Orash Rahnema

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

11 hours ago, Nicolas Lossec said:

Yes, i'm sure it's better to do a trim pass manually to make those deliverables.
But is there a way to do it automatically ?

 

In davinci I use a color space transform ofx on the timeline level.

Setting color space and gamma to be converted from where you are to where you need to go.

1 hour ago, Andy Minuth said:

I don't do different passes for sRGB. Client gets just one Master in Rec.1886. One reason You already mentioned: because the surround is part of a color-space (bright vs dim in this case).

The other point is: How do You know that the client will not upload his "Video ProRes" to YouTube? And when it is on YouTube, what if someone watches it on their Television, etc. You can go on like that...

From my point of view, the player should do the correct gamma correction for the display. So I try to just give proper Rec.1886 masters with correct metadata.

That's interesting, I always try to do the 2 deliverables but i actually never thought  about people watching youtube and vimeo on tv.

True that the surround is part of the colour space, but wasn't that the reason why computer screen manufacturer choose a 2.2. gamma?
To compensate for a brighter surround? 

How do you attach a metadata to a prores or an h264 in order to let the player do the correct conversion?

Thanks!

Orash

On 8/5/2017 at 10:22 AM, Emily Haine said:

Hi Orash. The color science teams is often asked to develop DRT's (Display rendering transforms) for specific projects. In other cases print-emulations (not the same as film-emulations) can be used to add texture. Maybe @Daniele Siragusano or the other Baselight users can chime in with some insight. 

@Emily Haine when you talk about drt's you are talking specifically in an ACES world?

Not in aces would that be an output LUT?

Is this done only for long term projects or also for commercials?

Could you please expand on the difference between print emulation and film emulation.
My knowledge is quite limited and I thought that a print emulation was a way to emulate the film stock where the motion pic was printed after the DI, so at the end it still was a film emulation.

Thanks!

Hi all,

In many interviews and insight I read about using different debayering systems and algorithm to achieve different purposes like get deeper color depth or better details or noise level and what not.

I was wandering if anyone could explain me better how this is done.

Is the footage debaiered and rendered out in different software, or maybe systems like baselight let you choose the debayer method?

In Davinci looks like the choice is all taken in the camera raw tab and there is not really a different debayer option. Am i wrong?

cheers,

Orash

I agree with Emily. 

I freelance in a small post house and they have a Sony bvm. 

Although the contrast is really nice, the color fedelity and the Green tint are really bad. 

I really don't like to work with it. 

I only saw but never worked with the hdr Sony monitor, i think that doasn't have any major issue, at least i Hope so, seen how much It cost

Hi Emily,

I use it quite a lot in resolve to add saturation, sometimes add color tint and to add sharpness only in the luma channel.

I saw a Peter Doyle interview where he was saying that he used it to control the deep blue dress in the tim burton movie.

I wish I knew exactely what he did and I wish I would learn more way to use the lab color space.

On 7/26/2017 at 11:17 PM, Abby Bader said:

Lattice looks interesting, too bad it's only for Mac. Can this software do anything that 3D Lut Creator can't?

Hi Abby,

unfortunately I've never tried 3dlut creator so I can't really answer that.

What I know is that 3dlut creator can actually be used to build luts, Lattice not really.

With lattice you can take luts, analyse them by viewing curves or cubes, you can separate the contrast curve and the chroma, and you can combine different luts into one.

But most of all, and that is what i used it more, you can export luts in different formats. 

I for example create a lut in davinci, export it as a .cube and convert it into .aml to load it in the alexa mini.

Where can we see the whole movie?

You can also use lattice

Orbitate around the cube and with a slider you can check whats effected

I would say yes It does, if i think italian 70s and American 70s are complittely different in style and look. 

That said for Italians, American culture Is well known lookwise, so American 70 look Is perceived the same as the italian. Not sure about the other way around. 

Now, film emulsion wise in Italy at that time was used ferrania and estmancolor quite a lot, in Japan were using fujicolor and in the states Kodak, so i slight change in look was happening, but i don't think is strong enough to be perceived