Christian Rush

I am going to be working on a show that will be in Dolby HDR. I'm planning on using ACES so that the DIT can have an easier time with my LUT, even though I love DaVinci Wide Gamut. It seems a lot of DIT's are not accepting that yet, and they may never do so. The DP wants a fuji emulation. Of course, there's a lot of flavors of that. And every "emulation," even of the same supposed stock, is very very different. I have a few custom power grades, and I've also grabbed one or two from the Juan Melaras site based on a recommendation. To make the LUT I usually export a CUBE with the necessary nodes turned on. My plan is to then apply whichever LUT is used on set, but instead with my power grade as a compound node which I can then customize in the final sessions. I am curious to know if anyone else has a story or workflow to share to a custom LUT that can be used later in an HDR workflow.

So then I am assuming the halation compound must take place before the Aces Pseudo workflow? Davinci YRGB: Halation Compound Node with the CST's for linear/ARRI in it > ACES Node 1 > Balance/Looks Nodes > ACES Node 2?

Curious about something for CST if I'm working in RCM or ACES. I've experimented but not sure I've done it exactly right. This is in relation mainly to the Halation effect. What seemed to work for me was a bit complicated but seemed to work best when working with an Arri Clip and DRCM since when enabling/disabling I saw no change, but I would love a double check: 1st CST node: Input Color space: Davinci Wide Gamut Input Gamma: ARRI LogC Output Color Space: Rec709 Output Gamma: Linear 2nd CST node: Input Color Space: Rec709 Input Gamma: Linear Output Color Space: Davinci Wide Gamut Output Gamma: ARRI LogC Thanks to anyone that can confirm this would be the best practice. And for ACES I'd assume just switch the Davinci Wide Gamut option (in the CST nodes) to ACES version in the project.

@Bruno Mansi awesome thank you. Would love to see a similar course here on Lowe at some point

Understandable. I may look into just renting the Sony BVM X300 for HDR jobs. Still wondering if there's any resources out there for a workflow of HDR deliverables with SDR in mind as a 2nd deliverable.

Hey everyone. I'm at a facility where my work is solely SDR, but we've been getting more and more work requests for HDR in house. Normally we book out to larger places like CO3 but obviously more money when we keep it inside, plus HDR grading looks like it's very fun and a necessary skill to have. We're getting a budget together for an LG CX setup for HDR, and then using our flanders for SDR. I have been having trouble finding out how to do a proper node setup/project setup in any kind of color managed workflow in terms of grading in HDR, and then making an SDR version after. I'm not sure if we have the means to afford a Dolby license, but I gather HDR10+ would be good, or simply using a node tree setup with aces or CST nodes would be good? The main problem is I can't find any good resources on a workflow or setup. So if anyone has something as a guide that they could share that would be great. Thanks!

Didn't work for me on google chrome, but worked on firefox. try a different browser