Abby Bader

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.

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.

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.

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?

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.

Hi Nikola, how is everything going with this?

Great work. In particular I liked the cold shift to the exterior shots, it makes the spot more dynamic.

It looks like they're heading in that direction, and they will probably try to integrate Fusion or parts of its functionality. I guess speed and reel-time issues is the reason they haven't done so already.

Second that.

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.