Abby Bader

Encoding issues are most likely related to lack of disk space or problems writing to the destination because of e.g a worn hard drive.

COLORIST - WARNER BROS. ENTERTAINMENT To Apply: https://careers.timewarner.com/TGWe...rtnerid=391&siteid=36&jobId=792907&Codes=NIND Location: WB Studio Facilities Film Production and Distribution Television Program Production and Distribution United States - California - Burbank Job Type: Part Time Warner Bros. has been entertaining audiences for more than 90 years through the world’s most-loved characters and franchises. Warner Bros. employs people all over the world in a wide variety of disciplines. We're always on the lookout for energetic, creative people to join our team. Warner Bros. Studio Facilities (WBSF) oversees the physical operations of the historic 110-acre main lot in Burbank including its 30 soundstages and 20-acre backlot, as well as production-related services including costume, set-dressing, construction, set lighting, catering, transportation, photography and much more. The production site also hosts tours for consumers offering guests intimate views at the inner workings of thriving entertainment studios. Warner Bros. Studio Facilities seeks a Colorist for the Post Production Services- Burbank MPI department. The Colorist is responsible for digital color correction for a wide range of Feature Film and scripted Television entertainment projects. The Colorist works directly with clients using learned skills and creative ability and technological resources to interpret the cinematographer’s intent and vision within the structure of the producer’s needs and the ultimate delivery requirement. While reporting to the Vice President, this position's primary responsibility is ensuring Client satisfaction and contributing to the creative process of film making. While working with the colorist team, the position also contributes to the development and implementation of digital workflows of new and emerging technologies. What part will you play? Color Correction in Suite. Communicating with existing and new clients. Developing new workflows and technical procedures. Working with Scheduling and Operations. Administration and work order completion. What do we require from you? 5+ years’ experience in color correction. Strong interpersonal skills; ability to interface with clients regularly and maintain excellent working relationships. Ability to apply creative license to work. Strong technical background. General knowledge of film and color science. General knowledge of various file and data formats. Knowledge of color correction platform Baselight, Resolve, and 2K+4K + HDR. Flexible schedule to meet production requirements. Excellent visual acuity. Ability to attract and retain clients. Resourcefulness and flexibility with sound business judgment and integrity. Be a team player who can work with Production and Operations for the benefit of the facility. To Apply: https://careers.timewarner.com/TGWe...rtnerid=391&siteid=36&jobId=792907&Codes=NIND

http://mkm-marcomms.com/filmlight-releases-baselight-5-0-ahead-ibc2017/

That's the way to do it, but it would help to make a template with your preferred settings as it will save you some time.

I noticed that when changing the transform parameters in the inspector tool, it didn't automatically translate to the input sizing parameters in the color tab. Lets say, any changes in the inspector tool' zoom parameters will affect the image but the input tools' zoom parameter in the color tab will stay 1.000. Why is it like this?

Not sure if you have noticed but Scopebox and some other tools are discounted for premium users: https://lowepost.com/resource/discounts/

A quick and simple solution is to make the selection black and set the invert to 100%white.

Mazze, can you say something about the time difference in decoding DWAA vs DWAB footage?

A really great teaser, good work!

Powerful film and great storytelling with colors.

Many creative LUTs mimic the look of the negative without taking the print into account. The print is important because that's a huge part of how we perceive film.

Thanks!

Welcome @David Goldsmith, great to see you here!

It could also mean that the dektop resolution is set higher than your maximum screen resolution.

How does these features cope with Scratch VR @Mazze?

Thanks Andy!

Lattice looks interesting, too bad it's only for Mac. Can this software do anything that 3D Lut Creator can't?

Andy, can you extract the information you see and use it for something?

It depends on the natural ambience, look at the skies and surroundings to see what colors could be throw into the speculars.

I also think that paying extra attention to how to treat the highlights is very important. Personally, I like to bend the highlights to add more texture and even introduce other colors in the lower IRE levels of the highlights like soft orange/yellow or even red/magenta.

For client monitors, you can also check out last years 900-series from Panasonic.

So sharp and attractive, I love the balance between the softness and the sharpening.

Some of the movies Kill Bill refers to were shot on B/W to achieve R-rating (less blood) which ment they were approved for cinema. That could be the reason.

Great taste, welcome!

3D LUT Creator lets you customize a mesh and adjust the resolution. You can change every value (and map values) on the mesh, and that makes it highly customizable.