Tom Evans

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  1. Tom Evans
    First of all, "working under the transform" means the opposite of what you write. It means working prior to the transform / on nodes before the transform. If you want to work on a normalized image you will have to work on a node after the transform. If you want access to the log data, you will need to work on nodes before the transform. It can be more complex, but you are confused enough. I suggest you watch the first lessons of this course, it explains the concept very well.
  2. Tom Evans
    Yes of course, what is your question really?
  3. Tom Evans
    Because the transform is applied on the third node. Resolve processes the first node first, the second node next and finally the third node and it will stay in camera space all the way until it reach the transform. I guess what confuses you is that you see the transformed image on your monitor. That does mean the image is rec709 but it doesn't mean the nodes prior to the transform is rec709.
  4. Tom Evans
    I have a grade and need to adjust the mid gray to 18% prior to exporting the LUT. How can I extract the mid gray from the grade on the scope to be sure to put it on the correct IRE level?
  5. Tom Evans
    If tint is a hue + white according to color theory. Why is the tint slider something different?
  6. Tom Evans
    Check out Ravengrade.com,.
  7. Tom Evans
    What is the Mitch method? He "codes" color into LUTs, he's not working with Resolve.
  8. Tom Evans
    Through the analogue outputs, but it seems like this is an issue with speed overall. Maybe because I have my Prores HQ footage on an HDD external disk connected to the USB-C output on the Mac Mini M1? Will it become speedier if I put all the footage on an external SSD disk? The frame counter in Resolve shows it uses a few milli seconds until it reaches full frame speed.
  9. Tom Evans
    I have the Black Magic Ultrastudio Mini 4K connected to a Mac Mini M1 and I do experience some latency / delay. When I click "play" on the timeline in DaVinci Resolve the image plays immidiately but it takes a millisecond or two before the audio is sent to the audio monitors. It's annoying because it's not possible to edit precisely this way. Any idea how to deal with this?
  10. Tom Evans
    To make Ravengrades Cinelook Plugin work with Mira PowerGrades you need to use v.1.5 on both. Can you confirm please?
  11. Tom Evans
    Lee demo this workflow in several of his classes here on Lowepost. You simply bring the log shot into Fusion or whatever compositing app you are using and key under a LUT. Apply the LUT, key the shot and remove the LUT when you're done and ready to render. It's nothing else you need to know really.
  12. Tom Evans
    That's not your problem, they will apply whatever transform is necessary before they do their keywork and remove the transform when sending the file back to you.
  13. Tom Evans
    Deliver the log image, original file or flat pass render.
  14. Tom Evans
    Watch Jason Bowdachs color grading training on Lowepost, it covers it quite well.
  15. Tom Evans
    Always try to get your skin tones where they should be with your overall global grade. Balancing an image with the skin tones in mind often gets the rest of the image where it should be. When doing secondary work on skin tones, try the broadest brushes first. Personally I try to reach for the hue vs. sat and hue vs. hue curves. If that does not work, I will key.
  16. Tom Evans
    Arri Log C to Rec 709 and then create an offset node with some global adjustments for better matching?
  17. Tom Evans
    So you have two files right, one with the background and one with the foreground? And the foreground video file has alpha channels? if that's so, just bring both the files in and stack the foreground shot on top of the background in your timeline. Or did they provide you with the final comp shot and an external matte? More info please.
  18. Tom Evans
    I just want to say I got the Mira PowerGrade Collection today and they are amazing, this takes my grading to the next level. Thank you Lowepost and Ravengrade for always backing our work with insight and great tools.
  19. Tom Evans
    Love this, thank you Mark and. Lowepost.
  20. Tom Evans
    Love this, thank you Mark and. Lowepost.
  21. Tom Evans
    The color space and gamma should be set to match your camera, so if you work with Alexa it should be set to Arri Alexa + Arri Log C. If your timeline is set to Alexa you don't have to change, but if your project is set up to something else you need to change.
  22. Tom Evans

    Ravengrade

    Tom Evans replied to Lowepost's topic in Announcements

    I actually got mine today!
  23. Tom Evans
    I usually works with HQ files from ARRI / RED and that works perfectly fine on my setup. However, there are files such as those from Venice that lags without transcoding but that is also true on the much more expensive Mac Pro.
  24. Tom Evans
    My take on this is to grade the documentary on your X300, and do the theatrical pass in the same suite. You know the audience will watch the documentary in a dark room so that might allow you to go deeper and darker on some scenes and earn you a few more dollars.
  25. Tom Evans
    I do recommend the Professional Color Grading Course by Kevin. You need the very basics there as well, but it takes you through how to best approach exposure and balance and that's what you need to get started. If you have no clue about how to ingest footage, what the different wheels does etc, you should go see the basic training videos released by BlackMagic Design.