Nicolas Hanson

For those of you familiar with Photoshop... Do you have any techniques to create a high pass sharpen look in Davinci Resolve?

Can someone explain the difference between Y'CbCr and RGB?

I can't seem to find the optical flow setting in Davinci Resolve?

Ok, it's an exaggerationt to say it hasn't been better, but I find that I need to be really careful when using it. When I try to use it as a key to isolate a color from others it can easily create a "halo" in the border areas and it will also introduce artifacts even though it's not that bad as on first versions.

Why is this curve function still not working properly after all these years?

Davinci doesn't have any trouble reading the most common containers, but they could hold codec information that is not commonly used in video production, and therefore not support it. Transcode your video file to one of the more known formats and you will be fine.

Can someone please explain me how pylut works? I simply don't understand the interface, probably because I don't know anything about Python. Any other free 3D lut convertors?

I have seen that there are a lot of LUTS for sale online, and I would like to hear how these are actually built. Are they simply made by a colorist creating a look for then to export the look as a LUT or are there more sophisticated methods to do this?

Different browsers, players and devices will always be around. Trust your grading monitor and let whatever happens with your files out there happen. Nothing you can control, so learn to live with it.

The QT-player interprets all play outs randomly and you can't influence it by adding metadata or other attributes to your files. I have even seen the player change from data to video and the other way around simply by moving the player window to my other computer screen. Don't trust QT, it's a joke and that's the way it is and going to be. Your clients will most likely continue watching their films in the QT-player so you just need to accept that it behaves that way. Vimeo, VLC, WMP and most of the other apps will pay attention to your attributes but QT will not.

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.

I can confirm that the black level is amazing on the 17 models, can't think of a better client monitor today.

It looks like the two shots are matching up good now. Use the gallery wipe and scope to compare hue and luminance level. I don't think you need to complicate your node tree that much. You could do this corrections in less nodes, using the hue vs sat/hue to control the reds is an example. No need for a parallel node here.

Start with matching the contrast levels and balance the shots to see how different they are. Then, come back with updated images, and I will help you.

Only familiar with Unity, Isis, Nexis. Nexis is owned by Avid, and is an open solution. They have integration with many software developers and works closely with Adobe. Needless to say, Pro Tools work seamless. Don't know about color systems.

When I'm working alone in the studio I have a selection of film score compositors that I like to listen to. Ramin Djawadi is one of my favorites. What do you listen to?

I have run the .cine files through the system now, and the performance is good. That said, I have switched between the rec709, Log1 and Log2 profiles but can't really see any huge difference at all. The luma levels change, but almost nothing. Can barely see it on the scope. Can't be compared to normal rec709 to log transforms with other camera formats. Why is it like that?

Thank you guys! Not many softwares that actually read MXF OP1A and that can be nice when the files by mistake are transcoded to OP1A and not Atom as we often want.

We are on Windows and wonder if Premiere can read DNxHD?

Strange that such a small company seem to have such a undefeatable product (Neatvideo).

I was afraid they were too heavy compared to other raw files?

Great, so DPX is a way to go!

We have a shoot coming up with Phantom camera and 1000fps. Do you have any experience in post workflow with this camera, transcoding formats etc?

A great update, with compositing features and finishing solutions. Anything said about the price point?

Is it possible to transfer input sizing information from one clip to another using the stills method?