Marcelo Cosme

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About Marcelo Cosme

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  1. Marcelo Cosme

    Questions and Rational Workflow

    Thanks Emily... I know it's a very personal matter.
  2. 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 ...
  3. 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.
  4. Marcelo Cosme

    Questions and Rational Workflow

    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.
  5. 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!
  6. Marcelo Cosme

    ACES with F55 Raw

    Thanks Jussi.
  7. 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.
  8. Marcelo Cosme

    Time of color correction

  9. Marcelo Cosme

    Arri 3D Lut

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

    Arri 3D Lut

    Thanks Emily!
  11. 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.
  12. 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.
  13. Marcelo Cosme

    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 ...
  14. Marcelo Cosme

    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.
  15. 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.