Abby Bader

https://www-forbes-com.cdn.ampproject.org/c/s/www.forbes.com/sites/johnarcher/2018/01/06/panasonic-unveils-two-new-hollywood-tuned-oled-tv-ranges/amp/

Many colorists use the offset controls to balance because it's global controls that doesn't break the relationship between lift, gamma and gain.

In this video @John Daro talks about FotoKem's ACES workflow on the Extreme Weather project . Worth looking at.

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.

There are many inaccurate representations of printer points online, but this resource explains the concept very well. In DaVinci Resolve you can use the offset controls in the primary tab.

I just want to share this with you, colored by Peter Doyle. What an artistry, beautiful work.

Texture is love!

The different channels got a numerical value that is pre-set in every color corrector. That means if you change one of those numerical values without changing the others you will break the natural relationship between them. The other way around, by grouping them all together you will retain the relationship. That said, it will only be as natural as your initial starting point, that often points to how the camera is set up to reflect the real world.

Babel!

You could use a splitter combine node and reduce some noise in the different color chanels. Temporal noise reduction will most times give the best results. I would not crush the blacks compltely but spread the information through the low IRE range. Other takes in low light scenes could be to sharpen the eyes and/or add some small color nuances in the skin to gain a better separation from the background since the luminance levels are so close.

Great thoughts guys!

Look at the emboss and edge tools in the openFX menu. You can also degrade the image by changing the texture in the grain parameter and also adjusting the values in the grain advanced controls. And you can check out the JPG damage and lens distortion too.

I work in A/B and C/L for the most and use regular curves (not 2D Curves) mainly for sat/luma (and opposite) corrections. Most tasks can be solved in the regular color correctors, but pushing the grid can solve some challenges faster so it can be a great supplement. I use HSPe btw.

Can you elaborate more on the Arri workflow @Tom Tomlinson?

Import a square 1:1 image (1080x1080), apply a horizonal letterbox and change the width parameters to match the image. Or do the paper trick; measure and mark the height of your composer window, and ajdust the width to match the same length.

3D Lut Creator is so handy, I love that I can pull and bend the grid to adjust the colors. It's very intuitive and a very gunine approach to color treatment.

Welcome to this forum Arthur!

Thank you so much for sharing your story @Stuart Fyvie!

A BlackMagic card with only two SDI connections has SDI in + SDI out. That means you need to split the signal from the SDI output or link the second monitor to the first one.

I am so sad to hear that byDeluxe have decided to close Down Rushes. I hope that @Simona Cristea and the rest of the fabulous team will find a new studio to shine in.

The Hollywood Post Production Community lost a good friend this week. Bob Semmer the COO of Fotokem passed away after a long battle with cancer. I first met Bob nearly 10 years ago when I was the Vice President of Operations at the BBC. I had come out to LA to do an inventory of our West Coast library and also meet some of our key vendors. Although I don’t remember our meeting in too much detail, I do recall liking him. He was honest with me out of the gate and seemed to ooze integrity. When I took my job at Netflix and relocated to LA, Bob was one of the first people to reach out to me and welcome me. He invited me to lunch or dinner, but when I explained I had young children and a crazy work schedule...he offered breakfast instead. We had our first breakfast at Culina in the Four Seasons in Beverly Hills as it was the closest place to my office. He was pleasant, candid and jovial. We talked about the industry, the challenges and how we might work more closely together. He was always advocating for Fotokem, but never in a sales way, more like a father telling you how great their children are at sports or school. He believed in his people and wanted more than anything to see them successful. As we talked that day, it became clear neither of us were the kind of people that “breakfasted” at Culina. We joked that our next one would be at Denny’s…and it was. Like me, Bob was an early bird and over the years we had many breakfasts together. When I was going through my divorce and had too much free time and isolation on my hands...I always seemed to get a well timed email asking for an early morning check-in that was all too welcomed. He’d come with a neatly written list of questions for which he wanted more clarity or context, taking good notes on the answers given while we enjoyed our greasy spoon morning feast. Our shorthand for breakfast grew to the point that he’d simply text “Breakfast, usual spot next Tuesday, usual time?” I’d simply reply “yes” and we’d know exactly when and where to meet for our business check-ins. Many times, I’d meet him in the early morning hours as Burbank was just creeping to life and he’d already been to the office and worked a few hours. He seemed tireless, and Uber dedicated to his career and Fotokem. I truly admired this in him. Even though he held a C-Level job at a big post house, he still put the effort in and still performed as if he was working toward his “big-break.” If I needed something, Bob gladly obliged. Making an appearance at an internal event or giving a tour to computer engineers so they understood the “behind- the-scenes” movie making process. No ask was too big or too small and all were accommodated. It wasn’t always wine and roses, when Fotokem had challenges, I needed to handle this on behalf of my company. But Bob was always attentive, we’d discuss his perspective and agree on next steps. Sometimes he’d sway my thinking and other times he’d own the problem, but it was always a partnership and we tried to work things out in a mutually respectful manner. Over the years, I grew to trust Bob and by extension his company, this is something that business schools call “brand trust”, it takes years to establish and minutes to lose...Bob understood this and never risked his reputation or the loss of that trust. I remember hearing the news that Bob had become ill and being invited to his house to see him. When he told me he’d been diagnosed with an aggressive cancer, my heart sank. I remember sitting on his patio in the back yard in disbelief. We talked a bit about it and then slipped back into our normal routine of work discussion...it was just more comfortable to talk shop and it was the zone in which Bob was most comfortable. Over the months I’d see him as much as his health and spirits allowed. I was always glad to spend time with him, but I was watching my friend and colleague get sicker and sicker...always landing on a deeper bottom. Many times when I thought “Surely he can’t get any weaker, he’d be back in the hospital with another complication. But Bob kept fighting and even going to work when possible. He was a true warrior and endured well beyond most. Bob fought hard for nearly 10 months to beat the “Big C”, but even with the experimental treatments and determination….the battle ended and Bob could finally rest. People who know me well, know I like I quality things; I’d rather have one nice Rolex than a bunch of mediocre watches, if I’m going to have a pair of shoes...it will be some Alden's, and an annual dinner at Morton's is better than a month of Outback steaks. Things that are made with quality last longer, you can depend on them when you need them…you can trust them. Quality lasts. This focus on quality is the reason I liked Bob so much, he was high quality! Honest, candid, thoughtful, diligent and hardworking…wrapped up in someone with a thoughtful heart and keen mind. He was high quality all the way and his being gone is tough to stomach. I remember about a year ago, we were having one of our breakfast meetings and I looked over at him and said “Bob, are we becoming friends?” He sort of smiled a warm smile and said “Mr. Fetner, I think we are” and so it was. I’m going to miss you my friend, as will many in the industry and community here in LA. I wish you lots of peace! Written by Chris Fetner

@Steve Shaw probably got something to say about this*`?

Read about the different versions in this thread:

For production and archival purposes I use any flavor of DNxHD/HR and have abandoned everything else. It can be read natively by most apps and the compression is great.

Simply go to effects/utility/cineon_converter and set the parameter to Log to Linear, and turn it off before rendering. Remember, you don't have to complicate things, a full transform is not necessary and it would work just as good to draw a curve or use levels to add contrast to your images. The important thing is that you deliver the same (log) image to the next dep. in chain.