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  2. Hi friends, I'm selling a used Rageboard for the Tangent Element panel. It definitely has it's marks, but otherwise works fine. It can hold up to 6 panels (e.g. Mistika configuration) and comes with - 8-port powered USB 3.0 hub - Cherry kc4020 illuminated keyboard (US-layout) - placeholder plate with USB 3.0 port - placeholder plate clean (for e.g. mouse pad) Item is located in Germany and can be shipped EU-wide. Asking Price is 400€, but I could be talked into less 😉 . Cheers, Mazze
  3. Hi friends, looking to sell the board incl. the silver stands with the corresponding holes in them. The Element panels themselves are not part of this item, but just for better visualization as to what this is 😉 . Price is 150€ Item located in Munich, Germany Shipping EU-wide. Cheers! Mazze
  4. ARRI_Reference_Tool_GUI_1_4_0_Release_Notes.pdfHow to adapt any LUT for the Alexa 35 Cullen Kelly shows how to make a lut compatible with the Arri Alexa 35 camera with the new Lut creation workflow inside of the ARRI Reference Tool version 1.4 Link to ARRI Reference Tool version 1.4 download ARRI Reference Tool | Learn & Help Link to ARRI Reference Tool version 1.4 PDF linked below.ARRI_Reference_Tool_GUI_1_4_0_Release_ARRI_Reference_Tool_GUI_1_4_0_Release_Notes.pdfNotes.pdf
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  6. Hi All, I'm an aspiring colorist trying to learn how to grade professionally in Davinci Resolve. I have two questions that confuses me and I hope that I could have some insight from the community. 1. There are two terms that was constantly mentioned in articles and tutorials, display referred and scene referred. I work in Davinci YRGB which is a display referred color managment system. However, I'm grading everything prior to the color space transform which is a scene referred color grade workflow. Therefore, am I working in display, scene referred, or both? 2. I was wondering what preferences does everyone have for timeline colorspace. I currently do a CST to transform my log footages into DWG and set my timeline color space to DWG. From what I understand, timeline color space affects how the coloring tools behave. Are there any benefits coloring in the camera color space (Arri LogC) instead of DWG. Thanks for your insight and time to reply this post. Cheers,
  7. This is because I am not a good English speaker. I have investigated that it is the real Aline, I have talked to her on Skype, and she showed me the Baselight system. We communicated by email, and the invoices that were made payable are in the name of her business. Also, after this post. on FilmlightGroup did not get any reaction from her. All the phone numbers posted on the web, if found that belong to that business, no one answers. I have sent to her addresses, which are some of my people that I have in the USA, and they have not found any business with this name or Alina there. What do you think?
  8. This post is confusing as you changed the gender reference when speaking about the person you spoke with. "I was waiting for HIM to send the system. SHE never sent me the system". Did you speak with a male or female? How did you verify the individual you spoke with is the real Aline Sinquine? Is it possible someone else has stolen her identity to commit the fraud? Her website which is under construction but does have a phone number listed.
  9. Hello! A month ago, something sad happened to Filmlight Facebook Group. A well-known colorist who had previously worked in well-known companies such as MILL or MPC, with almost 20 years of experience as a colorist named Aline Sinquine, who decided to have an active company called Five One Color in New York. I promise that she would sell me her Baselight One system. Then I talked to her on Skype with the camera and verified that she was the person in question by looking at the system from Skype if it was working properly. After a week I made the payment to buy it, and I was waiting for him to send the system. She never sent me the system and then deleted me from all contacts by disappearing. I never thought that such a well-known person, even more so a lady, would do something like this, what is sad is the fact that all the addresses of the locations she has on the web or on Facebook are not correct because They sent my close people in the USA to the location, and they found it. Please if anyone has any info to help me. I hope that this case will be an example for those who do such things in this community. This is her company: https://www.fiveonecolor.com/work This is an interview she did in Filmlight: https://www.filmlight.ltd.uk/.../meet.../aline_sinquin.php QuoteReply Report
