Frank Wylie

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About Frank Wylie

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  • Birthday 01/22/1961

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  1. That is really difficult to judge from this monitor; I can see some tendency toward warmth within the lighter values but still can pick-out pure whites. If there is an overall warm cast, it can be "pierced" at a certain luma level with pure white. Maybe the highlights have a roll-off of red toward clip on a curves adjustment? Again, not judging from the best monitor possible, so just guessing...
  2. Just my 2 cents... To my eyes, it has a color pallet that is equally-split between Ektachrome 100D/Fujicolor Provia 100 reversal , but with well managed highlights, avoiding clip and retaining detail. Blacks tend toward crushing at the extreme, all colors appear to be destaturated, but reds are desaturated a bit more with a tiny shift to magenta and overall exposure is well below clip. Looks like a lot of very delicate qualification work has been done on faces and specific background details to enforce the look; I don't see a generic LUT being able to encompass the entire ambie
  3. Great article! I will probably catch a lot of flack on this, but printer lights originated in an era when 99.5% of all color correction happened in-front of the camera; prior to filming. What you can alter and skew is very, very limited to now standard color grading tools. If you have really uneven or mismatched looks on a job, you would probably be advised to make a balancing grade pass BEFORE you try to use printer lights and keep your printer lights node toward the very end of the node tree.
  4. Many thanks again, Sean! I will study this. You have been a great help!
  5. Many thanks again, Sean! I will study this. You have been a great help!
  6. Thank you, Sean. I don't really work with RAW footage, typically only DPX or TIFF files from scans, so I am trying to wrap my head around the wilderness of camera origination formats.
  7. Thank you, Sean. I don't really work with RAW footage, typically only DPX or TIFF files from scans, so I am trying to wrap my head around the wilderness of camera origination formats.
  8. OK, I think I might have a better way to ask the question: Do the Project Settings -> Camera Raw -> Raw Profile profiles reflect the default interpretation values of DaVinci Resolve for all supported RAW file types? If so, I would assume you would then be able to customize each one within a project and save them for any/all listed RAW formats or is only one type active at a time? If you did this upfront, would this take care of automatically applying CTLs to any defined RAW footage?
  9. OK, I think I might have a better way to ask the question: Do the Project Settings -> Camera Raw -> Raw Profile profiles reflect the default interpretation values of DaVinci Resolve for all supported RAW file types? If so, I would assume you would then be able to customize each one within a project and save them for any/all listed RAW formats or is only one type active at a time? If you did this upfront, would this take care of automatically applying CTLs to any defined RAW footage?
  10. Thank you, Michael. I will have to study this for a while!
  11. Thank you, Michael. I will have to study this for a while!
  12. Lee, Thank you for this tutorial! I have a question about using multiple flavors of RAW footage in the same project. In the RAW settings dialog box in Project Settings, is it only capable of defining ONE variety of RAW per project color space, or are all RAW flavors in the pull down menu active and can multiple CTLs be defined within the project using this menu? How would you handle, say, 3 different cameras shooting different brands of RAW? Thank you!
  13. Lee, Thank you for this tutorial! I have a question about using multiple flavors of RAW footage in the same project. In the RAW settings dialog box in Project Settings, is it only capable of defining ONE variety of RAW per project color space, or are all RAW flavors in the pull down menu active and can multiple CTLs be defined within the project using this menu? How would you handle, say, 3 different cameras shooting different brands of RAW? Thank you!
  14. Another way to think of it; in traditional film timing, RGB controls your color/density and your LUT is your film processor and stock characteristics and you only can have ONE LUT for the entire reel...
  15. (Hope this is the right place to post this; I guess a Colormaster is a form of grading "app", albeit a rather large one!) Apologies to Stig and all for being so scarce lately, but I have just spent the last year searching for, procuring and waiting for delivery of a replacement film analyzer. Not east to obtain in this day and age but it finally arrived! For the last 3 hectic days I was assisting Media Migration Technology (formerly RTI) install our new system. It replaces one of our HFC 300D Hazeltine analyzers that was inoperative and allows me to return to electronic grading o