Thomas Singh

We are expanding with extra offline suites and think that the following work station are great for us: Z440 Intel Xeon E5-1650v4, M2000, 16GB. But sometimes it could be neccessary to do some grade and online work on them as well. I know that Z840 are better alternatives for a fluid grade session, but I would like to know if you got some experience with the Z440 in this matter.

Anyone know what happened to the restoration tool that once came bundled with DaVinci? Or at least I think it was an option to integrate it with with the first version for some extra bucks. What are the most used tools for restoration today?

Konvision released this exciting monitor today that support DCI-P3 color space. Could that be an option?

Second that, and MediaFour is a trusted company with great products and support. Costs about 25USD which should be affordable for most people and they even provide a five day trial.

Now that this community has started to get some users I thought it was time to encourage you all to post an image of your suite?

How about Eizo or Sony?

The color spaces available in Nuke are many so if you want to be 100% sure you need to find a way to extract the data if you can't have them tell you what is applied.

It depends on the color space applied when rendering the files. The VFX-house should be able to give you this data (or even a LUT) so that the transform will treat the image in a way that gives the intended result. If you with in Resolve you could play around with the different 3D-luts in the VFX in/out folder.

Can anyone explain the main difference between grading in Dolby Vision and HDR10?

Second that!

Great article Dave, I have watched this movie several times both at the theatre and home and the color grading is absolutely stunning! This article really got me interested in checking out the linear architecture of Lustre, as the separation seems really handy. Stretching the IRE values both in Baselight and DaVinci can be a bit cumbersome.

Great article Dave, I have watched this movie several times both at the theatre and home and the color grading is absolutely stunning! This article really got me interested in checking out the linear architecture of Lustre, as the separation seems really handy. Stretching the IRE values both in Baselight and DaVinci can be a bit cumbersome.

Gordon Willis has stated that he maintained strict developing and printing control on every movie he shot. I can't imagine that the most acknowledged labs could get away with such sloppy work. That said, I use to develop and scan my favorite medium format still film (Fuji 400h) on several California based labs and I've experienced more than a handful of times that the exposure and chroma levels are out of control when scanned both on Noritsu and the famous Fuji Frontier. And that's happening even when they know I'm one of their most picky and detail oriented clients.

Thought the log and pivot controls were exactly the same, except for the Baselight's exposure tab that is identical by moving the three offset sliders in DaVinci simultaneously up and down.

This thead actually had me wipe the dust of me old Contax G2 camera!

Great list! What is FilmGrade? A toolset known from Baselight?

Is this Steve Jobs in front of a Mini Panel? So that's what he's fiddling with up there.

Wishlist for DR15

A list from Lowepost's FB page. Glenn Kennel: "Color and mastering for Digital Cinema" Alexis Van Hurkman's COLOR CORRECTION HANDBOOK David Stump's DIGITAL CINEMATOGRAPHY Scott Arundale's MODERN POST: WORKFLOWS & TECHNIQUES FOR DIGITAL FILMMAKERS The Art and Technique of Digital Color Correction, 2nd edition Color Correction for Video, 2nd edition Charles Poynton’s PDFs on gamma correction and perceptual uniformity

Yeah, it's nice isn't it!

This spot is a must-see, the color work is really incredible. I just wonder how much is actually in-camera work, gels and lighting, and how much of the palette was actually created in the color suite.

I've worked with DS since the first Avid DV versions back in 2003 and it's an amazing piece of software. I can only imagine where it would have been today if someone else had the responsibility of the developing and marketing. I'm a little bit pissed off as I have been very loyal to Avid all these years, but their lack of development is almost non-exising, they only talk about PhaseFind and ScriptSync, features most people don't use. The thing with them is that they just develop their product until it works, and that's it. Look at the interface, look at their color correction and title tools. That is not good enough today, and that is one of the reasons DS died. I think that will be the reason Avid dies as well. That said, I hate that I need to start learning Premiere or the BMD editor when it gets good enough. I know the day will come.

Many great advices here

Hi Dylan! Thank you, I didn't know I could switch between different scaling options so that's probably it. FCP. Btw: I tumbled across your site, a lot of great work!

I know, it's always like that and the spot landed were well!