Orash Rahnema

On 30/12/2017 at 11:25 PM, Tom Poole said:

Definitely film constrain LUT. 

What you mean exactely by "film constrain"?

Is It another way to say film emulation or is It something different?

Graded by @Tom Poole

I'm sure he heard It many times before but It looks freaking good

I still don't know what I wish I knew

I have never had a mentor, I had to lear all i know by myself and I am sure I'm doing many things wrong, only i don't know what

It's not different, the problem with y curves or lgg is that perceived saturation is less when y gets brighter then RGB ad the reletionship between the three chanell behaves like that, contrary when y decrese saturation appear stronger. 

The thing is that y is a derivation of the reletionship of RGB , It doesn't really exist by itself so RGB Will always bè effected in someway. 

To get what you are looking for you need a different math. 

Using a lab colourspace you can control the luminance only chanell

Another way is to get a layer node and set the composit mode to luminance. Then on the second input change lgg to taste

Not sure about adding It as an external matte, i never do it.  i Guess the down side is that you have to add It clip by clip. 

If added as an overlay lavel you Just Need to make sure that the grain doesn't lift and change the contrast of your grade. 

Usually so called scanned grain do that. 

I have made a grain clip in nuke and exported raw to avoid that. (When i don't use davinci grain that is more then enough most of the time)

That's right, i've originally bought It to do livegrading, now i'm thinking to use it to convert the signal and If possible load a calibration lut

Hi all!

A year or more ago i bought an hdlink pro and soon After that i have updated my MacBook os only to find out that BM didn't support the new osx

Since there had been sitting on a shelf. 

Now i wonder, is there a use to It in some way or Can i use it Just as a paperwaight?

I have a laptop with an old os that should be compatibile, is It possibile to upload luts and keep It disconected from the laptop itself?

If i understood what you'r asking, then lum vs sat curve is what you'r After

in DR you have to set the raw debayer to RedWideGammut as color science and LogG10 as gamma curve, then use one of the red lut downloadable from here:

https://www.red.com/downloads/58de98eff77f300ebe00053f

Between the two i prefere Alexa, i like better the color rendition and the general feeling, plus is much more forgiving (to my eyes) to the mistakes made in set. 

Said that since i'm working with the new ipp2 red pipeline i have to say things are much better

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

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

On 12/4/2017 at 6:19 PM, Andy Minuth said:

Better late than never. Here is a version of the used show-lut. The original one goes to P3 D60, but for most of You Rec.1886 (709) is probably more suitable. It expects Arri LogC WideGamut as an Input.

HW_ShowLUT_LogC_2_Rec1886_16.cub

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

A qualifier that actually works!

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

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

4 hours ago, Louis Kreusel said:

Hey Orash,

Once your test film is shot, you should get it processed and scanned at the same lab that would handle the real film.

You can then grade the test frames and see how they will look. Do you know if they want to do a film print or will the final be strictly digital?

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.

On 10/28/2017 at 11:19 AM, Nicolas Hanson said:

This is because QT is confused whether the clip is data range (1-255) or video range (16-235), and in this case it treats it as video range with liftet blacks. That's how QT is and yes we all hate 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

5 hours ago, Julien Chichignoud said:

 I moved with the internet speed in mind (if you know anything about the state of the internet in Australia you'll know why I was careful) 

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!