Tom Evans

Hi Abby. The look of The Grand Budapest Hotel was based on old photochrome images from the early 1900s. Their references were the photochrome library from the Library of Congress.

Another huge + is that it's supported natively in Avid meaning your editors doesn't need to important and transcode the files to do any changes.

This format also whispers a long goodbye to the Apple format that we all love so much... 

Great input everyone. Thanks a lot. 

I can try, thank you! 

I think that they have a really great development team and could take some shares from the other editing systems in the long run. I support the thought of including some editing features and compositing tools inside the color app but Avid is really solid and know their market really well. 

Interesting topic! Is it possible to do the normalization process inside Resolve without manually working the curves or applying a LUT? 

Hey! I'm looking for a player that can read R3D files with the burned in timecode without any lag. Any suggestions? RedCine is not an alternative because on my system it's too slow and can't playback in realtime. 

Thank you guys!

1 hour ago, Bruno Mansi said:

"This release of After Effects introduces a superior video and audio preview architecture that delivers real-time playback of cached frames with synced audio."

That's a bold statement.

Next month I need to deliver a commercial to a local theatre and was hoping I could create the DCP myself. Is it very complicated and what software should I use? 

It was quite interesting to read @Julien Alary 's thoughts about color match and what he discovered when rewinding "Louder than bombs". Some trailers got some serious color mismatch because the edit was done after the color team on the main movie was sent home, on another project or unavailable for whatever reason.

I would start to balance the shot and match the contrast levels before even thinking about applying the look. Setting a good base layer of contrast is one of the most difficult things to master for a new colorist and requires a lot of practice. I just read Trish Cahill's article about The Hobbit and she has some very detailed descriptions that could help you deal with this. The movies are done on Mistika but you can find the same tools that she used in all of the color correctors out there.

So in case of theatrical delivery, the projector is the best choice if space doesn't matter?

A masterpiece 

I can see that they have experimented with extreme hues and warm tones which often is done to build sympathy within the audience. They have created a dreamy atmosphere with great distance from the real world. That said, those magenta tones are not rare to see in LA. 

Hi all! What is the main difference between a monitor that show P3 gamut and a P3 projector? 

Thank you for the good advices, I will let you know what solution I went for.

Hi @Virgil Edward! It's pretty common to use techniques like this to shape the image in compositing, but it's nice to see that more of these tasks can be performed in the grading systems. 

Sorry that I was unclear. I meant to say "compared to the standard Baselight edition" as I thought that there were a chance that the plug-in is slower. This seems like a nice solution for old Symphony online editors like me. 

Well done Andreas!

And It will not limit my computer's maximum performance compared to the standard edition? 
 

17 hours ago, Bruno Mansi said:

This is not strictly true as you can apply the Baselight effect once on a filler layer above all your shots, open the Baselight UI, use the subdivide effect command to apply edits to the filler layer to match the shots below, and step through the shots using F5 & F6.

I'm familiar with the color correction worklow in Avid so this makes sense. 

The more you learn, the more you realize how little you know! 
Thank you for your detailed and clear explanation, and thank you Filmlight for pushing the boundaries.

Great tutorial @Josh Petok!