Abby Bader

Unfortunately, the 3RD file isn't possible to trim without transcoding to another format. Unless you need access to the RAW data you could edit the EDL to increase the time codes of each clip and transcode to any of the MXF flavors. That's more than good enough in most instances.

That's a great list Frank, good luck with the screenings!

Managing exposure and contrast is discussed in depth in many of the case studies on this site. I would especially recommend reading Trish Cahills case as you might pick up some interesting about that topic there.

In that league? FotoKem, Technicolor, MPC, Mill, Sim +++ Check the credits in the case studies on this site, most are represented there.

I suggest that you read the case studies on this site as those will enlighten you on the use of printer lights and how common it is. There are many ways to set up nodes. Balancing and exposure adjustments first followed by looks is the most common. If you prefer to use printer points or primaries is totally up to you.

Would be interesting to see a picture of your setup Dermot? ☺

Fun gadget ☺

Study film images and you will see that the boldest contrast is in the mid tones, and to replicate that you need to learn a thing or two about contrast management. No, it will not give you a better contrast to desat the image, adjust contrast and bring color back. Play with the curves in conjunction with the primary controls. And make sure to read Trish Cahill's Hobbit article where she explains how to work the contrast.

The secret sauce is all about contrast management. You need to perfect the tonal curve, and also; most colorist favor heavier contrast in the mid tones than in the shadows as we're used to see in film.

Go to the edit tab, mark the clips, right click and choose "new compound clip". Now the clips will "group" into one clip and any effect you add on it will affect the nested clips. You can decompose any time.

Would still be interesting to see it 😉

Healthy and fresh skin tones, I like it.

Can you provide us with some stills, it might open up for other suggestions?

I would love that!

Sometimes DR doesn't "see" the clip, and one solution might be to right click on the clip in the media pool and choose "conform lock selected clip to the timeline". It's a way to force the clip and the offline timeline clip to speak together.