Nicolas Hanson

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Everything posted by Nicolas Hanson

  1. Nicolas Hanson
    Hi Cameron, can you please explain what the frequency separation is all about?
  2. Nicolas Hanson
    Great information guys, thank you very much!
  3. Nicolas Hanson
    Thank you very much guys!
  4. Nicolas Hanson
    Hi Francis! Nothing special about that look at all, and the images are normally balanced. What I can tell you is that the contrast is rather rich, and that can be achieved by using any custom curve work alone or in combination with some lift, gamma, gain adjustments. Getting a bold rich contrast and different methods is discussed in most of the articles on this site. Nicolas
  5. Nicolas Hanson
    I have noticed that when clipping the lowest values of the green channel (green values below 0 IRE), the image loose more details than when clipping the same amount of green or blue. Is this is a correct observation, and why?
  6. Nicolas Hanson
    EDL or AAF. I would go for AAF. With your clips selected in Premiere go to File>Export>AAF. You will be asked to name the AAF file. You can now click import the file directly into Avid. Your sequence should auto populate the clips inside of Avid.
  7. Nicolas Hanson
    One of the commercials I will be working on next week has a scene with some kids looking at family video on their parents old VHS tapes. Any advice on how to transform modern RED footage to look like old VHS video? What characterizes old VHS video? Any colors that were more dominant than others etc?
  8. Nicolas Hanson
    A B/W translation of a movie shot for color print could miss the depth and isolation found in old B/W movies, because of less extreme lighting set-ups, character and element blocking. I think the images above looks great, but more contemporary than film noir.
  9. Nicolas Hanson
    Thank you very much Paul, I will definitely download and try.
  10. Nicolas Hanson
    I'm preparing a session with some modern war footage shot on Alexa 65 and Cook lenses. I'm asked to reproduce a bleach bypass look, and Band of Brothers, Saying Private Ryan, and Seven are brough up as references. I want to know as much as possible about the look and process. Any insight? Both theory, creative and technical?
  11. Nicolas Hanson
    Here is color theory according to Pixar https://www.khanacademy.org/partner-content/pixar/color
  12. Nicolas Hanson
    Thanks! I didn't notice it because I had selected the sequence together with the rest of the clips.
  13. Nicolas Hanson
    On my latest project all the material is shot on Alexa and it's squeezed /anamorph. What is the best way to do a global scale-back before working on it?
  14. Nicolas Hanson
    Why do you favour Supermicro vs the z8xx series?
  15. Nicolas Hanson
    Playing with the sliders could create an incredible depth to b/w images and the noise add texture that could be a great thing to make the image look bolder.
  16. Nicolas Hanson
    You could always work r709 color space and do the final adjustments in a p3 studio / theatre before final delivery.
  17. Nicolas Hanson
    I love the tint of cyan in some of your shots and the nice roll off on the highlights. I would consider taking out the back lit shot of the girl in the wood because of the keying artifacts. The ambient light from blue skies should affect the surroundings as well so the shot looks a bit artificial.
  18. Nicolas Hanson
    Interesting color palettes and edgy work on some of the shots. I would probably re-consider using the shots with blown out highlights as it could reveal sloppy reconstruction techniques, even though it was probably shot that way and impossible to recover.
  19. Nicolas Hanson
    Welcome Randy, great to see you here! And thank you for sharing!
  20. Nicolas Hanson
    Thanks for sharing your great insight!
  21. Nicolas Hanson
    Thank you Bruno for helping me understand this. It looks like a great solution for one-man-show boutiques and indie stores. I was hoping Adobe found a way to eliminate all time used on transcode / ingest. In most professionals environments you would never let the editor suites handle these tasks and work on high resolution footage would be treated in other software packages like color correctors and online tools.
  22. Nicolas Hanson
    Great! So Avid MXF and low bit rate ProRes is among the proxy options? The only bottleneck I can see is time. Does it take a long time to create the proxies? If this is a process who takes time it's basically the same as transcoding and in a professional environment that is something that takes place on an another machine to not use the editors time.
  23. Nicolas Hanson
    Great answer, thank you! I'm not taking about a Avid to Premiere workflow, but finding a proper format to edit in for Premiere. The reason why I'm asking is playback performance, and I would never rely on a software to read everything I throw at it. So the question really is; Our company gets many different camera formats to deal with every week, what format should they all be transcoded to for editing in Premiere for good quality and good playback performance? if MXF DNxHD 185, could I put them in a folder structure (like in Avid) and read them natively from there without the need of importing them?
  24. Nicolas Hanson
    MXF is the native format for Avid, meaning they can be read without transcoding directly from the AvidMediafiles/MXF/# folders. That saves me a lot of time compared to importing files and even fast-importing files. How does this work in Adobe Premiere? Can Premiere work with a drag-and-drop folder structure like this? Any native formats that can be read without transcoding the same way as MXF for Avid?
  25. Nicolas Hanson
    Another masterpiece!