Andy Minuth

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Everything posted by Andy Minuth

  1. We have 3 days of training and workshops with Daniele Siragusano in Mumbai from April 5-7. Check out the available sessions and register here: Cheers Andy
  2. In case you haven't heard about it yet: FilmLight has launched a new competition honouring colourists and the art of colour worldwide. The awards will be judged by noted cinematographers and other industry creatives. Entries will close on 15 September, with a shortlist announced on 15 October. The winners will be revealed on 15 November, and be invited to participate in a panel/presentation hosted by FilmLight and its partners at the EnergaCAMERIMAGE film festival in Poland. Entry to the Colour Awards is free and open to users of any kind of grading system. The judging and awards are being organised with the co-operation of the ASC (American Society of Cinematographers), Imago (the International Federations of Cinematographers) and CSI (Colorist Society International). And if you are interested about our motivation behind this, please read: Cheers, Andy
  3. The recording of the event is now available:
  4. I would like to invite you all to FilmLight's next online event: Colour Online: Film Awards Season Thursday, 29 April 18:00 GMT Let’s celebrate the recent nominees and winners of this year’s awards season. FilmLight is hosting a discussion with colourists Kyle Stroebel (Refinery) - My Octopus Teacher Katie Jordan (Light Iron) - Promising Young Woman Jateen Patel (Molinare) - Rocks Eric Weidt - Mank Of course, you will have the possibility to submit your questions to our four panellists. Register now And if you missed these events: I suggest watching the recording of our 'Camerimage 2020' webinar, where among others Elodie Ichter (Harbor) discusses the grade of 'Nomadland'. Colour at Camerimage 2020 And Eric Weidt's amazing presentation about his previous collaboration with DP Erik Messerschmidt and Director David Fincher on 'Mindhunter'. Colour on Stage: Eric Weidt - Mindhunter
  5. The recording of the event is available here: I learned a lot during this session.
  6. I am happy to invite you to our webinar about this new show on Netflix. In this exclusive discussion, FilmLight interviews the talent behind the new sci-fi TV series from Netflix. Released on February 19, Tribes of Europa tells the story of three siblings fighting for survival in future Europe. Join Colourist Stephan Kuch from PANOPTIMO and DoP Christian Rein as they talk about their long-term creative relationship, as well as their collaboration on ‘Tribes of Europa’ – from defining the workflow, to creating the look and feel of a Europe in which technology has collapsed and microstates are at war. Don't miss Stephan breaking down some grades directly in the Baselight timeline. Friday, March 5 11:00 Los Angeles | 14:00 New York | 19:00 London | 20:00 Munich Register now
  7. Yes, if there is enough noise in the images the banding is masked by the noise.
  8. 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.
  9. Hi Amit, in our Dolby Vision manual that is linked above the process is explained also with screenshots: For Netflix IMF export, we have a Netflix HDR preset in the IMF export. Choose VideoLUT: 'No Scale' with it. Cheers, Andy
  10. 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.
  11. 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.
  12. 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.
  13. 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
  14. Hi Luca, you might find these two videos interesting: Cheers, Andy
  15. 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
  16. 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
  17. 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.
  18. 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
  19. 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
  20. 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
  21. 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
  22. 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
  23. 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
  24. Hi Jean, Do you mean that the render looks wrong or that the rendered files are tagged with the wrong colour metadata?
  25. 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