Andy Minuth

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About Andy Minuth

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  1. Housewife

    Better late than never. Here is a version of the used show-lut. The original one goes to P3 D60, but for most of You Rec.1886 (709) is probably more suitable. It expects Arri LogC WideGamut as an Input. HW_ShowLUT_LogC_2_Rec1886_16.cub
  2. Baselight contrast

    Generally speaking: Especially when You are using several different input colour spaces, it makes sense to tag Your footage correct. I recommend You to use the 'Automatic' setting or set it manually per clip for transcoded footage. All the footage will then be matched to one log flavour (your working CS) and grades can be reused much easier. For Your specific case, I ask You to solve it with the BaseLight support Then we can have a detailed look at Your scene and help You solve all the issues.
  3. Base Grade in Bl 5

    Hi Soumitra, I just replied in the other thread about this topic. Best, Andy
  4. Baselight contrast

    Hi Soumitra, it makes me happy to hear, that You like BaseGrade. What You are describing is Telecine Style grading. Generally I would recommend You to exercise scene-referred film-style grading. The scene settings for that would look like that: Input CS: Defined by You footage, e.g. ARRI LogC WG Working CS: Your preferred scene-referred space, e.g. Filmlight T-Log / E-Gamut or ARRI LogC WG Grade Result: From Stack Display / Render CS: Your target display, e.g. Rec.1886, DCI XYZ, DCI P3, etc. DRT: Choose one that suits Your artistic and technical needs, e.g. Truelight CAM I know it is hard for a colourist to switch the style especially on an important job. But in the long run, it is worth it. With the arrival of HDR displays and multiple deliveries, the telecine style heads into a dead end kind of. Additionally You could add a reduction of contrast as a first layer (set to 'No Bypass'), to show the client a washed out image in the beginning of the grade. Having said that, BaseGrade can also be used in a Telecine style scene. Best practice for that looks like that: Use the same colour space settings as mentioned above. But then insert a 'Colour Space' layer to the stack, set to 'Identify Colour Space' and the colour space You are manually grading into, e.g. Rec.1886 or DCI 2.6 Gamma / D60. Your image will then look wrong (washed out) as desired. The important thing is then to put the Colour Space layer at the right point in the stack. Usually Your grade will start with adding a lot of contrast to the washed out image. As soon as the image brightness and contrast look okay on the display, the necessary colour space conversion is finished. After that layer You should put the 'Identify colour space operator'. Basically it tells BaseLight that before that operator, the image is in Log colour space, and after it, it is in Display Colour space (e.g. Rec.1886). I attached a picture that shows how the stack might look. BaseGrade will then work 'correct' on the image. Please note that most of the new tools in Baselight 5 like 'Boost Shadows', 'DeNoise', etc. are colour space aware and work best with correctly tagged colour spaces. Happy grading, Andy
  5. Dodge and burn on video?

    In Baselight 5 You can use the matte brush in the paint tool, which creates a matte for a layer with a brush. Brushstrokes can be tracked. Then just add the desired correction (brighter, darker, etc.) to the layer and You will paint it on to the image.
  6. Layers behaviour in stac

    In Baselight You would build this with the 'Reference' strip or with layer blend modes. It's a bit different logic, but spontaneously I can't think of a grade that You could not rebuild like that.
  7. DRT / Color Space

    Film scans are not in a RGB color space but defined in printing densities. The conversion between those worlds was handled by the print emulation lut. But when You want to convert film scans into an RGB space to apply a DRT You need a formula representation of film - which is ADX. So basically You can put Cineon scans in the timeline and tag them as ADX. You don't need to change Your scanner settings. Also please note that information from the Baselight release notes: FilmLight: Printing Density Log / ~ADX Colour Space --------------------------------------------------- This colour space is similar to the Academy "ADX" colour space but with more focus on robustness and invertibility. It is designed as connection space for the Truelight Film 1 DRT, and should not be used as grading colour space for digital content. However if your footage is primarily camera negative log scans you can use this space as Input and Working Colour Space in combination with the Truelight Film 1 DRT.
  8. Baselight 5.0 RELEASED!

    DNG works for sure.
  9. Colorist reel - Margus Voll - TV commercials

    Good work, Margus.
  10. Housewife

    The first teaser of Housewife got released. Probably my favourite work on a feature this year. It was shot on Alexa with ARRI / Zeiss Master Anamorphics and lots of haze on the set. A handful of shots were done with a Blackmagic Cinema Camera. Graded on Baselight. The director Can Evrenol asked me for a vintage look for that film. So I diffused the highlights, selected a soft scaling algorithm and created a custom Show-LUT based on several film print emulations. Additonally to counter the flatness caused by the haze, we added lots of grain and some dirt to the picture, especially in the highlights. Director: Can Evrenol / DP: Tayman Tekin / Gaffer: Mehmet Cemal Toz / Starring: Clémentine Poidatz, David Sakurai BTW: Better watched in fullscreen instead of with the white background of the forum.
  11. Gamma correction

    That was my point, that a gamma correction might not be necessary. If it becomes necessary it can still be done in the playback path or the display. For example by calibrating a display to Rec.1886 or sRGB depending on the surround.
  12. I think the Lego Batman movie was done with Baselight. ( DigitalVision has a list of feature film credits on their webpage.
  13. Gamma correction

    I don't do different passes for sRGB. Client gets just one Master in Rec.1886. One reason You already mentioned: because the surround is part of a color-space (bright vs dim in this case). The other point is: How do You know that the client will not upload his "Video ProRes" to YouTube? And when it is on YouTube, what if someone watches it on their Television, etc. You can go on like that... From my point of view, the player should do the correct gamma correction for the display. So I try to just give proper Rec.1886 masters with correct metadata.
  14. Macro blocking on dark images

    Hi Thomas, sometimes keying the shadows and adding a skin-soften tool and some noise helps.
  15. Baselight contrast

    Yes that behaviour is correct, Emily. FilmGrade is intended to be used with a DRT / LUT in the output path which takes care of the shadow/highlight roll-off. I explained the origins of the different grading tools in the first half of my BaseGrade article. If You are looking for an Exposure / Contrast tool with built in highlight / shadow roll-off within Baselight, You should try out 'Technical Grade'. But please be aware that 'Technical Grade' clips the signal at 0 and 1 without the possibility to recover it in a downstream layer. So if You add too much contrast before, You might loose some part of Your signal.