Bruno Mansi

Sohonet seems popular with high-end post houses here in London UK. One of the issues with any online storage is decent upload speeds. Many ADSL broadband connections have abysmal upload speeds. Sending 300 GB when your upload speed tops out at a couple of Mbps is going to be painful!

I wouldn't have thought Blackmagic would have supplied training footage that only worked with Resolve Studio. It's likely that most people doing the training would be using the free version. I've seen the footage from the beginner's guide and it mostly seems to be ProRes. It it possible that the footage is Avid DNxHD? I know that you used to have to get those codecs directly from Avid. They're free of charge - just search for LE codecs. on the Avid website.

If you're talking about the film emulation LUTS included in Resolve, Darren Mostyn covered this recently on YouTube.

There's lots of tutorials on YouTube with titles like "Five Mistakes Amateur Colourists Make" and "The Pro Colourist Secret to Beautiful Cinematic Images". It's trying to sell the idea that there's a right way and all other ways are inferior/wrong. I appreciate there's a certain amount of click-bait going on here, but looking at the number of 'likes' and general comments, a lot of people are being sucked into this way of thinking. One of these 'secret-sauce' ideas is that by working in ACES, you'll automatically achieve the so-called cinematic look. It seems to me that every pro c

I wouldn't have thought there's looks that are simply reserved for sci fi, but I do see the same sort of colour palettes used in many films of this genre. There's plenty of tutorials in the 'courses' and 'insider' sections that will help you achieve the look you want. It's probably true that you can push the boundaries and go more extreme - especially with things like foliage and skies on alien planets! I do think that some sci fi does tend to gravitate (get it?) towards certain clichés, such as harsh & cold inside spaceships because they're often lit with flickery, fluor

Just been watching Vincent Teoh's review of the Sony A90J OLED monitor, which supposedly has the latest LG OLED panel Reviewer rates it quite highly - maybe a contender to the latest LG and Panasonic models often discussed.

My vote would be to use Mocha Pro - available from Boris FX It's a planar tracking tool that is used a lot for this sort of work. It's available as a standalone version, but there's also plugin versions for OFX, Avid and Adobe After Effects. I've used it lots in the past to solve roto work like this. Never used the OFX version, but the standalone works well as does the AE version. I seem to remember there was a free, cut down version included in AE - don't know if this still is the case. The latest version has added mesh warping tools - especially useful for cloth etc.

Use ColorTrace. Of course, this requires the original grade to be available, which should be the case in your example. ColourTrace is accessible from the Edit page. Import the AAF, relink media as necessary, right click on your timeline in bin and select Timelines/ColorTrace. There's numerous tutorials about this feature on YouTube.

If you look at 'official' figures, it's around 2.35 m (7.7 feet) for 55 inch and 2.08 m (6.7 feet) for 48 inch monitors. There was a recent YouTube video by Linus Tech Tips where they looked at the LG CX 48" . Quite a bit of the video was judging the monitor from a gamer's perspective, but there's some info about viewing distances and how Game mode screws up the colour accuracy.

I guess if this is a programme that has a limited life (broadcast once and then never seen again) then shooting at HD is a reasonable option. But if you have any reason to think it might have future sales potential, then the sensible thing would be to shoot UHD. I get the feeling that shooting UHD (and above) is becoming almost mandatory for any production with a reasonable budget. I realise that filming documentary can result in huge mounts of rushes and this could put a strain on the budget in terms of storage. I've worked on docs where the interviews were shot at around 5K o

Had a look at the photos once the powder had been added and it looks terrible! Looks like the props department has been told to make it resemble a relic buried along with Tutankhamun over three thousand years ago. It would probably be better with black powder rather than white, but I guess you can't get black baby powder - wouldn't look so good on infant's bottoms!

As Mazze has said, they work fine with Win 10 and all recent versions of Resolve, and as far as I'm aware, there's no problem with Mojave/Resolve 16 as long as the Eucon software is correctly installed. Even though they are EOL, very little seems to go wrong with them, so they should still have some life left in them. If you don't want to spend big bucks at this point, they can be a way of getting a decent panel at a very good price. Even if it only lasts you a year, I'm sure it will have paid for itself with your first job. Things I've discovered with this panel.... The 'rubb

Don't know about renting a probe, but there's been discussions in the past that although you can reasonably calibrate the LG OLEDs for SDR, they're not suitable for serious HDR work. If I remember correctly, they're WOLED displays and start to badly desaturate at higher nit values. I'm sure there are other, more knowledgeable people who will comment further on this.

I think this is a very sensible approach. I guess the desire to try to get workstation-like performance out of a laptop is also fuelled by the fact that we're being forced into working remotely. We want the same experience at home as we get at our office/facility without having to lug all that equipment home and annoy one's partner! I did see that on Barefeats.com, they did some tests on storage speed between M1 and Intel Macs and their conclusion was... 'The M1 MacBook Pro's READ speed was slower than the 2020 MacBook Pro 13" but the WRITE speed was slightly faster.' So,

It's my view that despite the number of external ports you might have, it's the total throughput of the CPU/hardware that's the deciding factor. So, if your Thunderbolt controller has a 40Gbs bandwidth, that's all you can (theoretically) get from all your Thunderbolt ports combined. This is without factoring in the effect that having active HDMI ports might have. You see this all the time when you start looking at CPU/motherboard specs when building PCs. When you delve down into these specs, you'll often see the manufacturers state something like 'when using the second M2 slot, the ba