Andy Minuth

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About Andy Minuth

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    Moderator

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  • Country
    Germany
  • City
    Munich
  • Gender
    Male
  • Website
    https://www.filmlight.ltd.uk

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  1. Andy Minuth

    Baselight, ACES, BLG and Nuke/Flame

    Hi Nikola, you would definitely render everything into an OpenEXR with a Linear colour space. The colour primaries of this space depend on your workflow (709, AP0, AP1, E-Gamut, etc.). During this render In BL you have the option to smoothly bend in out of gamut colours, which might cause problems while comping or grading down the line because of negative code values. Use a slight CompressGamut for that. Then you need BLGs for the full look or at least the correct viewing transform for the content to look right. You can export the viewing transforms as LUTs out of Baselight. Let me know if you need help with that. Cheers, Andy
  2. Andy Minuth

    HDR Grading - Colour Reproduction on monitors

    Hi Mark, You should avoid a mismatch of Viewing Colour Space in BL and the settings of your display. Otherwise your renders will look wrong. Actually there is no need in BL to set your viewing colour space to P3 gamut while grading in your case, but if you want to do it, then please use the 'Dolby: ST 2084 PQ / P3 D65 / 1000 nits' colour space for viewing. Alternatively set your viewing colour space to 'Rec.2020: ST 2084 PQ / Rec.2020 / 1000 nits' and the X300 accordingly. Please verify then in the Colour Space Journey that your Mastering Colour Space is 'Dolby: ST 2084 PQ / P3 D65 / 1000 nits'. It will limit your output to P3 gamut. Just try to see Rec.2020 as a container gamut, compareable to X'Y'Z'. And as a sidenote: Please use the 709 colour matrix in the X300 in both cases. In BL 5.2 there will be an option to change the colour matrix for the RGB -> Y'CbCr conversion, but until 5.1 the 709 matrix is used. Cheers, Andy
  3. Andy Minuth

    BL and aces pushing hard

    @Margus: Are you using ACEScc or ACEScct as a working space? ACEScc might make noise in under-exposed shots a lot more visible, because it increases the contrast in the blacks if you push up a shot heavily. Curves like ACEScct, T-Log, LogC, etc. avoid that by using a toe in the shadows and are better suited as working space. The out of gamut colours that Jussi mention need to be dealt with accordingly. The T-Log / E-Gamut working colour space is optimised for typical out of gamut colours of current cameras. Alternatively working with the native primaries of the main camera sources (LogC / WideGamut, 3G10Log / REDWideGamutRGB, S-Log3 / S-Gamut3.cine, V-Log / V-Gamut, etc.) might avoid them on input side. But when you are running into out of gamut artefacts on the output side (e.g. in the RRT) during grading you need a tool to deal with that. In Baselight we have the CompressGamut tool which deals with out of gamut problems in both cases. It gently moves colours back into a target gamut without affecting the overall look. And it can bring back even negative code values, so it also works nicely in smaller working gamuts like AP1.
  4. Andy Minuth

    adding grain matte

    Glad to hear that Julien.
  5. Andy Minuth

    adding grain matte

    Hi Margus, there is a built in Grain tool with parameters to tweak. Cheers
  6. Join us for live presentations and practical discussions on look development, colour space management and new grading tools – followed by a networking ‘Happy Hour’ at the Fimwirtschaft to celebrate the one-year anniversary of our Munich office. https://filmlightcolourtourmunich.eventbrite.com/ Cheers, Andy
  7. Andy Minuth

    Monitor Gamut - Please Help

    I can't comment on that specific model. But 72% NTSC gamut is not a helpful information.
  8. Andy Minuth

    Monitor Gamut - Please Help

    For that budget focus on a decent sRGB/709 display. And forget about NTSC. Larger Gamuts you want to cover are P3 and Adobe RGB, depending on the type of projects.
  9. Andy Minuth

    16 bit log DPX

    Seems okay on the first look. 🤙
  10. Andy Minuth

    HDR calibration monitor

    If you are only delivering 2.4 Gamma / 709, then I would calibrate just this.
  11. Andy Minuth

    Full to Legal Scale vs Soft Clipping

    In most cases Full to Legal scale will be the right choice. It takes 0 and maps it to 64. In your case 10bit CV -3 will also be mapped to 64, because everything below 0 will be clipped. It maintains the information in the shadows and highlights. The soft clip operation basically takes everything below CV 64 and above 940 and clips it. So you will loose picture details there, but the image will look more contrasty compared to Full to legal scale.
  12. Andy Minuth

    Filmlight Colour Day at IBC 2018

    We are organising a day of exciting presentations at IBC this year. The speakers are: Maxine Gervais, Senior Colourist, Technicolor, Hollywood; she will talk about her recent work on Black Panther, The Meg and Alpha. Sylvain Canaux, Colourist, St Louis, Paris; Sylvain will explain his grading apporach on high-end beauty commercials. Mike Nuget, Freelance Colourist/Editor, New York City; Mike will present his recent experiences live using the new Baselight for Avid tools. Daniele Siragusano, Image Engineer, FilmLight, Munich; In this more techical session Daniele will show what it takes to produce natural images on modern wide gamut displays They will present live from a Baselight system and go into the details of the colour space management and finishing toolset that helped them to create beautiful grades, while navigating modern challenges such as HDR and multiple delivery formats. Seats are limited. Please register at: https://goo.gl/agS9Wh
  13. log / film-style controls. Nice comparison 🤙
  14. Visiting NAB this year? I would like to draw your attention to the following event: https://www.eventbrite.com/e/arri-and-filmlight-workshop-at-nab-2018-registration-44545711422 We will show an effortless BLG workflow between the Alexa and the FilmLight tools. And after that I will present new and upcoming features of Baselight. There is a longer description of the event in the link. See you there, Andy
  15. Andy Minuth

    LUT numbers

    For Kodak I remembered it like this, but no guarantee: The starting number 1 is 35mm nitrate 2 is 35/70mm polyester 3 is 8/16mm polyester 5 is 35/70mm acetate 7 is 8/16mm acetate Don't know about 4? The second number indicates camera film (2) or lab film e.g. print (3) The last two digits seem more arbitrary to me.