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  1. Today
  2. Great great master class. Keep doing this stuff
  3. Incorrect link to the project files...
  4. Yesterday
  5. Nice one! Super solid masterclass, thanks John!
  6. I'm about to start developing a highly stylized look for a project in Resolve that will depend on very saturated elements in the frame. Coming from a deliverables for broadcast background, I'm new to the world of HDR&SDR deliverables to the streaming giants and while I will be working in Rec709 for practical reasons, I'll be taking the film to a Resolve facility like Technicolor for final grading in HDR and SDR formats and deliverables. So I'd prefer not to create a look with chroma levels that have to be pulled back to the point where they hurt the creative intention. I'd rather know what I have to deal with right off the get go. But when I research this topic I can't seem to find any definitive answers on what the Streamers expect on Chroma levels. I don'tsee, for instance, in the Netflix specs, any mention of chroma levels. So some rather puzzling questions: Are the HDR streamers changing the longstanding (antiquated?) QC parameters of broadcast safe? The Broadcast Safe switch in Resolve apparently may create issues and may not be applicable. Is the gamut limiter plugin a good option for rough control of chroma limits? Should it be set to rec 2100 even though my grading will be done in 709?
  7. Last week
  8. Yes, if there is enough noise in the images the banding is masked by the noise.
  9. Good evening to all and good rest of summer! A walk with my moto Tenere midweek on its beaches Vourvourous of Halkidiki at Greece. Awesome waters and worth going for those who have not gone. Maybe the karidi has the 'name' like THE beach of the area but personally Fava at (1:30 minutes) withered more, not of course that the karidi was ugly! here is the video https://www.youtube.com/watch?v=PnkED5wC8kA
  10. Can VFX department confirm, that source footage and vfx shot match 100% on their side? You should compare files with and without vfx. Probably this isn't their fault. Maybe they received incorrectly encoded prores. For example Premeire Pro has some issues with video/full levels on DNxHR 444 import. Maybe somebody did something wrong somewhere in the pipeline before VFX. Import a shot that VFX received for their work and import the shot with their work done and compare it.
  11. Very interesting insight to why film often feels better to the eye than digital. Thank you, Tom!
  12. Hi Am am new to grading, and lowest. So far I think the courses are amazing. Not sure if this is on purpose or not but the project file for lesson sixteen on skin tones is missing.
  13. Ok, sir... Thank you. But some other software like assimitate Scratch can't give any banding in Image in log space. exr file
  14. Use the ACES or FilmLight scene template. Put the footage into the timeline and use 'Automatic' or 'From Metadata' tagging for the Input Colour Space. Then on the render page select the desired log output colour space. There is nothing stopping you from rendering a log colour space into exr files. But a 10bit dpx will give you more image quality than exr in this case. Best would be rendering to 16bit dpx (for log colour spaces). When you render a log colour space into exr, you might see banding in the image.
  15. I want to thank the team at Lowepost for this tutorial. I think that this format is very constructive. Lots of tutorials show you what buttons to press, but when learning anything, I feel that getting to know the principles and the whys of a process or technique is always the most enlightening and engaging. Having Derek walk us through his process was a real treat. I do wish there were more details, having shots that got a little more specific with the details of what he was doing, but apart from that, I thought this was an excellent tutorial. Again, thanks for this, and looking forward to the next one.
  16. Can I render .openExr file from Baselight like log because my vfx vendors want to log file. Also I have to render only cg. exr files and grade have to done in some where else. So we can't do BaseGrade for vfx render.plz help with giving the scene and render setting for. Exr( log ) render. Although as I know .exr File itself linear file.
  17. It will not solve the issue, just tell them it doesn't match and they will make it match.
  18. Currently i'm working on a project shot with Arriraw format, VFX was done in Prores 422 HQ, but when i test a VFX shot with my locked color grade, the result is quite different, the contrasity is diffrent from what i've graded. Should i tell VFX Department deliver DPX for me instead of Prores 422?
  19. Earlier
  20. I have done all kind of green screen work on commercials, and in this course there are at least seven different shots and a bunch of different approaches. I get your point, I just think that "real world examples" was a bit loose as the shots are from commercials that has aired on TV.
  21. Hi Kristine, I suggest you have a look at the professional color grading techniques here on Lowepost. It goes really deep into how to build contrast curves and manipulate colors.
  22. Yes, in Davinci>preferences>video and audio I/O in speaker setup box, check "use system audio output" I think you will have a delay in your reference monitor so it won't be 100 % accurate.
  23. I wonder how I would key log footage in the fusion tab, I think I would need to linearize it but then I want to pipe it to the color tab, how would I then "un"linearize it so that I can grade in the color tab with the keyed log footage?
  24. Hi everyone, I am also looking for tips on how to get those cinematic pastel tones when editing in DaVinci Resolve. You were talking to set up the curve correctly, but can anyone give more specific details on that. My footage is .BRAW shot on Black Magic Pocket 4k Appreciate any advice
  25. My camera LUTs used to knock log footage into rec.709 space as the first node adjustment in a grade...usually. My work horse is a Blackmagic Production 4k but I've been shooting major pieces with Filmic Pro and an adapter that allows me to hook my prime lenses up to my iPhone 11.

    GC_Protune_to_709.cube FiLMiC_deLog_V2.CUBE U-TECHNICOLOR-CINESTYLE-LTR.3dl Blackmagic Production Camera 4K Film to Rec709.cube

  26. Hey there. So regarding the cut page, on timeline 1 I've moved a clip to another location as Kevin has demonstrated. In his demonstration the former location of the clip ripples, in mine I'm left with a space. I can just delete the space but in his the space just goes away. I'm using 16.2.4. Something new in my version?
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