  10. Many thanks Dylan for sharing your insight. A quite enjoyable masterclass.
  11. The latest release of the Tangent Hub now has an updated Warp Engine with a record feature. So you no longer need to write scripts by hand. Warp Engine allows you to map any control, on any of your Tangent panels, to any application. This is done through assigning scripts to controls to emulate mouse clicks, drags, scrolls and keypresses. Examples of typical use are: To add and remap controls in applications that support Tangent panels but do not allow customisation of the map. For example, DaVinci Resolve. The fixed map is retained, but the user can jump between that and their own custom map*. Adding controls previously unavailable through the Tangent Mapper in applications that already support Tangent panels through the Mapper. For example, Adobe Premier Pro. To control applications that don’t support Tangent panels. For example, Avid Media Composer. * Applies to Element, Ripple, and the Element-Vs app with Resolve. For Wave and Wave2 with Resolve you can only create your own custom map. Both Windows and Mac operating systems are supported. Head over to our support page to find downloads and more information. We’ve posted a tutorial to YouTube showing how simple it is to add extra controls to Resolve:
  12. Such an inspiring article, thank you so much. Cheers from Spain.
  13. My 2 cents... In DaVinci YRGB, and Rec709 (scene) set as timeline color space (the default setting)... ...if you want to simulate a color managed workflow by working between two color space transform effects that cancel each other... ...the right setting for the second effect is: Output Color Space: Rec709 Output Gamma: Rec709 WITH THE "APPLY FORWARD OOFT" SETTING TICKED. I don't know what the setting does, and I would appreciate somebody telling me in simple terms. Don't need a full explanation of Gamma, I am a colorist for 10 years.
  14. Hi, I'm just starting to build my portfolio as a colorist and found this course very helpful. I have two questions and was wondering if you can provide some clarification. 1. All of my projects currently are outputting to SDR. Is there a benefit of working using HDR tools? If HDR tools behaves more naturally because it is color space aware, is it more "better" than primaries? Would you still use primaries to adjust the exposure/ contrast on a clip level. 2. I really enjoyed lesson 5 and 7 about creating the silver bleach bypass and the film emulation look. As a novice, I've been told to always keep blacks within the legal range 0 and looking at the scope is a good way to do that. I can't help but noticed that altough you've lifted the blacks when creating the look using the Arri test image, there are still some signals that are sitting below 0. Is that a problem? Cheers, Jackey
  15. 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
  16. Hi Vicent, glad to hear you liked the masterclass. You can still use LGG for cinema grading, even though they are primarily designed for REC709 / G2.4. Many Colourists do, however I would always recommend using the offset or HDR grade tool Global first for exposure / wb. Then use Lift to tweak your black level / Gain for your white level. I seldom use gamma, since the math behind it "bends" the image in an non-linear fashion. These days I find myself using HDR grade tool Global / Temp / Tint for a lot of the heavy "lifting" (not lift as in black level). When set up correctly the HDR grade tool is colour space aware, meaning that it manipulates the image with the source colour space / gamma in mind. Which again yields cleaner grades. Custom Curves are also color space aware when set up correctly in a Color Managed project. However a never use Custom Curves for shot by shot balancing, but I do use them during more scene based look-design such as split-toning and contrast curve adjustments that span an entire scene or movie. Hope this helps. Cheers Dylan
  17. Thanks for this masterclass!! My question is... lift, gamma, gain wheels work in rec 709 color space, that being said, if you want to grade for cinema that is dci p3, would you still use lift gamma gain or use other tools like curves and hdr wheels...?
  18. How to I insert a clip say from video track 2 - in between 2 clips on video track1. i know how to do it from the source viewer or bin. But nit able to find how to insert it by picking it from video track2 and inserting it between 2 clips on the video track below. ‘thanks
  19. Pablo, You are correct in that exporting a LUT out of Resolve for importing into a RED camera which supports the IPP2 color management workflow does involve disabling the ODT node in Resolve as the camera can apply the IPP2 output transform (based on the user selection) . It is important to verify you are using the same IPP2 preset transforms in Resolve as well as in camera. The IPP2 output preset 3D LUTs which can be used in Resolve are available on this Red webpage. https://www.red.com/download/ipp2-output-presets. Emily you are correct when dealing with importing a 3D LUT from Resolve to an external SDI or HDMI monitor (such as as Small HD, Atomos or other external monitor) but incorrect if importing the CDL from Resolve into a RED camera which has the ability to apply the IPP2 ODT. The specific application of any 3D LUT is important to consider as it must be understood if the CDL or LUT is for use in camera or an external monitor. Ian from Able Cine explains the entire workflow using both Pomfort Livegrade and Resolve in this excellent video tutorial.
  20. Ok, thanks Tom! If you have any other LUT creation software ideas other than Resolve, I am all ears!
  21. Hi all! Thanks for the positive feedback on the masterclass. I am extremely happy that you guys found it useful. There are so many ways of handling colour in tandem with storytelling. I find myself constantly trying different methods to see how I can improve my creative approach during look dev and client sessions. Have a great new year! Cheers Dylan
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