Thomas Singh

Great guys, thanks for the input!

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Similar frame rates suprises me. It could mean that it is a bottle neck somewhere that restricts the full potential. It could also mean that the DWAA/DWAB compression algorithm is not well enough integrated in Resolve. In Nuke the difference is huge.

This looks absolutely amazing, great work! Interesting to see how well the cold and warm scenes play together and I get drawn into the image because of the depth and color separation. I understand that it might be your "secret weapon" but would you mind sharing the Show-LUT with us? Would be forever greatful! That said, I totally understand if you don't want to share it!

Interesting.

I don't want to judge if you are ready to apply for job in a high-end post production house, but it's easy to read your taste and level of experience based on what you have put on your site. Joining one of the big houses is always a good idea for gaining more experience and learning from the best.

Is this typical for OLED in general or a Sony OLED only issue?

Great options, I do have a background as a still photographer and 3d lut creator looks very promosing. I will definitely download trials and check out the other solutions as well.

After reading the monitor response from the Lowepost FBG I'm a bit surprised that none of the users actually work on Sony monitors. Some years ago I remember they rolled out their entry level PVM range and some high-end ones, BVM (?) and back then it seemed like everyone buyed one of them. What happened?

Hey! I just got my z820 back from service and one or my dual screens is black saying 'out of range'. Any idea what is going on? Tried to switch cables and screen and changed the screen resolution in Win 10 without any luck.

How about this one for an alternative:

When working with low light footage and sensitive camera chips I sometimes exerience some really bad macro blocking and other artifacts. What are you prefered methods to deal with that?

Does anyone of you know if it's possible to visualize the attributes of a 3D Lut? I'm used to Houdini where we can change the translation and rotate around the object to reveal what data is modified.

A car commercial is like any other product commercials, it's about making the product look great. It could look clean and contemporary, gritty or surreal like the Honda Ignition spot that James walk you through in his premium article.

Hi Olga. What do you want to use it for? I have played around with it a while and it works as intended. There are a lot of documentation out there so it's 'easy' to learn and it can output extentions (not only. cube) for all the most common post production tools. If you are looking to buy a LUT creation tool I would probably wait a little if you can. I know Lowepost are talking with some developers about presenting new premium deals on similar packages, just don't know if 3D LUT Creator is one of them.

Nope, I started using DS when the first Avid DV versions were introduced. That means: When Avid DV came (2002-2004?) I also started to use Avid DS. We were fully equipped with everything Avid had to offer. I don't use DS today, but at that time I felt I had enough tools in my pocket (my DS) to fight world wars. And win.

Nope, I started using DS when the first Avid DV versions were introduced. I'm suprised that I'm still with Avid but I know it inside our after all these years and I'm probably to lazy to start learning anything else.

Sure, DR will do fine. Just make sure to check the aspect ratio and change it if needed in the clip attributes. On Inspire footage there will be no need to transcode to anything higher than DNxHD 145 to retain all the color information.

DNxHR works great, small files with all the information you need and fast upload to Dropbox Business. The you got all you need.

A good colorgrade to me is about helping production with telling their story. Colors can be really crucial to tell the story the way it should be told. I'm usually very happy when I accomplish what the creatives had in mind and if I personally think it turned out great as well, it has the potential to make my day. I don't think it's a shame to copy or learn from other colorists, I often find myself loading the stills gallery with frames that I like and use them as references.

Revival it was, couldn't remember the name at the moment. Never had the chance to use it, I think it was only an optional add on on the absolute first versions. I will look into the dust-busting feature, sounds interesting. Thank you for the great list of softwares Andy, will check those out as well.

The players handle gamma differently, and they will be confused wether your film is full/legal range depending on the format. QT can show your film in 16/235, but suddenly 0/255 next time you open it. That's the way it is, and that's how your client will see your film as well. Pro players like Scratch Play will always present your film in the correct range.

DaVinci Resolve 14 Public Beta 4 Today we released DaVinci Resolve 14 Public Beta 4. In addition to dozens of bug fixes and performance improvements, this new beta adds support for audio cross fades, 32-bit float WAV files, resizable bin windows and a new live preview feature that lets you scrub thumbnails and see video playback in the viewers on the Media and Edit page. In addition, H.264 multi pass encoding has been improved on the Mac, and hardware acceleration for H.264 has been enabled on Windows. DaVinci Resolve 14 Public Beta 4 is available now as a free download from www.blackmagicdesign.com/support

I've used Camtasia but unfortunately I don't think it's free.

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