Abby Bader

I've heard the same thing and something must going on since they have more or less copied their structure and interface controls.

You are probably right that this was an easy customization, but no software developer today should ignore the fact that OSX is loosing customers to Windows users. I'm looking forward to hear what they have in mind for that potential user base as well.

I hope to see a wave of new Baselight users, and I think they are on the right track with this release. It's a shame it's only available on the sinking ship.

Thank you for making this video and great observation!

There should be a difference, and when the production use cheap cameras they should expect cheaper looking images. That said, I always start every session with balancing and matching contrast levels. Reducing and hue-shifting the strong video colors from the cheap cameras often help.

They know this, but it's an interesting topic so they're just chasing clicks.

Agree, warm highlights have always been Kodak's thing. @Frank Wylie probably got something to add on this.

a big LOL! :-D

This reminds me of shooting with my life love Fuji X100 compact camera. Tri-X inspired B/W mode and the Bayer sensor got an amazing analogue feel that outbeat all the newer X-trans sensor on today cameras. Love black and white.

LTO is common in many of the companies I've been working in, but in my experience Dropbox is not that much slower. And maybe just as safe/unsafe. Double backup is not that easy on LTO.

The values below are the channel combinations used on classic black and white films stocks. You could try to input the numbers in the monochrome mixer and see if the response is close to your perception of how it should look like. Film Type | Red Green Blue AGFA 200X0.180.410.41 Agfapan 250.250.390.36 Agfapan 1000.210.400.39 Agfapan 4000.200.410.39 Ilford Delta 1000.210.420.37 Ilford Delta 4000.220.420.36 Ilford Delta 32000.310.360.33 Ilford FP40.280.410.31 Ilford HP50.230.370.40 Ilford Pan F0.330.360.31 Ilford SFX0.360.310.33 Ilford XP2 Super0.210.420.37 Kodak T-Max 1000.240.370.39 Kodak T-Max 4000.270.360.37 Kodak Tri-X 4000.250.350.40 Normal Contrast0.430.330.30 High Contrast0.400.340.60 Generic B/W0.240.680.08

Tonal skin rendering is controlled by how we blend the three channels, so you should treat them seperately if you want fine control. The blue channel represents detail, and red tends to have smoother tones than green. You can use this insight to adjust the values to your liking. You could also blur different channels.

Great observation! When increasing the exposure with the ofset controls (+R +G +B), the algorithm favors the red chanel in terms of total density compared to green and blue. "Red has a total density value of 37% of 1/12th of a stop or 3% of a full stop" as explained in Dan's article. Do you know if the relationship between R, G, B is unevenly distributed in terms of saturation as well? Or is red only overweighted compared to other colors than blue and green?

Hi @Frank Wylie. What have you been working on lately? Always interesting to hear about you projects!

Hi @neila, how are everyting going with your printer lights corrections? Please let me know if you have any further questions and I will try my best to answer.

Well put together Nikola. Rare to see quality reels like this, applause!

Thank you very much Trish, I find this article really inspiring!

I love this film!

I know several less known colorists that in my opinion delivers world class work, just like the colorists featured on this site. But, growing their client base is not easy because the advertising- and production companies takes the best ideas to the big studios and those products get the heavy publicity and high-pressure marketing.

A huge base of talented colorists everywhere, no doubt about that. I think it's all about getting the work out there, featured on the ad sites and seen by the creatives. Being tied to a studio often helps in this regard.

If one of the most known names decided to go solo, they would need an assistant to manage their requests, rather than representation. Creatives know how to track down talents.

I remember we had a lot of connection issues with the old Unity system back in the days and the Avid guys were hanging around day and night with blue rings around their eyes. With the ISIS and Baselight I haven't experienced any connection issues. Most of the studios I've been working with the last years have tech guys and hot lines to the support services because they can't afford down times and clients waiting. Please give us an update when it's up and running again.