Nicolas Hanson

Accurate to that specific film stock you have tested, but not accurate to that film stock in general because the characteristics of the film stock varies between them from batch to batch etc?

The general differences and margin of error tells me that noone can create scientifically accurate film emulations. Good to know. Where do you got your data from @Steve Shaw ?

Ok I see your point. Is the tone curve of a certain film stock always the same between the same type of stock, so that it can be measured and replicated 100%? 

Hi Teo, thank you for your inputs!  I know how log tools on log data behave and how to transform data from and to different color spaces but I question the accuracy of film emulation LUTs as the input data is different from project to project.

My initial question is, to be more specific - how precise / accurate is this film stock calculation after I have modified the contrast of the clip prior to the LUT. Not much of the film stock preference any longer I guess?

And, how precise / accurate is the film stock calculation as the input data (footage) change based upon the initial exposure levels, different camera sensors etc. How can the film LUT emulation creators claim that the LUT mimic a film stock 100% when the input data varies that much? I guess different exposure levels and camera sensors, modified contrast prior to the LUT etc will make the film stock emulation behave differently from time to time. 

I do understand that, but if I modify the log data before the LUT the contrast of the output will naturally change. That's why I question that the tone curve will reflect the tone curve of the stock that the LUT is suppose to mimic. 

I understand that film emulation LUTs have different tone curves that reflects the tone curves of different film stocks. 

But how precise is this calculation really? As the log input data will change depending on exposure levels, which camera it is shot with, how you modify the contrast before the Film emulation LUT is applied etc. Wouldn't all of this change the Film emulation LUTs tonal range dramatically?

Is it possible to open both the offline reference clip and clips from in the media pool simultaneously? I have a sequence with some placeholder clips that will be replaced with new clips, but since the placeholder clips are wrong I need to match the new clips with the offline reference clips instead.

I can only have a speed change up to 300% by using the retiming curve in DaVinci Resolve. Any idea how I can speed it up even further?

What is the difference between raising the saturation and going to the channel mixer and raising the red only in the reds, raising the green only in the greens and blu in the blues?

An attempt to recreate the look of Stranger Things 

Any good alternatives to hue vs lum?

Thank you! The illustrations on the link show the exact same thing, a modified curve. My point is that if a gamma correction simply is a modified tone curve, I can't really see the difference in either calling it a tone curve or gamma curve. 

RGB+Y curve maybe. Why is it called a gamma curve when it's possible to adjust lift and gain as well?

How is your approach to the teal/organge look? I actually find creating a nice saturated cyan quite difficult sometimes, and for some reason the best way to get there fast for me is to lower the red channel with offsets. Not sure why this method is giving me a better result than turning the wheels. 

We use DaVinci Resolve 14 Lite for transcoding, but I can't find the burn in tab as I want to burn in timecodes when rendering clips. Is that a studio version only feature?

On the parade scope, what would you call the different tonal ranges? Bottom, mid and top part. 

Do you know what is the correct term for the LUT curve?

What is the difference between gamma curve and tonal curve? 

21 hours ago, Anton Meleshkevich said:

modified step calibration settings

Why do you have to modify the settings? Aren't the hotkeys set up to push one increment on each color channel on each click?

You are great, thank you very much! 

Thank you Cary! I'm not familiar with DCTLs but I will definitely try this tomorrow at the office. 

Mocha Pro is a standalone app but it also comes bundled with After Effects. A typical workflow is to generate the tracking data inside Mocha but to do the final composite elsewhere. It's definitely capable of handle complex skin situations.

Can I access generators such as the grey scale from the nodes? What I want to accomplish is the split the image in two and have my corrections affect the different luma levels based on a grey scale.

How do you normally approach an image if you're asked to do a color wash?

Does anyone know what is the difference between using the intensity slider below the curves and regular opacity? It looks like it affects the image differently.