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  1. Last week
  2. Margus Voll
    Thanks! I shared in my local groups as well. 🤞
  3. Daphne FilmLight
    The FilmLight Colour Awards are currently open for entries (closing 31 July). Watch the 2023 teaser here:
  4. Earlier
  5. Ilia Ivanov

    My new Reel

    Ilia Ivanov posted a topic in Showroom

  6. Andy Minuth
    Hi Darren, do you mean to apply LUTs via the legacy blend modes (Colour, Luminosity, etc.)? I think that is a bad idea for various reasons. Here are three: 1. The common blend modes were made using 709 colour math and are not optimised for modern wide gamut spaces. 2. Critical components of LUTs are missing when only the colour is applied. Print film emulations for example darken saturated colours a lot. This is one of the key components of these looks. When applied through a colour blend mode, these parts are missing. 3. There is a risk of colour noise artefacts. Nevertheless here is how I would do it in Baselight: Put a LUT operator inside a layer and set the input and output colour space of the LUT accordingly. Then in the layer flow graph use one of the settings from the screenshots. Both will apply only the "colour component" of the layer. The result blending slider works differently between both. In the one with the Colour blend mode and LUT on the 'B' branch, the slider will mix between no LUT applied (left) and LUT with Colour blend mode (right). In the other one with the Luminosity blend mode and LUT on the 'A' branch the slider will mix between Full LUT applied (left) and LUT with Colour blend mode (right). Cheers, Andy
  7. Darren Shearer
    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
  8. Robert Rodriguez
    Many thanks for sharing a really interesting insight.
  9. Daphne FilmLight
    Following its second successful event in 2022, FilmLight is now inviting entries for the 2023 FilmLight Colour Awards. The 2023 awards celebrate colourists across five categories – theatrical feature; television series/episodic; commercial; music video; and the Spotlight award for colourists working under the constraints of lower budget projects. The awards are open to colourists on any grading platform and the deadline is 31 July 2023. For more information or to enter, visit: https://www.filmlightcolourawards.com/
  10. Daphne FilmLight
    Entries open from 1 May – 31 July to colourists operating on any grading platform Following its second successful event in 2022, FilmLight is now inviting entries for the 2023 FilmLight Colour Awards. The awards, which are open to colourists on any grading system, will be presented at the International Film Festival EnergaCAMERIMAGE in November. The 2023 awards will celebrate colourists across five categories – theatrical feature; television series/episodic; commercial; music video; and the Spotlight award for colourists working under the constraints of lower budget projects. As in previous years, the entries will be independently judged by a panel of high-profile creatives, cinematographers and colourists. The full 2023 jury details will be released over the coming months, but FilmLight is delighted to announce that it will include award-winning cinematographers, Greig Fraser ACS, ASC and Daniela Cajías, AEC. Australian cinematographer, Fraser has become a go-to DoP for a number of high-profile directors and is best known for his work on The Batman (2022), Dune (2021), The Mandalorian (2019), Lion (2016), Zero Dark Thirty (2012) and more. Cajías, who was born in Bolivia, became the first woman in 2021 to win the best cinematography award at the Goya Awards, for her work on La Niñas. Her latest movie, Alcarràs, won the Golden Bear at the Berlinale 2022 and has also seen her nominated for best cinematography at the 37th edition of the Goya Awards 2023. Also confirmed to be members of the 2023 jury are some of the 2022 Colour Award winners. Picture Shop VP of creative colour finishing, Michael Hatzer (winner of theatrical feature); senior colourist and partner at alter ego, Wade Odlum (commercial winner); senior colourist Ana Escorse at Studio Feather (music video winner); and senior colourist Aljoscha Hoffmann (Spotlight winner). Stephen Lighthill, 2022 Colour Awards jury member, cinematographer and president of the ASC, commented: “It’s great to see FilmLight step up and help colourists, who work in the shadows most of the time, have their moment in the sun. They’re a crucial part of the team and their role ­– much like the role of the cinematographer – is changing virtually every day.” The Colour Awards are lead and organised by FilmLight, in conjunction with EnergaCAMERIMAGE, and are supported by prominent international groups such as the AFC (The French Society of Cinematographers), the ASC (The American Society of Cinematographers), CSI (Colorist Society International), Imago (the International Federation of Cinematographers), the Polish Society of Cinematographers (PSC) and more. “Our goal is to ensure that the effort of colourists around the world is recognised and celebrated,” says Wolfgang Lempp, co-founder and CEO of FilmLight. “The last two years have been a very joyful and gratifying experience and we continue to receive lots of positive feedback. We’re very grateful for the support of our partners and have every intention of making this a regular fixture in the calendar. We can’t wait to see the 2023 entries.” Colourists, production companies and facilities are invited to put forward their nominations with a final deadline for submissions on 31 July 2023. For more information, visit: https://www.filmlightcolourawards.com/
  11. KRISHNA KUNWAR
    Ravengrades Look Development Starterkit how to used
  12. Robert Rodriguez
    Many thanks Lynette for sharing your knowledges and experiences. A really good masterclass.
  13. amitabh choudhury
    This truly is a gem! Thanks Mark and Lowepost!
  14. Edgar Reyna
    Still up? What's your email?
  15. Chris Gregory
    Hi all, We currently have available For Sale some Brand New Boxed Sony BVM-E251 OLED monitors in stock - they can be supplied with or without the Sony BKM-17R remote panel depending on your requirement. For further information on these Brand New Boxed Sony BVM-E251 OLED Monitors - please email chris@thameside.tv Many thanks Chris IMG_2387.HEIC 2.pdf
  16. Peter Silva jr
  17. Marcelo Cosme
    How do you usually clean your control panel? My hands are oily and the panel smudges. I can use isopropyl alcohol?
  18. Marcelo Cosme
    Hello, since the last beta version 18.5 released on 17 Apr 2023 the Show Picker RGB Value tool is not working correctly, in my opinion "it seems" that the text uses a "wingdings" font. I use Windows 10. * NEW BETA 18.5b same bug...
  19. Peter Silva jr
    Will there be any Fusion courses made for more modern updated versions?
  20. Lowepost

