Marcelo Cosme

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About Marcelo Cosme

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  1. Problems using Wacom Bamboo

    Hi, Tom. I've always worked with tablets, so I feel more comfortable. And I have a better control over bezier masks for example ...
  2. Problems using Wacom Bamboo

    Hello. I'm having a problem using Davinci 14 and my Wacom Bamboo. From the moment I open the Davinci the cursor disappears, being possible to access the software only by the mouse. Someone like the same problem? I use Windows 10. Thank you.
  3. My friend Ricardo Herling, Senior Colorist for a long time since before the digital, posted this question on Facebook. He posted jokingly, because he can no longer see the m31 look applied poorly. Many colorists, said not to use, others have posted NO LUTS boards ... BUT, reading the cases here at Lowepost, several colorists say they use luts. "The film was shot on the Alexa in Raw. We used an LUT to convert the C-Log into P3 color space, which also had a bit of a film emulation baked into it. Eric Whipp - Mad Max ". Cinderella was shot on 35mm Kodak film stock using anamorphic lenses. I graded using Blackmagic Resolve through a Kodak print emulation film stock and started by balancing the shots. Rob Pizzey - Cinderella ". Whenever this subject comes into play, it seems to be something forbidden, shameful ... I've heard from producers, "Marcelo, do not use any LUT because the director can see this as something unprofessional" ... Honestly, I use it when I need it, if I have a material recorded in Arri Alexa in Raw as Eric had in Mad Max, what's the problem of putting Lut from Arri to Rec709 or P3. If a Faded Look 60s is requested, what's the problem after creating the exposure, skin, light among other correction adjustments, apply a Lut Agfa Vista 400 Expired to visually assist my building of narrative, highlights, and more yellowish averages And slightly greenish shades ... (illustrative example). What is the problem of applying a Kodak 2383 FilmConvert with grain? I may be wrong, but I see the facilities and tools for a better job ... I am against the application without technical and artistic knowledge. I am against using Blockbuster packages, SuperMan look, Grand Hotel Budapest look, etc ... I did a test with a take recorded on A7s, see how the same material with the same rating, can get more organic with the CONSCIOUS use of a lut. See the difference mainly in the skin and shadows ... * In this series I did not use lut, but could have used ... It is my vision over this subject.
  4. OFX plugins

  5. OFX plugins

    Hello Paul, thank you to take the initiative in developing solutions for our dear Davinci Resolve. I need some manual or a simpler explanation of how it works. Example: ResolveMathxtra.ofx I did not understand what I should do ... Could you explain me how to use it? Thank you!
  6. Player in Windows

    What is the best player for viewing our color grading works? I have not yet found a reliable Windows platform player. In Davinci I always have a color and beautiful saturation, in the quicktime is VLC is always more washed.
  7. Time of color correction

    Thank Tom and Sam for sharing information.
  8. Time of color correction

    In a blockbuster film or tv series what is the average time of color correction? Sometimes I think we run so much due to the term of the channels and producers here in Brazil. How do you work when you receive a material to create the look?
  9. Skin Tone

    Talking to a customer the theme skin color appeared. As I had some free time yesterday I decided to do a test. I looked for some references and I came on this site: I came to some conclusions even if a very basic test and without any obligation to perfection, it is something didactic. 1 - The independent color region of lighter skin tone or darker changes very little, what rules the scope is the luminance and saturation. 2 - Purposely I left the blond hair and green eyes, this way you can also notice that even in black skin tones, the biotype model predominates, and the color of light hair leave the skin with a brighter appearance.
  10. Matching Clips

    Hello. I have a question that should be for some as well. We currently work with various camera types, codecs, and sensor sizes, all of which end up influencing the final file. What process do you have for matching between dji drones for example and cameras like Red, Arri BMCC and F55. I honestly am never happy with the result, it may be perfectionism but it can also be a failure in my work. Thank you!
  11. ACES

    Magnus, I did not get a chance to talk to the DoF. But if he tried to make this super dark look on the camera, he needs to check if he's in the right profession, he go for a wrong way.
  12. ACES

    Thanks Margus and Thomas! The problem with F55 in this job who I working is underexposure in electronic media, it's really complicated. The signal-to-noise ratio is sacrificed. When the aesthetic demands it, it is better to put the noise later. The bit depth does not matter much because the damage comes from the sensor, which when receiving low light sends the noise (sensors are analog devices correct!). I do not have much to do. I'm going to abuse Noise Reduction. That's my opinion after studying about the F55 and doing some testing. The ACES dont affect in this case, the problem is a record underexposure...
  13. ACES

    Hello, I would like to know what you think about using ACES? I recently started coloring a TV series and Post House decided to use ACES. But I have some doubts about the proper functioning and necessity of it for this project. My monitoring is 10 bits, the material is F55 Raw, but quite underexposed and grainy, I need to have time to do some testing with the ACES color space and the standard REC709.
  14. Unfortunate Events (Netflix Serie)

    Thanks Tom Evans!
  15. Hello. I'm loving the color grading of the Unfortunate Events series but I can not find who's the colorist. Anybody know?