This stream auto-updates   

  1. Past hour
  2. There is a bit of math involved, but I wouldn't be intimidated by it. CCS2 does ramp up a bit on the math side of things but you can always re watch if things go over your head the first time. Its all based in Fusion and based around look dev/ LUT building. So a basic knowlege of fusion might help but definately not vital.
  3. Today
  4. Thanks Ethan! Is it necessary to have an extensive math background or do you need programming skills to follow along?
  5. Can highly reccomend both of the classes. You'll probably find yourself rewatching the classes more than once because there is a lot to absorb. Definately worth it. 👍
  6. Yesterday
  7. Hi all, and sorry for a probably too late reply, I own a Phantom Flex4K and I'm very conscious about the TC issue, especially when you have to use the XML file to export a project from a software to another. As Glenn mentioned is a bit tricky but possible. Phantom cameras are using the GPS as a standard clock, that's why during the camera setup you can choose from LOCAL or UTC. UTC of course is the Greenwich time, your local time it depends about where you are. I live in Italy and I'm always one hour ahead UTC time. The camera (as far as I know) must seton SMPTE time code, not IRIG, especially for media and production shooting. So, let's say you are shooting a clips at some certain time of the day, one after another, finally your cinemag is full, time to change media. You give the Cinemag at the media manager for the transfer and he's saving the files. At this moment, using the PCC (the software release by Vision Research) selecting the clip you want to transfer, there are different menu you can choose, one of them is "FRAME INFO". Just below the frame info menu there's a voice named TIME. Pressing the curtain menu you can see LOCAL, UTC or TIME CODE. The camera provide a LTC Time Code embedded in the file, when you select the TC of course you suppose to choose the frame rate. That it. Where's the trick? When you open DaVinci Resolve on the menu Camera RAW you need to select Phantom Cine, and at the voice Time code setting select SMPTE, in that case DaVinci will choose the LTC and not the UTC or LOCAL. I just have in front of me DaVinci Resolve and PCC, both open and I see the TC on PCC and DaVinciResolve are exactly the same, everything based on the frame rate you choose. I know PremierePro has a lot of issues with metadata, so probably you need to make some test. Another thing you can do with the PCC is to change the TC on the clip you are saving, once again with Resolve I don't see any issue and the XML file have the SMPTE TC based on 25fps (or whatever you are using). I hope this might help Andrea
  8. Last week
  9. Works for me. No more problems! Thanks
  10. A change that solves the issue has been implemented Monday night and the website should now be available for most of our clients. Please do not be alarmed if it doesn’t work yet for you – The solution is implemented but it might take a bit of time for it to take effect. We will of course continue to supply assistance wherever required.
  11. Hi Marvin! Thanks for your thoughts and input. We have several high-end courses in production, and will make an announcement later this month.
  12. I would like to see an example of a Multicam with more than 2 clips from the same camera angle instead of just 1 clips per camera. Those are easy to do. I can't figure out how to setup the multicam for instance with 2 different camera angles with multiple cuts and takes over the course of the 1 audio track. If I use Sequential, it just places each cut as it's own angle and I want all the cuts from each camera angle on 1 TRACK not multiple tracks. How can I do this? I can't find a single youtube video or course that explains this and it's driving me nuts trying to figure this out. Any advice would be very helpful!
  13. Not sure where else to ask but I was wondering whether there's any new courses coming soon especially now that the full version of Resolve 18 is out?! Personally, I'd love to see more advanced courses that pick up where the other ones left off. Think of editors / vfx artists / colorists with 5-10+ years of experience who want to continue educating themselves and see workflows of other professionals to follow along. One course in particular would be amazing which is professional HDR workflows starting with the right gear set up to color management outputting SDR and HDR with trim passes, different types of HDR, etc.
  14. I might be wrong but I don't think the Atomos monitors let you control the camera. Small HD partnered with RED and has a proprietary software installed (for an upcharge) that lets you access the camera settings via touchscreen.
  15. I am running Davinci Resolve 14 on windows 7. Only had it on there a few days, but have a pretty good idea what I am doing. I have been playing with the chroma key. Have put a picture as a background and have a clip of me in front talking. All seems good until I render and check output. The background picture is like a paralellogram. Tried different resolution pictures for the background, no different. Then just rendered a background picture, that's still skewed. Puzzling me.
  16. FilmLight has welcomed further high-profile creatives from across the world to complete the judging panel for the 2022 Colour Awards, which recognise the finest work from colourists using any technology platform and working in any genre. The awards deadline has also been extended, and submissions will now close to the global colourist community on 7 August 2022. Find out more - and enter the awards - from the web site:
  17. Earlier
  18. Hey Sachin, I am a colorist based in Kerala. I am currently going through a similar kind of situation that you have explained here. After finishing the grade in Rec.709 pipeline I am now asked by an OTT platform to deliver the same content in Dolby Vision HD. There is a lot of confusion about the need for a Dolby vision license to deliver this(at least for me). Dolby has clearly mentioned on their website that you don't need a license for mastering Dolby Vision if you are only relying on the automated L1 metadata generation. Do you have any more insights on this based on your shared experience? Were you able to deliver your Dolby master successfully? We have a decent budget to procure hardware required for HDR workflow but procurement of license may not be practical at this point since we need to deliver the content soon. Your input on this would be of much help.
  19. Hey there, has anyone taken a class from especially this one from Cullen Kelly Sounds really interesting but before spending the money I thought I ask for any opinions/experiences. thanks guys enzo
  20. Thanks for the reply! Will send you the mail address! cheers
  21. There is currently a technical issue with our domain registration partner and we are working with them to resolve the issue as soon as possible, our apologies for the inconvenience. All current licenses will keep working without disrupting, if you are a license holder and wish to re-download Ravengrade please contact us at with the e-mail address that you used to purchase Ravengrade and we will provide you with your download.
  22. Ya the same problem here. And can't access any of my old purchases.😬
  23. Hey guys, i think the website is down. At least i can not reach it! Does anyone else got the same problem? cheers
  24. Hello guys, Our beta test for Final Cut Pro is finally out! We welcome you to join the Beta test:
  25. I'm new to the Lowepost platform, but after discovering this particular post about the FilmLight Colour Awards, this looks and sounds to be very interesting (because of the Color/Colour Grading focus).
  26. I just checked this, and yes, it is only available in the Rec709 plugin. Sorry for the trouble. I just never knew which plugin was chosen when using the Mira Powergrades. The DCTL is always blank when loaded. Thanks for the responses, much appreciated.
  27. All the looks are included in the plugin, but a couple of them are not available in the RCM/ACES versions mentioned by @Merlin Jahn. I read online that some looks have print data based on real film colorimetry and complex cross-colour contamination that it impossible to transfer over to a color managed workflow. Probably because a color managed workflow relies on an external transform and not a "recorded one".
  28. I'd suggest to use whatever fits your needs/workflows and gets the results you're after for a specific job. Some feel more comfortable with one tool while others totally prefer another one. Usually the difference for example between the Sat Vs Lum curve, the Color Warper (if you're adjusting luminance there) and some custom tools implemented via DCTLs is that they all are based on different math and/or color space under the hood.
  29. Hey Suraj, you can also check out this series, besides all the other great tips already mentioned: I documented how I profiled some negative stocks within Resolve (and also Nuke) myself. More is coming soon! Maybe this helps. Cheers, Nico
  30. there are some looks missing in the aces and rcm version, like the Niran look, which is only in the 709 version
  1. Load more activity