    The Essential Sony FX6 Camera Kit

    Lowepost posted an insider Article in Insights

    The Sony FX6 is a popular camera among professional videographers, thanks to its versatility, compact size, and powerful capabilities. But to get the most out of the camera, you need to build the right rig that suits your specific shooting needs. In this article, we'll go through some essential components that you should consider when building your Sony FX6 camera kit. Monitor While the FX6's monitor is certainly functional, some users may find it to be on the smaller side. This can make it difficult to see details and evaluate footage while shooting, especially in bright outdoor environments even though it comes with a monitor sun hood. Additionally, the monitor's built-in controls can be limited, making it challenging to fine-tune settings on the fly. One solution to these issues is to use an external monitor, such as the Atomos Ninja. This monitor is designed to work seamlessly with the Sony FX6 and can provide a larger, more detailed display with more extensive control options. With the Atomos Ninja, you can monitor your footage in real-time and make adjustments quickly and easily, even in challenging lighting conditions. Moreover, recording with the Atomos Ninja offers some distinct advantages. For example, the Ninja allows you to record in higher-quality ProRes RAW or DNx codecs, which can provide greater flexibility in post-production. Additionally, the Ninja's recording capabilities allow for simultaneous recording to both the Ninja and the camera's internal memory card, providing an extra level of backup and security for your footage. You could also consider Shinobi if you don’t need ProRes RAW. Overall, while the FX6's built-in monitor is certainly serviceable, using an external monitor such as the Atomos Ninja can take your footage to the next level and help you capture the shots you need with ease. Power The FX6 is known to consume a lot of power, which can result in shorter battery life than some users might prefer. To address this issue, many FX6 users opt to use external battery solutions, such as V-mount or Gold mount batteries, along with a battery plate that can be mounted directly onto the camera rig. While Sony offers their own line of batteries for the FX6, these can be quite expensive. One more price-friendly option is the Hawk-Woods line of batteries, which can provide reliable power at a fraction of the cost of Sony's batteries. These batteries come in various capacities and can be a great option for extended shooting sessions. It's worth noting that the Sony FX6 uses the BP-U series batteries, not the L series. Audio When it comes to audio systems for the Sony FX6, there are a few options to consider. Sony offers a range of microphones that are specifically designed to work seamlessly with their cameras, including the Sony ECM-XM1 Shotgun Microphone and the Sony ECM-B1M Shotgun Microphone. One of the key benefits of using Sony's audio solutions is that they are designed to integrate seamlessly with the camera, allowing for easy monitoring and control of audio levels from the camera's built-in screen. However, if you're looking for a super high-end audio system, you might consider third-party solutions from companies like Sennheiser. The Sennheiser MKH8060 Shotgun Microphone is a popular option among professional videographers, thanks to its excellent audio quality and versatility. With its super-cardioid polar pattern, the MKH8060 can capture focused audio while minimising background noise, making it an ideal choice for interviews and other situations where you need to capture clear, focused audio. Additionally, the MKH8060 is compact, lightweight and short in length, making it easy to mount on a camera rig without adding too much weight or bulk. Just be aware that the microphone mount on the Sony FX6 is too large for other shotguns than their own so you will need to buy a microphone spacer. This is available on most camera stores and on Ebay/Amazon. Overall, while Sony's audio solutions are certainly convenient, third-party options like the Sennheiser can provide superior audio quality and versatility, making them worth considering if you're serious about capturing high-quality audio for your projects. Lenses When it comes to lenses for the Sony FX6, there are several options to consider. For documentary work, the Sony FE 24-70mm f/2.8 GM and the Sony FE 24-105mm f/4 G are both excellent choices, providing versatility and quality in a compact form factor. Even though the 24-105mm is f/4 only it’s really all you need in most situations because the camera performs extremely well in low light situations. It’s considerable cheaper and got the extra zoom length. If you're looking for a more cinematic look, the Sony FE Cine lenses are in the higher price range but offer excellent image quality and a smooth manual focus. In addition to Sony lenses, there are more affordable third-party options to consider. The Sigma Art series and Zeiss Otus lenses are both popular choices for filmmakers looking for high-quality optics. Another option is the Rokinon Xeen lenses and the Veydra Mini Primes[NEED LINK], which are available in a range of focal lengths. Memory Cards The Sony FX6 records to dual CFexpress Type A or more affordable SD memory cards. Both types of memory cards are commonly used