Darren Shearer

Hi Bruno (and all). Update! I discovered that if you change the clip metadata from "tape" to "name", it crashes way less.  I think this might be due to the Baselight not having to constantly search for the tape metadata, especially on bigger sequences.  

Let me know if that works for you.

Cheers,

Darren

Ok, thanks Tom!  If you have any other LUT creation software ideas other than Resolve, I am all ears!

Hi All,  Is the above possible?  I have a cameraman who would  like to use the look I created as a monitor LUT and I would like to avoid having to create it in Resolve.

Can this be done in Baselight for Avid?

Thanks!

Darren

Hi all.  I am migrating to working solely in Baselight (coming from the much more basic Avid Symphony color) and I have a good command of the functions now, but I am looking to find and learn how to create looks/treatments within Baselight.  I have been using Magic Bullet for several years but want to up my game and get some great ideas and approaches and maybe locate some BLGs as starting points.

Any ideas?

Thanks

Darren

Hi all!  I am trying to set up client monitoring while doing a splitscreen of a snapshot and don't know how to make that happen. Is there an option in Baselight for Avid that does this? 

tku!

Darren

Hey Bruno,  Great, thanks for the confirmation that I'm not the only one!  I will reach out to FL and see what they can tell me on this.

Thanks again for the help.

Darren

Hi Bruno, Thanks for trying to simulate my conundrum!  I have found that Paint Effects or Spot Colors with a lot of feather can be the biggest culprits, but it seems like you have tried a good variety of effects in there. I am on Avid 2018 and on BL for Avid 5.2137.

We had some success on one of our stations turning off the cache, but not so much for mine.

Thanks again for the help Bruno and any further insights would be much appreciated!

D

Hi All,  I am experiencing a significant amount of crashes when I put Baselight on the top track of edits with other effects below. Is this a metadata confusion or maybe something being caused by Baselight needing to see through the effects below to the actual clip? 

Any help/insight would be appreciated as I really like using Baselight as an overall treatment layer but it's not working out too well right now.

Thanks!

Darren

Thank you Andy.  Once again, most helpful.  I still need to work out the exact Sony S-Log 2 (Matrix on) camera profile to use the scene-referred workflow (you had given me some direction and even a profile for this a while back). My studio should be switching to S-Log 3 soon, which will make things much simpler!

Thanks again. I really appreciate the personal attention you and the Filmlight crew give for these things.

Darren

Good morning colour gurus, I noticed yesterday that my input and working color space had changed over to Rec 1886 2.4 Gamma/Rec 709  (from rec 709 video legal) and I had graded a whole sequence already, but wanted to make sure I wasn't making an error in this. For some reason, I like the gamma better in 1886. I am on a typical Avid set-up with a Sony Trimaster at 2.2 gamma.   Is it OK to be using the input and working colour space as  Rec 1886 2.4 Gamma/Rec 709 with "legal full scale" on or off as needed?  

***I have since done some more research and watched the Lukepost tutorial on Baselight Colour Management, and I think now, I just need to figure out my three color spaces as when I set anything but Display Referred, it crunches my shots. Display Referred is the only one that makes no change until I grade it. So, with no real intention of getting someone to tell me how to set this up correctly, using S-log 2 footage (matrix turned on), I would be forever grateful if someone could help sort me out on this as I really migrating all my studio's grading over to Baselight and want to make sure I am setting up correctly.

Thanks in advance  for your help!

Darren

Hi All. I recently found out that in Resolve you can apply only the Color, Contrast or Saturation from a .cube LUT, individually.

Is there a way to do this in Baselight? I would love to be able to set my basic grade and then only apply the color characteristics of the LUT, if possible.

Possible?

Thank you in advance!

Darren

Wow, thanks for all the insight Mason.  I apologize for my tardy reply as I've been off the grid for a few weeks. 

I will talk to my camera guy about switching to EI as soon as possible and meanwhile, Andy, I guess I will treat the footage as I would REC 709 and do my initial adjustment in Film Grade as I find that to be the best starting point.  Unless you had a wiser idea.

Once again, thanks for all the help and I will also be sure to check out Alister Chapman's page. 

Best,  Darren

Hi Andy. We finally worked out how to get it loaded. The last line of meta data in the file was causing some issues, so we deleted and it loaded fine.  

As far as the transform goes, it clips and jacks up the shot a bit, so not sure if you would need more info from my side on the camera settings as I am sure you created it correctly with what you had.

Thanks again for the help on this and please let me know if you need anything else. I really like the idea of us having a proper transform instead of doing a manual "LUT" every time to get it normalized.

Our shoot department uses this setting (Matrix on) as it allows for some color in the monitoring side, but I sure would like to move us over to Cine EI mode!

Best,

Darren

Hi Andy. Sorry for the tardy reply. This post eluded me somehow.

Thanks so much for this! Awesome.  Only thing is that I can't seem to get it to show up in the colourspace list on layer 1.   I did put it into the colourspace folder and restarted Avid and Baselight. Any other ideas? I am excited to give this a go with our footage.

Thanks again.

Darren

Hi Andy!  Thanks so much for the quick reply.  I got the specs from my DP, but maybe you need more. 

CAMERA: SONY FS7II
SHOOTING MODE IS CUSTOM
Menu: (User/Base Setting/Shooting Mode/Custom)
RECORDING FORMAT IS HD 1920x1080 24p
    Menu: (User/Rec Format/Video Format/1920x1080 – 23.98p)
CODEC IS XAVC-I
    Menu: (User/Codec/Select/X AVC-I)
GAMMA IS SET TO: S-Log 2
    Menu: (Paint/Gamma/Setting/ON)
          (Paint/Gamma/Gamma Category/S-Log2)
DETAIL IS SET TO OFF
    Menu: (Paint/Detail/Setting/OFF)
MATRIX IS SET TO CINEMA
     Menu: (Paint/Matrix/Setting/ON)
          (Paint/Matrix/Preset Select/CINEMA)
          (Paint/Matrix/User Matrix/OFF)
 

If more data is needed, please let me know as I know I am not giving you specific REC 709 primaries data here.   I really appreciate your help with this.  We have been working Baselight into our workflow in all of our properties and this would really help.

Best,

Darren

I have scoured the internet to see if there was any guidance in setting the input color space of S-Log 2 with Matrix on.  The usual S-Log 2 setting is way to jacked up, saturation-wise . Can anyone steer me in the right direction on this? I can normalize it manually, but thought there might be another way. 

Thank you!

Darren

Hi All. First post, so hope I am doing it correctly. I am trying to do a basic camera transform to normalize SLOG 2 (Matrix on) for an Sony F55. I don't see that as an option in the input stack.  The regular slog2 is very heavy due to the matrix being on for my camera.  Any ideas? Thanks! Darren