Andy Minuth

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.

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

Hi Luca, you might find these two videos interesting: https://vimeo.com/325803947 https://vimeo.com/138598065 Cheers, Andy

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

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

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.

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

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

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

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

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

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

Hi Jean, Do you mean that the render looks wrong or that the rendered files are tagged with the wrong colour metadata?

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

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).

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.

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.

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.

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

In this video, we take a closer look at the neutral axis, or white points, and their handling with the Truelight Colour Spaces framework. The video explains how to manage creative white points for different viewing conditions, and how to correctly import display-referred material into a grading scene, for example, to verify a render. https://www.filmlight.ltd.uk/training/resources/truelight/WhitePoints.php

Did you check 'right click on Cuts view' - 'Use sRGB for Thumbnails' ?

No the look operator replaces the whole layer. Just insert it somewhere in your stack and play with the scene-looks. When you put a Look operator into a layer you can key it in.

Hi Matt, a typical print film emulation LUT will replace the DRT in Baselight. To apply it in a colour managed workflow do the following: Create a new layer Replace the first operator in the layer with: ColourSpace - Convert to 'Input Colour Space of the LUT' e.g. LogC Replace the second operator in the layer with: Truelight (Apply the LUT) Replace the third operator in the layer with: ColourSpace - Identify ColourSpace 'Output Colour Space of the LUT' e.g. Rec.1886 Please be aware that you might limit your possible deliveries doing that. A more flexible and future-proof approach is to use the new scene-looks in the 'Look' operator. They can be keyed in and used for all kind of deliveries (including HDR). The 'internal-Fuji_Film' profile in Truelight is a generic Fuji print emulation from Printing Density to Rec.1886.

Hi Nikola, I recommend to use the ACES or Filmlight template. For ACES use ACEScct/AP1 as working colour space and RRT 1.0.1 as DRT. For Filmlight use T-Log/E-Gamut as working colour space and TruelightCAM as DRT. TCAM is a very flexible solution and does not restrict you to a certain look. If you are not happy with the look of the TruelightCAM DRT, you can adjust it with the scene-looks in the Look tool. Add it as a bottom layer for example. If the blacks are too strong, raise the Flare parameter in a BaseGrade. - always set the correct (or use automatic) interpretation of the footage - optional: add a slight compress gamut in the grade to avoid negative values. This depends on the footage, and if the vfx department has trouble dealing with them. If you use it, I recommend to render it in the EXRs and bypass it for the BLGs. The idea is to fix problems with the footage that might occur while comping. - optional: do a tech grade of the shots, adjusting only the Balance ring (Exposure), trackball (Whitebalance) and Flare (black point). These operations maintain the scene-linearity and will not harm the image. If CGI elements need to be inserted and the plates are not matching, it might be difficult to match it later. Usually it is easier, when the shots in a vfx sequence are technically balanced. - render OpenEXR without grading (but maybe with CompressGamut and tech grade). For ACES the official recommendation is to use Linear / AP0. Some people use Linear / AP1, because certain VFX people prefer that. For the Filmlight worflow the recommendation is Linear / E-Gamut. - export grades as BLGs - On the VFX side, the people can choose the input colour space for the BLGs. They need to set this to the colour space that you rendered the shots to. Linear / AP0, Linear / E-Gamut, etc. - VFX can use the BLGs to preview the look, and if the material is not coming back to the Baselight, they can even render the grades for the final output. But this must be tested and verified with Rec.1886 dpx files out of Baselight as a reference. - If the material is coming back to the Baselight, they should not render the BLGs into the files. They will just render to the same Linear colour space as they got. - In BL import the finished VFX shots and verify/set the input colour space correct. The shots should match in colour. Does that make sense?

The Mastering Colour Space in BL is taking care of that. It clips all values outside of it and ensures that you don't render anythink into your master that you haven't seen while grading. The matrix takes care of the conversion from Y'CbCr to RGB and back. When you are driving the display in 4:2:2 this becomes relevant. The differences between the 709 and 2020 matrix are not that big, but saturated colours might shift slightly in hue. Cheers, Andy