Stig Olsen

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About Stig Olsen

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  • Birthday 01/31/1984

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    www.lowepost.com

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  1. Hi James. The tools are distributed under the same type of model as Dolby distributes "Dolby Digital"; they sell licenses directly to the studios and networks. It's only available to certified post production facilites, and consists of both a software and a hardware part.
  2. We continue our DaVinci Resolve 17 training with a new high-end course in Color Management Workflow. This is an intermediate course for colorists and visual effects artists taught by our instructor Lee Lanier. In this training series you will learn to work with both display-referred and scene-referred management including ACES, matching camera profiles with color space transforms and DCTLs, how to set up your projects for multiple color space outputs, everything about RED IPP2 and RAW workflow, how to use the Gamut tool, LUTs, CSTs and OpenColorIO in Fusion, and much more. The DaVin
  3. You can add a TimeSpeed tool from the Miscellaneous menu and set the speed value to zero.
  4. Fusion doesn't recognize layer stacking in the edit module so it will not automatically fill the transparent area with the bottom layer clip. Instead, you can mark both clips in the edit module, right click and create a "Fusion clip" to bring both of them in.
  5. Stig Olsen

    Conforming in DaVinci Resolve

    This is the ultimate course for editors and conform artists who want to learn everything about conforming inside of DaVinci Resolve! With 21 lessons and almost 5 hours of in-depth DaVinci Resolve training, Kevin McAuliffe will take you through every step and technical detail of the process from conforming media to mastering the final picture. About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros
  6. Printer points were mechanical adjustments that affected the color balance and brightness of film before the digital age, and the technical process was done by a color timer. The systems used a series of dichroic filters that split the light into red, green, and blue, and each color then passed through 'light valves'. These were metal vanes that opened and closed in precise increments to allow the exact amount of light through to replicate the exact value for each light point. The three colors were then recombined back into full spectrum light and output to the film. In digital grading
  7. Hi Everyone! After having used the last years to discuss color grading with the best colorists in the world, seen many different approaches, techniques and ways to build grades, we thought it was a good idea to create a video tutorial series and share some of the techniques and insight we have learned. We landed on doing scripted (pre-written) tutorials. That means we can concentrate the content, be far more to-the-point, make them shorter and avoid wasting your time with distractions. The first one is about silver retention (bleach bypass) and is available for our premium memb
  8. Hi Everyone! I'm just checking in to invite you all to the Color Grading Lounge group on Facebook. The group grows fast with many lively discussions. See you there, Stig
  9. B efore beginning the shoot, Roger Deakins performed many photo chemical tests at film labs and post facilities to see if he could get the look that he and the Coen Brothers wanted. They were to shoot in lush, green Mississippi during the summer, but wanted a dusty, brown, burned out hand-tinted look that reflected the 1937 Depression era. The only place he felt could give him this was Cinesite at that time. I became involved during the testing. You have to remember that back then, in terms of color grading for film output, while not exactly the Stone Age, was more like the Bronze or Iron
  10. Want to know how it looks like when Tyler Roth, senior colorist at Company 3 grades a TVC? We recorded a remote grading session (screen only) and made 6 short edits for you. Click here or go to our video menu.
  11. Most dramas, features and commercials are shot progressive, but transmitted in an interlaced environment at the end. The common workflow is to work progressive through the entire pipeline, but to change the project settings to 1080i50 before final output. You will not experience any field issues because they will be duplicates of each other, but as mentioned above, you can benefit from the interlacing on some animated effects like end crawls and transitions if those are added after the timeline change.
  12. On the shot below I've used "Sharpen Edges" with increased edge mask strength and decreased edge blur, combined with some customized grain.
  13. Inspector attributes can be copied by selecting and copying (ctrl+c) the main clip and then right-clicking the target clip choosing paste attributes.
  14. HBO's Band of Brothers has inspired colorists for years and the look has been copied numerous times since it was released in 2001. DI colorist @Stuart Fyvie worked on the team with Luke Rainey (RIP) coloring this award-winning show, and two years ago (!) he wrote a story for us that we want to share with you today. This story is big, never told before, full of insight and tech-talk. It's really a must-read. Thank you Stuart!
  15. Hi everyone! We are setting up a virtual feed from C3 to our suites for an upcoming set look session. This feed is received through the Streambox Media Player on Windows and it works perfectly. But we want to extend the display monitor view to a HDMI monitor connected to a Q M2000 card, is that possible? It's not possible to run the signal through any external output devices such as a Decklink on Windows.