. Thx a lot for your help, Dermot! Do you know why the „Broadcast Safe Button“ does compress/desat too much even if it would be also broadcast safe with less compression/desat? Amada, I deliver back to the production company most of the time. But some of them want to have it back broadcast safe already even if they do the online with graphics, audio, and so on 😊
  5. Hi everyone! I'm unfortunately a bit confused atm. I hope someone here can clarify some things for me. When I'm finishing in Resolve for broadcast safe work I always thought I just have to hit the checkbox "make broadcast safe" with 0-100 in the color page and that's all fine. Now I recently upgraded to ScopeBox and I also have the channel-plots up (GxB & GxR) to check for gamut excursions. When I'm grading some red shirts (or similar) which are pretty high saturated they get really "washed out" when rendering with "make broadcast safe". I always thought that's just because of the b
  6. Just do some tests. You'll learn best with trial and error (if you're not an assistant of a Senior Colorist, or similar) even if it's a real pain sometimes. Experienced the same thing on my own. But generally speaking I think you can say that 3D Luts are less hardware hungry than OFX plugins. So you're on the right path already. And you'll even notice a difference between different OFX plugins depending on your hardware and if they support GPU acceleration or only CPU.
  7. That's really great news, @John Parker! Can't wait to test them. Unfortunately I'm not attending NAB but I hope you'll release them soon afterwards, so we "not NAB people" can get our hands on them too. Really excited.
  8. Haha, I feel you. Can't remember exactly but also payed pretty much for shipping. But I think you'll love it. It's a great read.
  9. Also a really great source for Colorist: Got the tip from @Matt Osborne's newsletter 🙂
  10. I have a lot of shoots where I need to match few RED shots with Alexa footage. As mentioned by @Jussi Rovanperä I also got the best results with the new IPP2 Pipeline (REDWideGamutRGB/Log3G10). Most of the time I just eyeball it and that works pretty well but sometimes (when in a hurry) I also use the LUTs from TrueColor ( They are pretty well made and sometimes work really great. It's also great to have the option with their provided LUTs to go from RED to LogC or to "Alexa Rec709". (And no I'm not an affiliate or in any connection with them
  11. Thanks a lot for your feedback. Yeah you‘re definitely right. I‘m not working on high-end commercials or features. Just started as a fulltime Colorist in 2018 and I‘m not in a (big) posthouse or something. But I‘ll always try to improve so you feedback definitely helps. Thanks!
  12. Great, I'll try it that way. Thanks a lot for your help! Really appreciated.
  13. Thx for your reply, Thomas. But for example if I want to get a really clean key on greenscreen shots I have to go to a linear image for keying, right? If so is there any chance (like the CST function on the colorpage or similiar) to get back to LOG after keying?
  14. Thx for this series. Always good to know for some small jobs. I'm just curious how's the workflow when I want to do keying/compositing then matching BG and FG but afterwards getting a LOG image out of Fusion to do the final grade in the colorpage?
  15. Thanks a lot for you feedback, Tom. Very appreciated. You're definitely right that a selection of films would tell more about my skills (at least for other Colorists) but in my experience a reel like I did it is better for production companies, agencies, and so on,.. can you share that experience or not? I'm really curious.