Nicolas Hanson

Digital Intermediate Conform Artist (Freelance) Local Hero Post is a filmmaker-centric boutique post house that specializes in Digital Intermediate for feature films. We specialize in getting the most professional quality image out of today’s digital cinema cameras using Raw codec formats with end-to-end color management. Our services cover everything from on-set dailies and editorial systems, through conform, color, visual effects, mastering and deliverables. The Digital Intermediate Conform Artist assists the Digital Intermediate process through every step of the process, from conforming camera original media to the final edit, preparing color timelines, rendering versions and mastering final picture. The position supports the Senior Colorist, Technical Supervisor and DI Producer in the needs of the projects at the facility. Position is freelance with potential extensions or full time hire. Salary will be commensurate with experience. Email a resume and cover letter to jobs@localheropost.com Responsibilities: Perform basic and advanced conform functions (online editing), matching the camera raw footage to the edited program. Set basic color metadata settings for optimal use of camera Raw formats. Color grade, rename, sync sound and render conversions of dailies material. Work with compositing tools such as After Effects to re-time shots and perform basic clean-up. Render and transcode any material required for film, video versions, web, and digital cinema. Create preview Quicktimes, DVDs and Bluray discs as needed. Work with the mastering artist to complete and QC tape layoff masters and DCP screeners. Ensure proper setup of the equipment and projectors in the DI suite. May require client contact/interaction as needed. Communicate with the DI Producer and Technical Supervisor the status of the work as well as clearly define any issues that may arise. Any other duties as required. Requirements: 2+ years experience in color correction with high-end software. DaVinci Resolve required, Assimilate Scratch a plus. Great potential if you have experience with Baselight, Pablo, Mistika or others. 5+ years experience with the common editing software platforms: Avid, Final Cut, Adobe Creative Cloud Basic experience with re-timing and manipulating shots in After Effects or other compositing tools (Smoke, Nuke) Strong interpersonal skills; ability to interface with clients regularly and maintain excellent working relationships. Must be able to work independently with little supervision. Adaptable to change, reliable and dependable. Strong technical background, able to troubleshoot system and connectivity glitches. Basic understanding of color correction, with a good eye for a quality image. Knowledge of film and color science. Must have thorough knowledge of various digital imaging file and data formats. Knowledge of the DaVinci Resolve software platform Must be able to maintain flexible schedule to meet production requirements; ability to work day or night shifts as needed. Ability to see detailed imaging issues or technical problems. Strong communication and leadership skills. Creative problem solver, able to troubleshoot a software behavior and find workarounds. Resourceful and flexible with sound judgment and integrity. Must be a team player who can work with the needs of other operators at the facility. Demonstrate initiative and willingness to learn.

Thank you guys, and yes I'm in Resolve @Jussi Rovanperä

I have a complicated shot where I would like to reduce a natural bright light from a window behind the subjects back. When the subject move closer to the camera (away from the window), the 'halo' is reduced and it's easier to get a cleaner separation. I have tried the curves in a number of combinations and the soft clip controls without getting to any satisfiying result, but you might have some other inputs?

https://mobile.twitter.com/post_magazine/status/837396541082054656

I get ProRes 444 XC log material all the time and I use to balance it out and do the log to lin transform manually. Any LUT's that will set this material back to the linear as shot condition?

So IMDB is wrong? "The film is here in its entirety but has been carefully processed in black and white by Miller and chief colorist Eric Whipp. Max’s desolate world of the future looks even bleaker and less welcoming in two colors but, interestingly, the grays, the in-between tones actually allow you to assess characters and situations through fresh eyes. - Robert Greenberger"

I usually export a CMX3600 with all meta data information from the Avid list tool and hand it over to the color department. Will all the timewarps added on the Avid timeline survive the transfer? Does it exist a list of the effects that can be transfered through EDL?

Great, I will download Clipster and get to know it.

Welcome Dermot! Maybe @Andy Minuth or @Andreas Brueckl can help you with this one?

Does Clipster retain all the image information and pay attention to color spaces etc?

Defintely one of the best Superbowl spots this year

You always got Alexis Van Hurkman's Colour Correction Handbook. Just make sure to buy the latest (2.nd I guess) edition. If you are looking for high end stuff, you got an enormous amount of creative techniques and knowledge behind the premium walls on this site.

DCP-o-matic is great, and has some code copy-pasted from OpenDCP for those who are familiar with that.

Sebastiano, any hits?

Great with the new DNxHD enhancements!

Thank you very much guys, I ended up working with the linear images. I used a combination of curves followed by lift, gamma gain to get closer to the rich contrast that was baked into the film emulation LUT. It's a shame that the invert LUT doesn't work any better than this because I like to work this way.

Great work Lutz!

I'm setting up the basics on a music video with the following structure as the video is shot linear. Linear to Cineon Log New node with a film emulation and at the same time putting it back to 709 When transforming the materiale to Cineon it creates some strange chrome artifacts on her lips. I have not managed to "roll it back" when working on the first node. It looks like it's created in the transformation. Any tips on how to deal with this? Original shot Invert Final grade with lip problem

Haha I love it!

Hi! Are the log grading tools (or film grade) the same on all system? I remember the negative fuzz when log grading was introduced on DaVinci because it was not "true" log grading. What is the status on these tools today?

That's some really great tips Yoav, thank you!