Orash Rahnema

Premium+
  • Content Count

    144
  • Joined

  • Last visited

Community Reputation

80 Good

1 Follower

About Orash Rahnema

  • Rank
    Member
  • Birthday 04/23/1980

Personal Information

  • Gender
    Male
  • Website
    http://www.orash.it/

Recent Profile Visitors

1,883 profile views
  1. @Christian Berg-Nielsen ACEScc and cct are the same, where the only difference is that cct has a "toe", so the blacks are a little lifted with a very small "soft clip" this has been done because any other flavour of ACES otherwise tend to keep whatever is at 0 level untouched giving a sticky feeling in the blacks that most of the time are a pain to deal with So most of the user that don't have access different drt gravitates toward ACEScct but it's not mandatory, using ACEScc ensure you that whatever is at 0 stays at 0, so if ones grading stile has always pure blacks then this might help as one will end up pushing the whole signal to accomodate those sticky blacks that i was mentioning before
  2. the movie was shot on negative film and scanned log. I guess she's talking about a print film lut that once was used to get back when film had to be printed for screening, nowdays it's used creatively, so instead of de-logging with a log to p3 curve, or with a custom curve she used a film print lut designed by her father specifically for the show
  3. Edit: hdr will look super constrasty but you can do a "contrast" node right befor the ofx nod and fix the curve to have a similar feel, gamma 2.4 it's a lot more steep compare to pq
  4. Hi Glen! I will assume you will have to grade hdr10 and not dolbyvision as would be a different Since your lut is placed at the end I will try by replacing the lut with the color space transform ofx setting the output to rec709 and gamma 2.4 For the SDR version i will then chose the tonemapping option in the node for both luminance and saturation, in that way you should have the same result of the lut. For the HDR version i will leave off the tonemapping option so the ofx will not softclip I would honestly not tring to convert the gamma to pq or have a bigger colourspace as i you will probably have to redo a good chunk of your grade living the gamma and the colourspace like the 709 but without clipping then you can go back to your nodes and do a very slight trim pass to push a bit more the hdr version and still both version should be similiar. Let me know if this works for you cheers, Orash
  5. Hi Glen did you place your lut at the end of the pipe or somewhere in the middle or at the begging?
  6. I believe it means to do different grades to be comp later in online in that way you can "control" different areas doing sligltly different grades in terms of contrsasst, saturation, detail and stuff like that
  7. that is pretty cryptic I would say. anything that is possibile to know before the 10th?
  8. as per ruler you mena something that can draw a straight line horizontally and vertically and can be arbitrary moved or do you need also measurement in pixel or centimeters, like photoshop? for the first one with a bit of time I can try to write a dctl since I was kind of tackling something like this already to excercise, I don't know when will be ready tho if you need the second one, then no, i can't do it
  9. Can it be that hue vs Sat works on HSL or some different colour space rhater then the rgb colour space that Sat use. I belive Sat control works in RGB using 709 primaries, not sure about curves, the same nature of them makes me believe they are in hsl. But then again i might be wrong would be interesting to check
  10. Here there is a very interesting tweet about the apple xdr display from Juan Salvo
  11. Hi David there are few things that should be known before giving a proper answer. the only thing contaminated are the black bars or does the image looks more contrasty on your display? a quick things that come in mind is, when the image are desqueeze, the black bars you see are black to start with, but if you really push the level you see that behave like they are part of the image, so if you "pollute" the black with a color cast or the blacks are lifted also the bars will be The solution would be to blank the frame using output sizing or timeline blanking that if there are not other problems that I can't see with the info we have.
  12. Last year I have done a 15 min long short movie, shot on a single long take at sunset hour where the 4 subjects kept going in and out a house, so lots of exteriors and interiors with a massive light change. The DP i have worked with had done a great job "shutter pulling" and that helps a great deal. First thing I have studied how the light was changing and I found a "master shot", then I have found all the places where I could hide the dynamics and balance the whole thing with very simple correction, mostly offset and contrast working with the light changing and not going against it. I have used the layer mixer and create stream for each change I needed Then I have worked on the "look" and placed it within the single streams, to use the dynamics I have done before I have done a general correction after everything also. After all this I have worked with masks and stuff. The key is to keep it as simple as you can, things can become messy quite quick. try to brake it into smaller problems and think it like a multi shot video, that rather to have cuts have dynamics. Choose if you want a massive node tree with a layer mixer like a did or to brake the cut in editing using cross dissolve. I don't like that approach as I rather move keyframes that to jump within cuts and fix dissolves. I hope I was clear enough
  13. no really really sure what you are asking, but using a lut in aces is not a straight forward thing to do and generally not a good idea. you can try to make it work using lightspace but still it's a workaround that introduce many unpredictable factor and can give you nasty artefacts. Most of all if you want to go from an sdr odt to an hdr The lut will clip at 100 nits anyway so it's not going to work To go from an sdr to hdr there are not workaround (not like a trim dolby vision trim that take you from hdr to sdr) The only safe way is to grade it for hdr starting from what you already have, after the lut. in that way you can extend the contrast letting only the very highlight to go above 100nits and keeping most of the signal at a 100 nits where already belong. Also you will have more room to give shadow details, which is really nice.
  14. Red can read cube, as far as I remember, Alexa can't. For the Alexa, depending on the model you have to use, on the Alexa xt you can only use a 1d lut and matrix and if I can recall the format is. Xml. On Alexa mini, Amira, lf and basically all the arri camera after the Amira you can use a 3d lut and the format is. Aml I never had problem with a 33*33 lut but since you have to convert your cube lut into an aml you better reduce it to 17*17 I use lattice to convert the cube into the aml.
  15. I haven't see this movie yet, but after reading the article I must see it asap. Which system was it used to grade it? I'm particularly interested in the oversaturation/desaturate technique. Was it done with a spliiter/combiner? To make it work the signal needs to be clamped someway? I'd love if someone can answer this!