Orash Rahnema

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Everything posted by Orash Rahnema

  1. Now that i think about it. Since the intruduction of the 3d tracker i feel the need of a skew control on the shapes. It's hard to keyframe and fix under the perspective distortion sometimes
  2. yes, it happen when the clip had been set to play backwards as in "reverse speed effect" I hate it as it's really confusing When it really becomes a pain I sometimes duplicate the clip in the timeline, remove the speed effect and using the remote clip grading I correct the keyframe to my taste
  3. I wanted to check out this LUT, i know it's for baselight and I assume that .cub is the baselight 3d lut extension. I have tried with lattice to see if was possibile to open it and export it to a .cube file but I had no luck. Does anyone know if and how it's possible to convert it to use it in davinci? cheers, Orash
  4. Similar to the aproach described by @Frank Wylie i sharpen the luma Channel in a lab space node where i disable chanell 2 and 3
  5. @Jussi Rovanperä no worries for the endorsment, its a good found and It will be a good experiment however it'll go!
  6. 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.
  7. 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
  8. 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.
  9. Not even on dvr 14? I thought It had been fixed but i haven't tried yet. Man, that sucks...
  10. 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
  11. 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.
  12. 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?
  13. 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
  14. 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!
  15. 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.
  16. 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
  17. 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.
  18. 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
  19. I was about to ask the same. @Emily Haine would you care explaining a bit more? Thanks!
  20. They are actually quite light, i usually Can play them in real time or close to even on a laptop, of course without correction
  21. 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.
  22. 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
  23. 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