Abby Bader

On 7/23/2017 at 0:55 AM, Orash Rahnema said:

You can also use lattice

Orbitate around the cube and with a slider you can check whats effected

 

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.

Unfortunately, I don't know how FCP handles any format but I'm sure @Ildus gabidullin got a tutorial for that as well :-D 

Auto levels on a DNxHD render will be read natively as 16-235 in Avid and 16-235 will be monitored as full range by default out of Avid. That means you will see the same in both programs. I'm not sure how this works in Premiere because of that the timeline is set up in RGB (1-255), the opposite of Avid. If it reads the DNxHD renders as full range you will be fine. Do a quick test with the different output level options. 

Windows and Linux outputs DNxHD with identical (if not better) quality rendering as ProRes. DNxHD OP ATOM can be read natively in Avid and that makes the workflow a breeze. 

16 minutes ago, Peter Chamberlain said:

-Improved results when using Hue vs. Lum curves

Finally, can't wait to test this feature.

To get rid of the issue, you can untick 'Use GPU for Red Debayer" in the preference settings. 

Hi Adolf. All your questions is answered in the premium articles. There are no general technique and one way things are done. 

On 13.6.2017 at 9:24 AM, Nurali K said:

hey Abby, sorry i missed your reply
I figured by the time i asked, my website is quite outdated at the moment as i put freelance practice on a side and took an offer to join a post house here in denmark as a colorist.

Great to connect with so many creative and talented folks in the field!

Where are you located in the world?
 

Sounds great, I'm currently living in Berlin. 

Scratch Play 

Very helpful guys, I appreciate it. The sequence was rendered out of Flame and it helped applying a lin2rec709 LUT. Didn't know that it actually affected the luminance levels. And I've never thought of linear and Rec709 as something different as I normally just go between Log and Lin. 

On 7.6.2017 at 3:32 PM, Margus Voll said:

Hi.

I wonder which tutorials users here would suggest?

I'm playing now with student versions and looking at some of the videos on Baselight vimeo but was wondering if any other places ones should look around?

Thanks.

FilmLight also got workshops all the time, not only in London.

I got an *.exr sequence but it looks very dark. How does DaVinci handle sequences like this and what debayer settings do you use for best results?

On 29.5.2017 at 2:21 AM, Russ Blaise said:

Will the people with the Dongle be able to activate the software from version 15 and beyond? Will have to wait and see! 

You can run similar systems on activation or old dongles, you just have to update the dongle drivers. Could be the case here as well.

Can you post the tutorial link @Andy Minuth? 

I just visited your profile and browse your work :-) I'm doing a broad range of work, both short- and long format and episodics. 

Welcome, great to see such a great and talented retoucher here on the forum!

As you're used to working with extended ranges in still photography you probably understand that there are a lot more data available in the top IRE levels compared to what you're used to on moving images. That means you should probably use some time to experiment with how to bend the highlights to get various results. When working with animations I prefer to introduce some color in the highlights but stay white on the absolute top like @Paul Ensby explains in his The Man From U.N.C.L.E article. That takes the image a bit away from the sharp and graphic base.
 

On 17.10.2016 at 3:59 PM, Nikola Stefanovic said:

Still struggling with rendering options for timeline conformed from MOV and ARRI files since its seams I need to render quicktime to DPX in one way and ARRI to DPX in another way. Not elegant at all.

Hi Nikola, how is everything going with this?