Andy Minuth

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About Andy Minuth

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  • Birthday 12/20/1980

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    https://www.filmlight.ltd.uk

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  1. Yes, if there is enough noise in the images the banding is masked by the noise.
  2. 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.
  3. 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
  4. 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.
  5. 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.
  6. 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.
  7. 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
  8. Hi Luca, you might find these two videos interesting: https://vimeo.com/325803947 https://vimeo.com/138598065 Cheers, Andy
  9. 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
  10. 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
  11. 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.
  12. 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
  13. 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
  14. 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: http://filmlight.ltd.uk/support/documents/baselight/manuals_bl.php Cheers, Andy
  15. Andy Minuth

    Formats

    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