Keidrych wasley

  • Content Count

  • Joined

  • Last visited

Community Reputation

3 Neutral

About Keidrych wasley

  • Rank
  • Birthday 08/24/1979

Personal Information

  • Gender

Recent Profile Visitors

152 profile views
  1. I would suggest that an i1 display pro with the bundled i1 software calibrated to REC709 2.4 will be more than sufficient for the work you intend to do. You need to choose 'advanced workflows' in the i1 software, then choose the 709 preset and set luminance to 100cd/m2, and gamma to 2.4. Then grade in a darkened environment ideally with a bias light behind the monitor. If you start earning more money from grading and want to go a step up from this i'd suggest a blackmagic mini monitor for the SDI connection and one of the LCD Flanders Scientific monitors eg the AM210 / BM240 or second hand OLED CM250. All of these monitors come calibrated with a 3D lut, they then offer free calibration for the life of the monitor.
  2. Sure but what sort of work? Corporate? Short films, low budget branded content, documentary etc?
  3. What do you want the calibration for? What sort of work are you doing? A step up would be the i1 pro with LightSpace Lte but you would need an Sdi monitor I believe though it may do icc profiles.
  4. I found the i1 Display pro with the xrite software when set correctly got my GUI monitor (just South Korean rehoused apple display) very very close to my Flanders Scientific Oled cm250. It also worked well with a retina MacBook Pro. However, I wouldn’t use these for colour critical work though for client review or good-enough-to-get-by-in-a-pinch grading it’s fine.
  5. Yes. On media page right click the graphics file, go to 'clip attributes' and under alpha choose 'premultiplied'.
  6. I get more pronounced results from Pipeline, which leaves me confused when looking at your examples. Here are some examples of Alexa IDT vs Pipeline 2383. You can see my Pipeline 2383 exhibits more yellow greens, a warmer overall white balance, green in the blues etc. My workflow for these examples is Aces 1.1, Alexa-AcesCCT, Pipeline LUT, AcesCCT-REC709. Alexa_IDT Pipeline 2383 Alexa IDT Pipeline 2383 Alexa IDT Pipeline 2383 Alexa IDT Pipeline 2383
  7. You can get them 50% off around black Friday. As to accuracy that's so hard to ever judge. Accurate to what? A film print can look so different depending on the settings used when it was processed / scanned. One thing for sure is the Pipeline LUTS look good and they are smooth artefacts wise. The only LUT i've seen that could demonstrate accuracy would be the one created by Steve Yedlin to emulate 5218 printed to 2383. I'm sure there are other accurate LUTS but they'll be propriety LUTS held by post facilities like efilm etc.
  8. I would recommend trying Cinegrain Pipeline. I have Koji and have trialed Film Convert Nitrate. Koji has issues that create artefacts in some situations, Pipeline 2383 v2 can match the Koji with some small adjustments. As for Nitrate i could get something very similar to my favourite Nitrate LUT with the Pipeline LUTS and i preferred the Pipeline version. Pipeline LUTS are extremely smooth with no artefacts / banding etc at all. I do find their base setup too contrasty and a little on the warm side but this is easily adjusted. YMMV
  9. Just to add a layer to the conversation. Many DoP’s use custom LUTS some will be designed for the camera eg a .aml for the newer Alexa’s. Other DoP’s will use a custom lut loaded into a monitor. Roger Deakins uses one LUT only and has done since he started working with the Alexa. He has made minor changes to saturation and contrast for some films. The LUT has contrast curve baked in so that the image on the monitor 95% represents the final look of the finished film. This lut is then taken into post production for a consistent look from set to grade. This is why eg Sicario was graded in a week. Roger mostly shoots at 3200 or 5600 and creates the look from the lighting rather than a white balance / tint change. I’m a fan of this ‘one light’ one LUT approach but it won’t work for everyone of course. In resolve you can create a lut simply by manipulating the image with nodes then right clicking the timeline still and exporting a 32 cube LUT which you can the convert to whatever in lattice or if for Alexa mini etc use their free color tool. In fusion you can create 64 cube luts etc and get even more precise. Personally i’ve worked in aces and created a lut from a modified cinegrain pipeline 2383 lut which I modified to my liking then converted for use with the Alexa mini in camera. I’ve been very pleased with the results.