Andy Minuth

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About Andy Minuth

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  • Birthday 12/20/1980

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  1. Hi Julien, I am not sure what you mean exactly? (a) do you want to pull the key from the ungraded source, so that the matte gets generated from the source? Whenever you add a keying operator to a layer, Baselight automatically adds a Reference strip above the key for selecting the key source. The default in the reference strip is to key from the ungraded source. If you want to change that behaviour, just select the Reference strip and select another source. (b) do you want to blend back the ungraded source image with key? Add a new layer, key the area you are interested in, Open the layer blending pop-up in the 'Result Blending' section via the small icon, On the right b-branch select 'Blend with: RAW image'. Check 'Use Matte: For Blend'. Then move the result blending slider to the right side to blend back the source inside the key. Cheers, Andy
  2. A common technique is moving red and yellow hue against each other in HueShift. Moving red towards yellow a bit, and vice versa. It is not limited to a precise range, but it is quite robust.
  3. Hi Margus, the shortcut is Command+ESC. I have this on one of my Wacom express keys. Alternatively there is a mouse gesture: try to move the cursor quickly into one of the top corners, it will jump between the screens. Cheers, Andy
  4. Hi Soumitra, the level of black and white in the signal will not change between 422 and 444 Full to legal. Are you maybe using Sony displays with the input range set to 'Full'? It is a common pitfall to have Sony displays set to full range, but feeding a 422 signal. Because with 422 signals they will always treat them as 'Limited' range. You can verify this by switching the display between full and limited input. For 422 signals, nothing will change in the image. That is why I recommend to use 'Full to Legal' in Baselight and 'Limited' on the display. Then it is correct for both 422 and 444 signals. Cheers, Andy
  5. 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
  6. 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
  7. 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
  8. 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
  9. Hi Jean, Do you mean that the render looks wrong or that the rendered files are tagged with the wrong colour metadata?
  10. 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
  11. 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).
  12. 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.
  13. 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.
  14. 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.
  15. 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