Abby Bader

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Everything posted by Abby Bader

  1. Abby Bader
    Hi Jason! On the site you say that this is custom powergrades for most cameras. May I ask how you match the different camera profiles?
  2. Abby Bader
    You could grade under an output LUT that transforms your scene into a display space P3/Rec709/PQ etc. That way your corrections doesn't change but it will match the different target displays. A small trim when switching output LUTs could be necessary.
  3. Abby Bader
    This is normal behaviour as overlay is a combination of both multiply and screen. Meaning that if your base layer is darker that 50% grey it will become darker. Note that Overlay preserves the shadows and highlight values, so correcting the grain layer using the gamma control should get it back to the initial state quite non destructive.
  4. Abby Bader
    Because not all camera formats are optimized for real-time playback and enormous file sizes can slow things down.
  5. 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.
  6. Abby Bader
    That's a great list Frank, good luck with the screenings!
  7. Abby Bader
    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.
  8. Abby Bader
    In that league? FotoKem, Technicolor, MPC, Mill, Sim +++ Check the credits in the case studies on this site, most are represented there.
  9. Abby Bader
    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.
  10. Abby Bader
    Would be interesting to see a picture of your setup Dermot? ☺
  11. Abby Bader
    Fun gadget ☺
  12. Abby Bader
    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.
  13. Abby Bader
    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.
  14. Abby Bader
    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.
  15. Abby Bader
    Would still be interesting to see it 😉
  16. Abby Bader
    Healthy and fresh skin tones, I like it.
  17. Abby Bader
    Can you provide us with some stills, it might open up for other suggestions?
  18. Abby Bader
    I would love that!
  19. Abby Bader
    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.
  20. Abby Bader
    Can you go more in detail about what you are looking for?
  21. Abby Bader
    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.
  22. Abby Bader
    Jussi, seems like we posted our posts simultaneous
  23. Abby Bader
    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.
  24. Abby Bader
    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.
  25. Abby Bader
    Are you still delivering for print?