Orash Rahnema

@Jussi Rovanperä no worries for the endorsment, its a good found and It will be a good experiment however it'll go!

Hi Louis! There's been a little misunderstanding, i wish was as you'r saying No, unfortunatelly i don't have a film to grade and in the market where i work i don't think i will ever have the chance. So i wanted to do it myself shoting motion pic film in a still camera and see if i can replicate the workflow. I will buy the vision3 from where @Jussi Rovanperä suggested, probably the hard part would come with the proccessing and scanning.

Hi all, I have a question that is coming from a DOP friend of mine that with my limited expirience i can't answer. A film emulation lut (a proper one) does realistically emulate how the film behave. He wants to shoot film, but before doing that he wants to study on his film stage how different film react to contrast and color, to achive his aesthetic. Also, but that's for me. I never had the chance to grade film and i my market i don't think It will happend, so i was thinking, do you think its possibile to buy stock of films and a winding machine and use motion film in a still camera? Are there problema fitting the film because of the perforation? Once shot how do i procces It to get a proper workflow? Thanks! Orash

If you want a pure solid Red you could Key the thing you want, split the channels and trow away G and B. Then add It back on a layer either normal blend if you are ok with luma, or change the blend mode to color.

Not even on dvr 14? I thought It had been fixed but i haven't tried yet. Man, that sucks...

Hi all! I wanted to share with you one of the latest job I have done and that I'm quite proud of https://www.orash.it/project/mps-more-strength-to-people/ I'd love to know what you think, Orash

ok cool! I have taken the habit to send vimeo links, at least that something i can control. still the problem is that also the browser color manage, so it change is seen in chrome or safari for example. oh well, I don't think all this will be change anytime soon, so i guess we'll have to find a way to work around it.

something I've never understood of this behaviour: If one grade on legal level project, with a legal level display and output a prores 422HQ or an h264 which is legal, why QT stills lift blacks? (sometimes at least) does it get confused and operate some sort of double transform? Is there a way to get around this problem? When you send files over to client remotely, do you suggest which player to use? and if that so, which one?

Hi all, I have few questions about using matrices or the use or the Channel mixer. My main question is, what do you use it for? Is there a tech or creative use or it that youd like to share? For example I know that is used to transform from a known set to primaries to another target known set. How do you know the target Matrix, how can i find some known matrices ti experiment? Other then this, is there anything else?It'sprobably the tool i use the less. Cheers, Orash

I Iknow exactely what you mean! I lived in Sydney for about 7 Years, i left in 2010, i hoped that things foto better in the main time. Anyway, let us know how It goes, its a very interesting topic!

Thanks @Tom Poole it's nice to hear that! In my mind it's really important to maintain the reletationship and the customs of mentor and assistant, in every field. And it's nice to hear that it's possibile to step up once in position to do and show more.

Note: this doesn't want to be a polemic. I have reached out to people working as assistant or junior colorist in big companies (in london)I wanted to know whats the real deal in those position and how's the market. The thing that hit me the most was:"you get in as an assistant you will die as an assistant. " I have been told that to become a colourist you need to have a client portfolio to bring with you (this was about the feature film industries, not commercial) that was basically impossibile to become a colourist starting as an assistant. In the commercial field it was more, if you are an assistant you are one of the many, the only chance you have to step up the ladder is that the colourist goes away and leave a position open, that a new colorist doesn't get hired and that you between the many are asked to get the position. Practically a bet that could last tens of years and could bring to nowhere. Now I'm asking to you, is this true? I'd be happy to hear a different opinion

Hi Julien, I completely understand how you feel, that is something I'm struggling with as well, feeling the need to relocate but to start again as a freelance it's a daunting task and a shot in the dark. The difference for me is that I still freelance going to post houses or with "clients" wanting to be presents. So reading your story I'm asking, since most of the time you get the drives and do the job completely independent, would not be possible to do it from ovreseas keeping your clients, at least you will have a base while rebuilding the network in France. What you need to do is to set up some kind of server storage to upload and download the footage. I'm sure you thought about it as well, so I'd be interested to know your thoughts about it.

I usually try to play what please the client more. Even if sometimes it's something I don't really like. Having them relaxed and easy going is more important then me listening to what i like. When they leave the choice to me I play this playlist, growing day by day, it is a mix of classics. With this playlist it's almost sure that at one point something they like is played. https://open.spotify.com/user/1174081029/playlist/6DVtKMiXIrpVBB1uBpWek4

I was about to ask the same. @Emily Haine would you care explaining a bit more? Thanks!

They are actually quite light, i usually Can play them in real time or close to even on a laptop, of course without correction

I usually use the .cine files that are native from the camera, i don't see why a transcode is needed. The dit transcode the .cine in something editable (prores for example) and never had a single problem conforming the timeline with the cine files.

Really nice!!!

Hi @Nicolas Hanson if you double click underneath the clip where now it says MXF you will get the clip name. if you keep double clicking you will get other info. cheers, Orash

I ended up doing Just that. I made a new version, graded to Black outside and to White inside. I now wish there was a Channel shuffle node to copy the alpha Chanel in the RGB or even simplier a export alpha flag

Hi! Is there a way to export the alpha Channel, either as a separate matte or embedded. I need anche Easy solution as every shot that i have Will Need the alpha Channel and It will be created with both keyer and Windows. Cheers, Orash

That's strange. It's either a big or maybe, do you have an external matte that is offline? Maybe activated by mistake in the timeline level? Just thinking out loud

I quite like It. You have the choise or lots of different scopes and layout. Its rather precise and very cheap to bè an external scopes. The down side is that with resolve you must run it on a separate Mac computer.

Hi @Steve Shaw Yes, exactely, i know, in fact my original question was why in aces (davinci resolve) seams like the gamma change is a lot stronger and have a stronger effect in the Shadow area. I work around It not changing the odt but Just changing the output gamma

Hi all, I wanted to ask a question and I thought the best way was first to show my work. So here's my website, I have updated it pushing on top what I like the most (I might be wrong and choose them based on feeling or difficulties, and something else is better to be shown first) anyhow: https://www.orash.it/ Now, I'm currently a freelance colourist based in Milan, Italy. I'm getting to the point where I need "bigger challenge" and learn more. Being a freelance in a small market makes it hard to find mentors and learn deeper technical and creative stuff. Having said so I'm thinking more and more to apply to big colour houses (in London as everywhere else I will have a visa problem). My question is, based on my work, do you think I am ready? How you think is the market right now, is it a smart move to go to some of the big house and become an assistant colourist? I would be happy to assist and learn for how long is needed, at the same time I'm starting to be a little old (37) and I wonder is it's a wise thing to do. Also, for the people in this forum that are already working in places like that, is it really that difficult as everyone says to get a foot in the door? cheers, Orash