Orash Rahnema

Yeah i know those ones, as i said on the previous post this are extremely expensive.

Are there any inexpensive hdr monitors?

How do colorist start practicing on grading hdr if there are not entry level monitors?

Hi all,

I was wondering what's the status right now with hdr capable reference monitor.

At the moment almost any modern TV claim to be hdr (even if it's not true 100%) but the only monitor I keep hearing about it's sony and dolby and the cost of either is something like $36k.
But as I said since lots of tvs are claiming to be hdr, lots of people are starting to talk about it (in a completely wrong way by the way)

Something like that cuts out every freelancer and small grading houses, as someone like me for example can't even practice grading hdr and become proficient with the pros and cons.

So, to cut it short, do you know if it even exist a hdr monitor, not as good as the sony or dolby, but good enough?

How do you guys are approaching and practicing this new technique?

cheers,

Orash

Hi guys,

I'm sure that here or on the other millions forum around this subject has been discussed a lot, unfortunately i still can't find a proper answer.

How do you compress to get a file that has the right specs to go on, let's say, vimeo.

Every time i upload a file I feel it's just not right. It suffer from vimeo compression and become a little soft, mushy. If i upload something that has grain, the grain get completely destroyed.

But then I see on vimeo some stunning videos that looks pristine.

So, I have tried h264 straight in Davinci, in HD going from 10000 up to 30000 kb/sec (vimeo suggests 10 to 20K for HD)

I have tried compressor, handbrake, different settings and stuff.

I always get the same results. I just can keep the quality.

So, How do you guys do it?

Did you find a successful workflow, do you upload straight PR422HQ?

I wish someone could help me on this, sometimes it feel more like witchcraft.

cheers,

Orash

Can you play the same footage real time on the internal HD?

My expirience with any level of Apple trashcan is that above 2k i can't play anything real time, no matter what. 

As far as i'm concerned is not a storage Speed problem. 

yeah, sorry, that's what i meant.

I have never had shots that were filtered in camera.

I always worked on normal shots that i was treating like red filtered, using tools like rgb mixer or splitter and combiner getting rid of the green and blue channel.

But i always ended up needing to have the effect dialed down quite a lot because uncommon pattern were picking trough.

So it was interesting to see and know that shots filtered in camera were working muck nicer and you were able to achieve suck black skies and silvery skins

yes exactly, not proper noise, more uncommon pattern, i guess it's the lack of information of the single channel that emerge.

It definatelly has the black and white red filter look above all the first frame you posted, I thought it was done in resolve tho, using rgb mixer or something like that.

I mean, it's a really tough decision to take on set, to filter so heavy the image knowing that theres not coming back.

I really respect cinematographers like that.

Margus, having the image already red filtered did help with noise?

I have done quite few b&w treatment and many times i go towards the red filter look, but most of the time i have to stop long before i would like (i'd love to get a b&w image as you got) as the image gets really noisy.

Hi everyone.

I usually don't post much of my work around, but this one here it's one of those where i'd really love to get a feedback.

It's a short movie that i've recently graded, I quite like the end result, I was aiming to get it as "filmic" as possible.

Was quite tough to grade as it was mainly shot with extremely low light and it was really easy to end up with noisy images.

Was shot on alexa prores444 and graded in resolve

http://www.orash.it/project/in-the-woods/

I'd be very happy to know what you think about it.

cheers,

Orash

I love how it looks "silver" and not black and white.

I have never tried to grade black and white in ACES, how did you find working on it, did it have any benefit?

Every single time I see things like this I understand how little I know about this art and since.

At the same time it's frustrating as I believe it's not just by studying but also the work environment and the people that you work with that helps learning, understanding and finessing how to work in such a deep and knowledgeable way.

Anyway, thanks for sharing, hopefully sooner or later i will understand a bit more of what he said in some part of it and get more then just the surface!

hi all,

this thread is really interesting!

I wanted to ask to whoever is already using it if baselight for avid (or nuke) is worth it, how similar is to the proper baselight and what tools are missing.

I mean, I am working in the italian market and there are no baselight in Milan (where i am based), around here is mostly resolve and lustre.

I've always been very curious about baselight (and nucoda and mistika and scratch) as i believe is good to learn how other tools works, unfortunately there is no way to put your hands on this colour tools here where i am, so either the knowledge remain theoretical based on tutorial or  looks like the only real proper affordable solution would be to get a baselight plugin. Unfortunatelly i can't afford 50k+ to get a baselight machine (i wish i could).

What i don't really understand is, if filmlight manage to make a plugin for avid and nuke, why don't do a standalone software as well.