Nicolas Hanson

Feature talk by Filmlight 

Any free screen recording softwares for Windows that you can recommend?

BMD just announced that the studio version is 299USD. Why would they  give it away almost for free?

An absolutely great looking ad! 

Do you have any plans on releasing a win version @Daniele Siragusano?

They could have reacted the same way on every eye lash campaign ever made in modern times. The Flame artists have been doing beauty work like this on every place I've worked.

My 'weapon' is actually to use an invert LUT (built into Resolve) on all the linear footage. When I got everything in 'log' I use a log to lin LUT and that gives me a great 'contrast starting point' at least. I also tend not to use white as absolute brightness as bending the highlights towards a warmer tone will help. If that fits the story of course ;-) 

FilmLight announces free Baselight STUDENT

At NAB2017, FilmLight will preview their latest product, Baselight STUDENT, a software-only macOS application that answers the call from a growing number of facilities for trained Baselight colourists and assistants. The new offering allows experienced or future talent to move up to Baselight with support from FilmLight.

https://www.filmlight.ltd.uk/store/press_releases/filmlight-announces-free-baselight-student/

Can someone please explain the main differences between the Fuji and Kodak stocks when it comes to film emulations? 

Thank you for the detailed answer, it makes sense that it could be related to the PSU. I didn't know they come with different watt versions. I had to leave the office early so hadn't time to switch but I pulled out the old Red Rocket and for some reason the first (and only) render did complete. Not a qualitative result and it might break the render next time, but I will let you know what is the solution.

I got some RED files that I have tried to render out from DaVinci several times, but every time the machine turns itself off. I've tried to load the material into different projects, rendered one file at a time etc, but the machine turns off every time. It runs on a z820 that is rock solid on every task I throw at it, so I find this pretty strange. Any idea what is happening?

Apple actually admits that the last pro versions were a failure. Not going back anyway. http://www.theverge.com/2017/4/4/15175994/apple-mac-pro-failure-admission

4 hours ago, Nicolas Hanson said:

Transform it into a linear state is something different and Davinci does it automatically under the hood

I'm sure it is! :-) What I don't understand is that your previously wrote that transform is something different than normalization so can you please explain what a transform is if it's not "taking log footage into a pleasing "normal" contrast" one or the other way?

Orash, great explanation but I'm fully aware of this. What I'm curious about is how you define the difference between normalization and transforming the image from any log favour. 

8 hours ago, Orash Rahnema said:

Transform it into a linear state is something different and Davinci does it automatically under the hood so the math works or you do iso you can render it out linear

Thanks for your explanation. So by normalization you mean correcting the clips (e.g with a log-lin LUT) to set it back to the initial state. How do you transform the logarithmic clip to linear in DaVinci and what is the pro/cons compared to normalization?

The ProRes 444 XC log material is shot on Alexa (Mini + full body) I've used the LUT creator on Alexa's site and end up with almost the same results as the built in software LUT. I just want to know if applying this LUT will put the footage back to the linear condition that was defined by the DOP on set. Put another way, is the software built in LUT applying the same transformation as the camera is doing on set?

Often, the director is asking me to set the image back to the original state (what he saw in the monitor on set ' ....yes, I know...), so will applying this LUT be the right way to approach this request?

The NC1201L will do just fine for P3 and 709 in normal conditions, but make sure to have it set up and calibrated properly.

What technique do you prefer for skin smoothing? I will leave wrinkles and pimples to the Flame guys but since I got better keyer/tracker I want to do the first pass getting rid of the skin pores around the nose area.

Thank you for the great explanation @Daniele Siragusano. I don't have access to an inverse DRT, so I simply used a built in inverse LUT. I should probably head over to Baselight for tasks like this as I can't access any formula based transform in Davinci.

Great taste. The reel is good enough to be compared with the top post production house commercial reels. 

Thank you Bruno! Thought that was for previous versions as Avid doesn't use the AMA name inside the software anymore.  

I'm working with the latest Avid (8.6.x) and I've noticed that AMA is replaced with a source browser. Maybe that happened a long time ago, but I usually get handed transcoded MXF files made in DaVinci. Anyway, how do I import/transcode r3D files? When trying to "link" it says "cannot be linked" so I'm a bit lost. 

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?