Andy Minuth

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About Andy Minuth

  • Birthday 12/20/1980

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    https://www.filmlight.ltd.uk

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  1. We have 3 days of training and workshops with Daniele Siragusano in Mumbai from April 5-7. Check out the available sessions and register here: https://www.filmlight.ltd.uk/store/events/baselight-week-mumbai/ Cheers Andy
  2. In case you haven't heard about it yet: FilmLight has launched a new competition honouring colourists and the art of colour worldwide. The awards will be judged by noted cinematographers and other industry creatives. Entries will close on 15 September, with a shortlist announced on 15 October. The winners will be revealed on 15 November, and be invited to participate in a panel/presentation hosted by FilmLight and its partners at the EnergaCAMERIMAGE film festival in Poland. Entry to the Colour Awards is free and open to users of any kind of grading system. https://filmlight.awardcore.com The judging and awards are being organised with the co-operation of the ASC (American Society of Cinematographers), Imago (the International Federations of Cinematographers) and CSI (Colorist Society International). And if you are interested about our motivation behind this, please read: https://www.filmlight.ltd.uk/store/news_articles/honouring-colourists/ Cheers, Andy
  3. The recording of the event is now available: https://www.filmlight.ltd.uk/store/watch/colour-online/?vimeography_gallery=10&vimeography_video=546064407
  4. I would like to invite you all to FilmLight's next online event: Colour Online: Film Awards Season Thursday, 29 April 18:00 GMT Let’s celebrate the recent nominees and winners of this year’s awards season. FilmLight is hosting a discussion with colourists Kyle Stroebel (Refinery) - My Octopus Teacher Katie Jordan (Light Iron) - Promising Young Woman Jateen Patel (Molinare) - Rocks Eric Weidt - Mank Of course, you will have the possibility to submit your questions to our four panellists. Register now And if you missed these events: I suggest watching the recording of our 'Camerimage 2020' webinar, where among others Elodie Ichter (Harbor) discusses the grade of 'Nomadland'. Colour at Camerimage 2020 And Eric Weidt's amazing presentation about his previous collaboration with DP Erik Messerschmidt and Director David Fincher on 'Mindhunter'. Colour on Stage: Eric Weidt - Mindhunter
  5. The recording of the event is available here: https://www.filmlight.ltd.uk/store/watch/colour-online/?vimeography_gallery=10&vimeography_video=521822858 I learned a lot during this session.
  6. I am happy to invite you to our webinar about this new show on Netflix. In this exclusive discussion, FilmLight interviews the talent behind the new sci-fi TV series from Netflix. Released on February 19, Tribes of Europa tells the story of three siblings fighting for survival in future Europe. Join Colourist Stephan Kuch from PANOPTIMO and DoP Christian Rein as they talk about their long-term creative relationship, as well as their collaboration on ‘Tribes of Europa’ – from defining the workflow, to creating the look and feel of a Europe in which technology has collapsed and microstates are at war. Don't miss Stephan breaking down some grades directly in the Baselight timeline. Friday, March 5 11:00 Los Angeles | 14:00 New York | 19:00 London | 20:00 Munich Register now
  7. Yes, if there is enough noise in the images the banding is masked by the noise.
  8. Use the ACES or FilmLight scene template. Put the footage into the timeline and use 'Automatic' or 'From Metadata' tagging for the Input Colour Space. Then on the render page select the desired log output colour space. There is nothing stopping you from rendering a log colour space into exr files. But a 10bit dpx will give you more image quality than exr in this case. Best would be rendering to 16bit dpx (for log colour spaces). When you render a log colour space into exr, you might see banding in the image.
  9. Hi Amit, in our Dolby Vision manual that is linked above the process is explained also with screenshots: http://filmlight.ltd.uk/support/documents/baselight/manuals_bl.php For Netflix IMF export, we have a Netflix HDR preset in the IMF export. Choose VideoLUT: 'No Scale' with it. Cheers, Andy
  10. I haven't thought this through, but something more geometrical would make sense I guess. Maybe something that represents the movements we can see in the histogram.
  11. The ColourCrosstalk interface might not be our most intuitive one 😉 Given the powerfulness of the tool it is quite robust compared to other more "complex" operations. The only issue is that if one of the channels is very noisy you should avoid amplifying the noise into other channels. But you can use this to your advantage: For example when you have a very noisy blue channel, increase the G in Blue Output. This will shift the colour palette towards a "simple" two-strip look and reduce the noise at the same time.
  12. As a start I recommend moving only the 6 sliders on the left side. If one of you channels is very noisy e.g. the blue channel and you mix and amplify the blue channel into red and green then more noise is expected.
  13. Hi Margus, the AAF workflow is better suited for Online workflows and very popular in television: edit with full quality footage in AvidMC export AAF (and consolidated media) from Avid conform AAF in Baselight (Baselight has access to Avid MediaFiles or uses consolidated folder) grade in Baselight, but no need to rebuild any effects export AAF with injected grades from BL load AAF back into Avid: The timeline is reassembled with all effects and graded shots Export final delivery from Avid In your scenario the lens workflow makes more sense. There you will provide a folder with BLG files to apply the grades in Avid. The BLG files have no problems if the edit changes, because the grades are applied based on metadata. If there is no grade available for a shot, there editor might need to apply a BLG file manually on a shot. Applying grades to a different edit in Baselight works automatically. You have a lot of options how the grades should be transferred in the 'Multi-Paste' tool. Cheers, Andy
  14. Hi Luca, you might find these two videos interesting: https://vimeo.com/325803947 https://vimeo.com/138598065 Cheers, Andy
  15. Hi Luca, we don't recommend using the Truelight operator for colour space transforms anymore. Please use Truelight Colour Spaces, the in-built colour management system of Baselight. Just tag the input footage with the correct input colour space e.g. ARRI LogC WideGamut and Baselight will apply the correct transform to the working and viewing colour space automatically. Please let me know, if you have specific questions about that. Cheers, Andy