Marcelo Cosme

Premium
  • Content count

    32
  • Joined

  • Last visited

  • Days Won

    2

Community Reputation

17 Neutral

About Marcelo Cosme

  • Rank
    Member

Personal Information

  • Country
    Brazil
  • City
    Sao Paulo
  • Gender
    Male

Recent Profile Visitors

656 profile views
  1. Marcelo Cosme

    HDR Monitor

    I'm starting to study HDR and at the moment I can not buy a Flanders or Dolby. Here in Brazil everything costs 6x more ... I have a Dell U2718q that says 4k HDR. Do anyone know this monitor or can tell me if I can get good results with it? In the manual says it reaches 550 nits ... In a few months I should buy a LG C8 but at the moment my hope is Dell ... Thanks! https://www.dell.com/community/Monitors/U2718Q-HDR-peak-brightness/td-p/6058747
  2. Marcelo Cosme

    HDR SDR Workflow

    Hello everyone. I'm starting to study HDR color correction. Currently working / studying on a Win10 station running Davinci R15 Studio, Decklink Mini Monitor 4k and 3 Dell monitor, being 2 1080 (GUI and Scope) and a 4k HDR (model: UP2718Q) connected to Decklink through the HDMI port using an Atevon cable 4K. I know it's not the best setup for HDR, but it's a Home Office workstation, and I do not think anyone can have a Dolby Pulsar at home ... I did some tests, viewing on LG TVs B7 through Youtube and worked well the HDR that I rated in Resolve. But now I would like to take a step forward, I want to be able to simultaneously view the HDR and SDR classification using 2 monitors. I know the process of using the Right Eye / Left Eye stereo grading tools to make adjustment passes for Standard Dynamic Range (SDR) / High Dynamic Range (HDR) color gradients. My questions now are what I need to change in my current setup and how to do this split signal, right eye monitor SDR, left eye Monitor HDR for example. I can send through my Decklink Mini Monitor, send 2 signals one through the HDMI to one monitor and another through the SDI to another monitor using an SDI to HDMI converter? Or I need to buy another card with DeckLink 8K Pro for example and an SDI to HDMI converter (remembering that it's home, I need the best cost benefit) ... How do I specify which monitor is the HDR and what is the SDR? Thank you!
  3. Marcelo Cosme

    B/W Rgb values in film stocks

    Thanks, I was browsing through the cell phone and did not even realize it was just the spacing between the numbers.
  4. Marcelo Cosme

    Questions and Rational Workflow

    Thanks Emily... I know it's a very personal matter.
  5. Marcelo Cosme

    B/W Rgb values in film stocks

    Hi Abby. I did not understand your numbering .. I use the Davinci in RGB mixer I have only -2 up to 2 ...
  6. Marcelo Cosme

    Questions and Rational Workflow

    Thank you Abby. I have my workflow, and it works ... But I wonder if there is a common sense among colorists or if each follows their own instinct (laughs) ... Many colorists came from the days of the film, and of course there was a pattern of work. Today with so much tool, so many cams and so many codecs, there are a thousand ways of doing the same thing.
  7. Hello. I have some questions and would like your help. 1 - Do you frequently use Printer Lights? 2 - Do the classifications via LOG Wheels or PRIMARY Wheels? 3 - Do you use any base structure of nodes? Example: Node 1: NR, Node 2: Primary, Node 3: Saturation, etc ... 4 - Noise Reduction use at what stage of the process? I always use it as the first node, but I already got good results putting NR after the primaries ... I'm creating a workflow for a series that I start coloring now in June. At first I think of working in this format: Node 1: General Printer Lights (I have many scenes pulling into the green) Node 2: Log Wheel Expo (Blacks + Contrast + Pivot) Node 3: Log Wheel WB (Correction in Shadows, Mids, Highlights) "if necessary" Node 4 or more: Start Creative Look ... I know color correction has no recipe, but I would like to have a rational workflow to work with my assistants and other colorists remotely.
  8. Marcelo Cosme

    Time of color correction

    Many thanks to everyone for sharing information. And how good it is to have a channel like Lowepost, where at any moment a guy like @Mitch Paulson comes in and writes about Sicario and Deakins ... Thanks!
  9. Marcelo Cosme

    ACES with F55 Raw

    Thanks Jussi.
  10. Marcelo Cosme

    ACES with F55 Raw

    Good morning everyone! I have a material recordes up on Sony F55 RAW and we are using ACES by determination of the producer. But when done the IDT (Sony RAW) and ODT (Rec709) everything comes very contrasted and the blues always very saturated. Does anyone know the reasons for this or what to do? The web has a very limited material on this subject.
  11. Marcelo Cosme

    Time of color correction

    Thanks!
  12. Marcelo Cosme

    Arri 3D Lut

    Good idea man! How do you do those tests using grayscale ramp, can you explain?
  13. Marcelo Cosme

    Arri 3D Lut

    Thanks Emily!
  14. Marcelo Cosme

    Arri 3D Lut

    Hello I have a project recorded in Alexa Arriraw (12 bits) to grade in Davinci Resolve. What is the benefit or "sin" of using for example the 3D lut of Arri. Using lut did I lose quality of the material limiting the process of color correction? Another doubt if you use, I must use 3D output or 3D input.
  15. Marcelo Cosme

    Peaky Blinders, Breakdown

    Hello, this series is captured in Alexa correct? Does Simone what the process of grade of the material? You use Rec709 lut for Arri in this first exposure, as the video does not show any steps in log or Raw, I assumed that way. Thanks.