Andy Minuth

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About Andy Minuth

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  • Birthday 12/20/1980

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  1. Hi Soumitra, for ACES workflows I recommend to use 2) ACEScct : ACEScct / AP1 as working colour space. The Cineon Log curve does not have as much headroom in the highlights and if you are clamping to 0..1 range in an operator you might loose information there. The different nit levels will change the highlight roll-off in the DRT and the Mastering Colour Space. When you select REC.2020:ST 2084PQ/Rec.2020/600nit as viewing or render colour space, highlights will smoothly roll-off to 600nits peak, and the Mastering Colour Space will ensure wird hard-clipping, that there are no values above in the output. That depends on the display you mastered on and the delivery specs. But typically people use REC.2020:ST 2084PQ/Rec.2020/1000nit as an output for HDR10 with Dolby: ST 2084 PQ / P3 D65 / 1000nits as Mastering colour space (to limit everything to P3 gamut). For Dolby Vision 'Dolby: ST 2084 PQ / P3 D65 / 1000nits' is used a lot as 'Dolby Vision Mastering Colour Space'. We have a special Dolby Vision chapter in the Baselight user guide that I recommend to work through. You can download that chapter separately from our Webpage: Cheers, Andy
  2. Andy Minuth


    Yes the cropped material is available for stabilising and reframing. Yes this is correct. The material will then be downscaled directly from 6k to 4k for the render. All image transforms (including creative reframes in the timeline) are concatenated into a single one. Cheers, Andy
  3. Hil Ilya, this is because of the selected DRT ACES RRT 0.1.1. This DRT only outputs SDR. You need to select one of the family DRTs (ACES 1.0.1, TruelightCAM, etc.) for HDR output. Also I don't recmommend to use ACEScc. Better to go with ACEScct as a working space. When you create a new scene my advise is to use either the ACES or Filmlight template. That will setup everything correct for SDR and HDR. Cheers, Andy
  4. Hi Markus, there is not the exact same function as A/C Mode in Baselight. But there a several other methods to achieve this, depending on your working style. I will give a few examples: Some Baselight users, keep a second scene which they created with timeline sort. There they keep the shots in a special order and add extra handles, etc. The Multi-Paste tool makes it very easy copy/paste grades between two scenes. What I personally prefer is to use the Multi-Paste tool within the same scene. An example: Let's say I graded a talking head shot, which I now want to paste to all similar shots in the whole timeline. - I copy my stack to the copy buffer (W, CTRL-C) - I select the whole timeline (CTRL-A). Alternatively press ALT-A to only select everything right of the cursor. - Then Multi-Paste (CTRL-M) applies the grade. It is important to setup the right Multi-Paste settings before. Usually Source: Current Copy Buffer, Match Events by: Clip Name / Ignore Time Ranges (set this to TC if you want to apply frame accurate trackers/keyframes). You can also do this for several shots at once. Another method is to build playback filters in Shots View: There is a template 'Current Tape'. When you activate this in the playback filtering the timeline will be filtered to only show the shots with the same tapename. In Shots view you can build very powerful filters in new tabs. e.g. to isolate all Retimes, Drones, B-CAM, VFX shots, etc. There you can also build a filter for similar clipnames. Cheers, Andy
  5. Hi Jean, Do you mean that the render looks wrong or that the rendered files are tagged with the wrong colour metadata?
  6. A small comment: To desaturate the highlights you would use a Saturation (Scale) vs. Lightness curve. The logic is: 1st parameter: what do I want to change / 2nd parameter: based on what
  7. I just tried: It is slow, but it works. On a BLone Gen 6 I got around 1fps from 8K Monstro R3D to 8K EXR with a typical grade (including spatial stuff) and Denoise (3 frame window).
  8. BTW: For overlay blend mode it usually works best to tag the inputCS of the grain plate with the "log" working colour space. (If the grain plate is grey). Then the brightness of the shot will be less affected. Alternatively one can also grade the exposure of the grain to avoid density shifts.
  9. I see. I think the contrast depends on the conditions people will watch it in. Sequential contrast (without auto-dimming) in a real cinema is usually between 1000-2000:1. Having 2000:1 during mastering sounds reasonable. Some people at home have around 4000:1 on their TVs (OLED for SDR). During mastering one should try to at least match that. Having more is better in both cases.
  10. Ansi contrast of a typical DCI projection is around 100:1 (that is the minimum tolerance). A lot of big projects have their main grade done in such an environment. But you can argue that an average picture level of 50% (ANSI checkerboard) is not that common. Typical images are darker, which increases the intra-frame contrast of a projection.
  11. Hi Soumitra, as Nikola pointed out a scene-referred working colour space is recommended to maintain the full dynamic range of the image. Baselight is always decoding Sony RAW directly to floating-point linear. A state of the art colour managed setup would look like this: InputCS: Automatic / From Metadata (Sony: Linear / S-Gamut3) WorkingCS: Filmlight: T-Log / E-Gamut GradeResultCS: From Stack DisplayRenderingTransform: TruelightCAM / Automatic ViewingCS: According to your display (P3, etc.) Insert a Look operator (Scene-Looks) at the bottom of the stack according to the desired colour rendering of the project. Why does the DP want to grade from a wrong looking starting point (log)? A telecine style setup has some disadvantages and would look like this: InputCS: Automatic / From Metadata (Sony: Linear / S-Gamut3) WorkingCS: Your desired "log" format, e.g. S-Log 3, etc. GradeResultCS: DCI: 2.6 Gamma / P3 D60 *1 DisplayRenderingTransform: None ViewingCS: According to your display (P3, etc.) *1: I recommend using P3 D60 here for several reasons: The images do not have the ugly greenish white point of P3 DCI Inserted titles look neutral (use sRGB for input and P3 D60 as StackCS for titles) The grade will match better to video deliveries in Rec.1886: 2.Gamma / Rec.709
  12. In this video, we take a closer look at the neutral axis, or white points, and their handling with the Truelight Colour Spaces framework. The video explains how to manage creative white points for different viewing conditions, and how to correctly import display-referred material into a grading scene, for example, to verify a render.
  13. Did you check 'right click on Cuts view' - 'Use sRGB for Thumbnails' ?
  14. No the look operator replaces the whole layer. Just insert it somewhere in your stack and play with the scene-looks. When you put a Look operator into a layer you can key it in.
  15. Hi Matt, a typical print film emulation LUT will replace the DRT in Baselight. To apply it in a colour managed workflow do the following: Create a new layer Replace the first operator in the layer with: ColourSpace - Convert to 'Input Colour Space of the LUT' e.g. LogC Replace the second operator in the layer with: Truelight (Apply the LUT) Replace the third operator in the layer with: ColourSpace - Identify ColourSpace 'Output Colour Space of the LUT' e.g. Rec.1886 Please be aware that you might limit your possible deliveries doing that. A more flexible and future-proof approach is to use the new scene-looks in the 'Look' operator. They can be keyed in and used for all kind of deliveries (including HDR). The 'internal-Fuji_Film' profile in Truelight is a generic Fuji print emulation from Printing Density to Rec.1886.