Bruno Mansi

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About Bruno Mansi

  • Birthday 03/17/1954

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  1. Have you looked at the Kodak site? https://www.kodak.com/en/motion/product/camera-films/250d-5207-7207
  2. Are these two shots meant to match? Two different locations with completely different lighting. You can see from the windows of the interior shot, the daylight is somewhat cool, so it's obvious the artist is being lit by artificial light. Music videos often have completely different lighting between locations. What was the Director's/DOP's intention?
  3. Have a look at this tutorial by Darren Mostyn, where he does a sky replacement. Although he generates his matte using qualifiers, you should be able to adapt it for your external matte.
  4. Did the previous comments in this thread not give you the info you wanted? A description of your problem might help.
  5. Not sure about the chart but if you want to see it being used in look development I would recommend you delve into some of Lowepost's courses. The one I'm thinking specifically is LOOK DEVELOPMENT & WORKFLOW IN DAVINCI RESOLVE by Jason Bowdach Take a look at lesson 7
  6. I agree that it's still a mystery to me as to what it actually does! I've found that it seems to turn on and off depending on various settings which I haven't really worked out the logic of. As an example, it turns on the forward OOF when you set the CST Input Gamma to Arri Log C, but if you set the Output Gamma to Cineon Film Log it turns off again. I guess it's doing what it should (?) but it would be nice to know exactly what this is.
  7. You might want to take a look at the Look Development & Workflow course (Jason Bowdash) on Lowepost. In lesson 13 (Complex Saturation Workflows) he uses LAB and HSL/HSV workflows to reproduce the sort of colour depth that's being discussed in this thread. 292xap87.75.54.224
  8. Going back to my still photography days, density was a term used to to describe the amount of silver (and hence the amount of dye in colour stock) in a negative. Underexposed negatives were called 'thin', whilst adding one or two stops of light above the optimum exposure would produce a denser negative. Since film had a good exposure latitude, it wasn't uncommon to overexpose by a stop or two. As long as you weren't blowing out highlights, this technique could capture more detail in the blacks and produce richer images due to the increase in silver/dye. However, this wasn't without it's own problems as colour film could produce hue shifts when subjected to overexposure. Fujifilm, for example was known to lean towards magenta when overexposed. As others have stated, this characteristic of film density is being translated to digital images as a way of mimicking the film look.
  9. Not seen the course myself, but I've heard good things about the Tom Cross Masterclass. See these links... https://www.mzed.com/educators/tom-cross
  10. Mixing Light has some good material on HDR. Most of it is behind a membership pay wall, but they offer a seven day trial. In fact, I found a free one on their site which I think is the sort of thing you're looking for. Admittedly, it's dealing with Dolby Vision, but it does talk about making SDR trims. https://mixinglight.com/color-grading-tutorials/getting-know-dolby-vision-hdr-part-2/
  11. My understanding is that the LG OLEDS can be decently calibrated for SDR work, but are unsuitable for any sort of accurate HDR grading. It's due to the fact that they're WOLEDS, and at higher light outputs the saturation drops off to an unacceptable level. I believe this topic has come up before in this forum and on the LGG forums. I seem to remember reading that the likes of Amazon and Netfix won't sign off on a HDR grade on these monitors.
  12. You need to think about whether speed or space is your primary concern. The OWC, with it's USB Gen3.1 interface is quoting around 400MB/s, but I'd be surprised if you get this with two spinning hard drives. It's more likely you might achieve this with SSD drives. The G-technology is only USB 3.0 and quotes specs around half the speed of the OWC. If you're simply working at HD, then these interfaces should suffice, but if you want to work with 4K material, you're likely to need more speed. Things like Resolve caches/renders really benefit from fast storage (like NVME storage). You might be able to use your internal SSD for these caches, which should achieve read/write speeds in excess of 2000MB/s Having Thunderbolt 3 storage with SSDs is going to achieve the best speeds. If you only need a TB of storage, then getting something like the Samsung X5 (with it's Thunderbolt 3 interface) would give you speeds of around 2500MB/s Puget have an article about hardware recommendations for Resolve, and include a section about storage. Have a look at... https://www.pugetsystems.com/recommended/Recommended-Systems-for-DaVinci-Resolve-187/Hardware-Recommendations
  13. All depends on your budget. Your Thunderbolt port will allow you to connect anything from a simple external SSD drive (1 to 4TB) right up an external RAID enclosure with 6 or 8 Drive slots. The cheaper SSD drives will be SATA, so will give you around 500 - 1000MB/s. A proper Thunderbolt SSD should give you speeds similar to your internal drive. A Thunderbolt RAID system will give much better storage capacity and performance , especially if you populate it with SSD drives, although this starts to become quite expensive. RAID systems can also offer protection against a drive failure if you're happy to trade some performance and storage capacity. Look at manufacturers such as Promise or OWC.
  14. It's the Artist Color that is EOL. The Artist Mix panels and Eucon are still supported. You're asking a lot for software that was never designed to run on a M1. I'm assuming the Eucon software is using Rosetta to function on your machine. This may well be introducing problems. Since Avid are still supporting Artist Mix panels (especially with Protools), it's likely they'll get around to improving the Eucon software. One thing I would do is give your panel a static IP address. It's set to DHCP by default, so could change it's IP address if switched off for a period. Although Eucon should still identify the panel after an IP address change, it's one less thing to complicate matters. The whole M1/Avid issue is constantly being discussed on the Avid forums. There's some info that Avid is publishing on the the current state of support for M1/Big Sur, which might be useful reading. Link to article... https://avid.secure.force.com/pkb/articles/en_US/Compatibility/macOS-Big-Sur-Support