in professional cameras, but CFexpress cards tend to be faster and have higher storage capacity than SD cards. While there are many options to choose from, it's important to invest in reliable and high-quality memory cards to ensure that your footage is safely stored and easily accessible. There are many alternatives but Kingston Canvas React Plus and Angelbird AV Pro SD are two of the most trusted options in the professional industry. They offers high write and read speeds making it ideal for high bitrates and resolutions. Both have advanced security features, including built-in write-protect switches, shock and vibration resistance and is built to be safe in extreme conditions. If you plan on shooting high-resolution video, such as 4K or higher, at high bitrates, it is recommended to use V60 or V90 cards to ensure the best performance and avoid the risk of dropped frames or corrupted footage. However, if you are shooting at lower resolutions or bitrates, V30 cards may be sufficient. V90s is the best option for shooting high-resolution video at high bitrates, such as 6K or 8K footage and slow motion. Sony also launched their own Sony Tough series that are worth considering for recordings in very demanding environments. No matter which memory card option you choose, it's important to invest in high-quality cards to ensure that your footage is stored safely and reliably. Camera Bag Investing in a high-quality camera bag or case is crucial for safeguarding your equipment during transportation and storage. A good camera bag not only provides a secure and well-organized space for your gear but also ensures easy accessibility during shoots. There are several outstanding camera bags available, catering to different preferences and requirements. The Lowepro ProTactic BP 450 AW II is a versatile backpack-style bag known for its spacious interior. If you prefer a rolling option, the Think Tank Photo Airport Roller Derby is a durable case that offers ample space and smooth mobility. On the other hand, the Peak Design Everyday Messenger [CHECK LINK] is a stylish shoulder bag equipped with quick-access points and flexible dividers for convenient gear storage. However, the Tenba Cineluxe bag stands out from these options due to its unique and user-friendly opening mechanism. their patented "Doctor Bag" style opening. This design allows the bag to split in half, that ensures quick and effortless access, saving you valuable time on shoots. In addition, it offers superior protection, large space that fits the Sony FX6 and its accessories perfectly, and excellent organizational capabilities. This post might include affiliate agreements, for full information click here.
  21. Luis Otero
    We can grade using any of them, and just do a final check in a house that a suite can be rented by the hour that has one of Netflix approved monitors.
  22. Cody Strout
    In the market for a mastering monitor and am looking to invest in HDR. What's the general take on Sony's BVM-HX310? Is it still relevant in the current HDR monitor climate, and at it's 30K price point will it hold up against new monitors over the next 5+ years?
  23. Matthew Blacklock
    Sorry for the delayed response, been a full week. Personally I would stick with exporting everything as Rec 709-A. As far as I understand it is only metadata so won't change anything about the file itself, it's only telling Quicktime/Vimeo/YouTube/Frame.io how to display the file's contents. Tell any broadcasters you are delivering to that it's been graded for Rec709 Gamma 2.4 and they should be able to fit it into the pipeline accordingly, regardless of metadata tags. And actually, when you open up files tagged Rec 709-A, Quicktime says they are technically tagged correctly (1-1-1 / ITU-R BT.709) as opposed to "Unspecified" which you get when exporting with the tag set to Gamma 2.4. Most, if not all, mastered files I've ever received from other large-scale post houses are also tagged with the Rec 709-A/1-1-1 tagging scheme, so if they consider that to be the best then it's good enough for me for final deliveries. Hope that helps and if anyone out there has a better understanding/experience please feel free chime in.
  24. Baron Carr
  25. Colin Knox
    I'm having a little bit of trouble trying to connect the Project Library to Resolve. The downloadable files provided seem to have been updated since the course was uploaded. For context, similarly to what's shown in the course, I try to connect the folder 'editing-in-davinci-resolve'. But when I select the folder and click Connect, it immediately kicks me right back to the Add Project Library menu. Am I trying to connect the wrong folder or has the workflow changed since? For further context, I'm using the free version of Resolve and 'editing-in-davinci-resolve' is NOT in an external hard drive.
  26. Jesse Vulink
    Thanks so much for the response! Very useful information! The only question that still remains is: do I need to export rec709 gamma 2.4 for screens/oled and broadcasting and rec709-A for web? That means that I will color grade in gamma 2.4 (since my hero monitor is set to this and my project aswell). And export in both gamma for different viewing.
  27. Bledar Cili
    https://www.demystify-color.com/shop https://www.cinematography.net/Valvula/valvula-2014.html
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