Alex Prohorushkin

Members
  • Posts

    207
  • Joined

  • Last visited

Everything posted by Alex Prohorushkin

  1. Adobe as always vs Apple. First one released fcpx.10.3, followed by other v.2017 ... "Its a race"
  2. Digital Vision is pleased to announce the release of the 2016.1 version of Nucoda grading and Phoenix Restoration software. This release offers a huge range of new features as well as some important bug fixes. Please be sure to read the Features and Benefits document there is very important information on new features. Just some of the many new features in 2016.1 AJA Kona support for video and audio capture Precision and Interface updates ACES 1.0.2 SDK Updates for Sony SDK Updates for Red Changes to MXF file exporting and naming of DNxHD/R DVO threads - Increase in speed for most DVO tools LUT’s - Support for importing and exporting .cube lut format EDL Enhancements - Layer and Matte additions Changes to the Router tool Use any layer as input for current layer New tools in the User FX and Colour layers Matte Paint Matte Diff New DVO tool - DVO Dry Clean New file formats supported for Export via the Extended Formats For download information, please log on to the Google forum Digital Vision on Google groups If you are not a forum member please sign up and well be happy to welcome you.
  3. Hi everyone. Lot of us know (or have heard) that in cinema and theatre p3 color space is usually used when projecting images to screens. It is very different from Rec 709 color space. Should i pay much of my attention and spend money for P3>Rec.709 adaption if people anyway can't see it on the screens of their home TVs? Talking with one of my collabs i heard something quite interesting. He said that much of the color guys all over the world work inside Rec.709 color space because when Rec709 is converted to P3 almost nothing changes for the eyes of the audience because p3s range is much wider than the Rec709s one. What can't be said about P3 to Rec709 converting because it takes much effort to place wide range of P3s in Rec709. Understanding that this approach is quite wrong, I guess that for many movies this way is viable. What would you say? Here is comparative graph of the color spaces.
  4. Winter is coming ... and all colors become white.

    1. Marina L

      Marina L

      White with grey;)

    2. Alex Prohorushkin

      Alex Prohorushkin

      Out of Moscow - only white)))

      In Moscow - only grey.

  5. Thanks! Very cool) Rest for eyes.
  6. Oppppssss))) its amazing devices. I want 3 pcs))
  7. I wonder if in today's world is such a thing as a "Favorite of color grading systems" What do you think, is there a system now, which fully meet modern requirements? ACES, HDR, 4K or 8K, 3D, VR, or something else? Mistika, Lustre, Baselight, Pablo Rio, Scratch, RAIN, Nucoda, Resolve, etc.
  8. And another web page too: https://www.visualnews.com/2013/04/29/movies-in-color-film-stills-broken-down-by-color/
  9. And another web page too: http://film-palettes.tumblr.com/
  10. Hi Mazze. What does "panel mapping for Lustre" mean? It's interesting.
  11. Add to this topic. This is impressive for monitors that price out at $5,000 for the 65' and $3,500 for the 55'. http://nofilmschool.com/2016/10/lg-oled-gives-you-reference-quality-110th-price
  12. Hi Fernando. I'm sorry, but your answer (feedback) to Tom Evans, but your quote from Nicolas Hanson. Tom are not Nicolas. respect, Alex
  13. Hi. Almost any software can operate with the panel. The original or universal. How Community colorists present position is that there should be a panel necessary? As far as I have information that Steve Scott (Technicolor) does not use the panel during operation. Alex.