Abby Bader

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About Abby Bader

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  1. Skin tones when reducing highlights

    It is a common issue with retrieving digital highlights that it can introduce tints along the line of magenta or cyan. To eliminate the tint you can desaturate the highlight with a gentle lum vs sat curve.
  2. Less saturated colors in Quicktime render

    Jussi, seems like we posted our posts simultaneous
  3. Less saturated colors in Quicktime render

    In the 'color management' settings you can check "use mac display color profile" and see if that solves the issue. Unfortunately, it might not take you all the way as matching the Resolve viewer with a player that doesn't read video attributes on an Imac could be a lost case. Also check your video vs. full range settings.
  4. DaVinci Color Management

    DCM is a non-destructive way to transform to another color space, meaning you can go back and forth as many times as you want without experiencing any quality loss. LUTs are normally built with a more pleasing tonal curve than what DCM provides. Designed for a better visual result. LUTs are destructive and values that are clipped can't be recovered in nodes after the LUT. That is not the case with DCM transforms.
  5. LUT emulation input data

    Are you still delivering for print?
  6. Retime speed up to 300% max?

    The % is a work space only limitation and can be extended by holding the mouse cursor over and sliding to the side. Then you will be able to retime the speed with no restrictions.
  7. Printer Lights

    The use of printer lights in digital processing is not an accurate science. The photomechanical process was affected by so many random parameters that we don't know how that mathematically transfers to digital data. The important thing is that you can make precise corrections in the color channel of choice, both if the correction is altered through a LUT or not. But, it certainly helps if the input data is log.
  8. Tonal range

    Darkest parts, middle tones, brightest parts?
  9. Beauty retouching

    You could stack a couple of layers, create a mask around the blemish and ofset the first layer. That's a quick fix that works on some shots inside your color corrector.
  10. New OLED

    Panasonic chose to unveil its new TVs at a Deluxe facility is that both Deluxe and Technicolor – which between them deliver post production on around 70% of Hollywood’s blockbuster films each year – now officially use 2017 Panasonic EZ1000 OLED TVs as one of their main large-screen mastering monitor solutions. Deluxe alone has more than 60 EZ1000s installed in its mastering suites around the world.
  11. New OLED
  12. Baselight Avid Edition

    I guess @Daniele Siragusano and @Andy Minuth could answer that as they are both working for FilmLight.
  13. White Balancing in Resolve with Tint/Temp

    Many colorists use the offset controls to balance because it's global controls that doesn't break the relationship between lift, gamma and gain.
  14. In this video @John Daro talks about FotoKem's ACES workflow on the Extreme Weather project . Worth looking at.
  15. Welcome to this forum Matt! The Print Emulation LUTs were originally applied to the end out the chain to see how the grade would look when printed on a specific film stock. This was necessary because the look of the digital film master was radically changed once printed on a stock. E.g a Kodak 2393 LUT were used to look through if the destination stock was Kodak 2393. Today, we don't need to use the film LUTs this way, simply because the digital master files are not printed on film. What you are describing is a modern approach where the same data is used creatively in the color process. If you want that to work properly, it still means that the LUT should be applied at the end because if you do any corrections after the LUT is applied, the calibration will break or the pre-defined and intended look will be changed. That also means that the LUT will be applied after the initial base correction with a log to linear transform, which means that the image isn't logarithmic anymore. That is a problem because the typical so called 'creative' print emulation LUT's have a built in ormalization curve. So, as suggested above, you need to use an invert LUT to transform the image back to log state after your initial correction. Or, you can use a LUT ment for linear input data.