Abby Bader

Correct. Add +1 in each color channel in the offset controls (+r +g +b) for one global density point. One global density point is 1/12 of a stop. 36 increments (+12r +12g + 12b) is a full stop.

Hi Neila, Nice to see you here! In this article by Dan Muscarella you can read that "A combination of one printer point on all the three primary colors is equal to a full 1/12 of a stop, also known as a full point of global density. " It means that if you add one point of red, one point of green and one point of green you have increased the brightness with 1/12 of a stop. If you instead add 12 point of red, 12 point of green, and 12 point of blue you have increased the brightness with 1 full stop. Abby Master Study in DaVinci Resolve Printer Lights - Insights - Lowepost

Stay on top of your game!

It's too dark!!

Sure Mark, that would not be a problem at all and is an approved workflow. Maybe @Daniele Siragusano can elaborate more on that?

Great to see you here Anthony! Can you elaborate more on how Aces in Baselight is better than in the other correctors?

Personally, I like to push, pull and rotate the second screen. I feel more relaxed with a distance to my scopes but that's my issue

If the model got light skin you would like to hide the blue / magenta beneath the surface, especially around the eyes. Just like girls do in real life to make the skin look more healthy and to make the eyes pop. Adding some warmth to knock out those colors will often result in some more "life" to the model even if you want to keep the overall skin tones natural.

Interesting Frank!

Beautiful spot and great words!

Cold skin tone is perfectly fine, I just ment you need to be careful with texture and facial details. One of the shots was lit very flat, and it's rarely flattering with completely white and washed out skin tones in that context.

Hi Pepijn. Sorry, should have linked to the article

When working with night exteriors you need to evaluate the top level light and at the same time consider how much you want to stretch the black values to preserve a rich image with enough details. The overall color cast is magenta and that's a pretty bold choice, but that could definitely work. Sometimes I throw in different reference images with different color palettes to see what works best on my footage. I often end up in a more blue direction for day-for-dusk. When de-saturating the image so much that the flesh tones almost turns white you need to be careful not to loose too much facial details and texture. Good luck!

Beautiful ad and a powerful grade. Well done James!

Beautiful ad and a powerful grade. Well done James!

You are are great inspiration and I like your approach to imitate film.

Great article Scott, your work inspire me!

Welcome Leo, great reel!

I would also add that you could play around with the luma curves both before and after the monochrome node to get more interesting behavours. Using the luminance curves to clip the highlights will introduce silver, as mentioned in Damiens article, and that could also be powerful to the B/W look.

Tom, happy to see you here! I love the great texture in your images and I think that 'Ride' is a great example along with a lot of the work you have done for Anthony Mandler. It would be great to hear how you typically would approach an image to create such a bold contrast and 'gritty' feeling.

Great insight, thank you guys!

I don't have any first hand experience with their live classes, but they have a great reputation and are trusted instructors.

Hi Serge. The production rented some old Russian Kowa lenses. Great texture and soft spots. The project is not released but I will post some images when I get permission.

Great to see you here @Rainer Bueltertand thank you for your great, detailed and insightful explanation! Personally, I prefer Baselight because I feel more comfortable with the toolset and I feel that it lets me get to a more pleasing result faster.

Guys... start flirting more