Andy Minuth

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About Andy Minuth

  • Rank
    Moderator

Personal Information

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

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  1. 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
  2. Andy Minuth

    Monitor Gamut - Please Help

    I can't comment on that specific model. But 72% NTSC gamut is not a helpful information.
  3. 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.
  4. Andy Minuth

    16 bit log DPX

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

    HDR calibration monitor

    If you are only delivering 2.4 Gamma / 709, then I would calibrate just this.
  6. 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.
  7. 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
  8. log / film-style controls. Nice comparison 🤙
  9. 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
  10. 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.
  11. Andy Minuth

    Reduce edge contrast

    You need to work with spatial tools, to rework the edges. In Baselight I like to use Sharpen (negative range) and DFuse a lot for that. In Baselight 5 there are now even more powerful tools for that with Texture Equaliser and Texture Blend. They give You a lot more precise control over Your edges, because they disassemble the image into several different frequencies (sharp edges -> soft edges) and let You control each of these frequency bands individually.
  12. Andy Minuth

    16-bit Open EXR

    Log encodings were developed to effectively store high dynamic range images with integer codings. Integer formats are limited in dynamic range to 0..1. OpenEXR is a much more advanced idea and was developed for the computer-graphics industry, where linear floating-point coding is a native format. It combines a lot of advantages: For example the effective coding of log, with the almost unlimited dynamic range of floating-point, etc.
  13. Andy Minuth

    16-bit Open EXR

    One should make sure to save Linear data to OpenEXR files, to maintain the best color fidelity. A log colour space saved to an OpenEXR file might work, but will only use a small fraction of the available bit depth.
  14. Andy Minuth

    DRT / Color Space

    Hi Amada, > Does the ARRI Photometric DRT eliminate the need of the regular LogC to Rec709 LUT provided by ARRI? Yes exaclty. The transform from that LUT is inside the DRT, but in a more generic way, so it can be applied to and from different colour spaces. > Does the Truelight Film 1 LUT mimic the film stocks precisely? See dermots answer. It is based on real measurements taken from a print stock and not "graded" to look like film. But it is not intended to be used as an accurate simulation of a film-out, that should be provided by the lab doing the film-out. > You wrote that the DRT output the image a bit flat. Does that mean it will only transform the image 'halfway' to the IRE range known as within the REC709 standard? The 'flat' comment was only regading the 'Truelight Video 1' DRT. There we are going to Rec.1886/709, but we are letting the colorist add the last bit of contrast manually. I hope that helps
  15. Andy Minuth

    BLE +L*a*b?

    I guess we helped You via support.