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  1. Yesterday
  2. Hi all, this is a two-part series on working with dual fisheye VR180 footage from the Canon R5C. Part 1: - importing Canon 180VR clips into SCRATCH - flagging them correctly as 180VR stereo clips to view inside a headset - applying an STmap to unwarp the fisheye footage - primary grade the footage - and transcode it to a different format to work with down the line Part 2: - work in a true stereo VR environment - grade left and right eyes separately - retouch the footage using vector paint - export to different stereo patterns Enjoy! Cheers, Mazze
  3. Last week
  4. Explore the creative possibilities of Baselight AKM Yeşilçam Sineması, Istanbul 8 December, 2022 Registration: Explore the fundamentals of HDR theory and its application in Baselight, and learn how to build a look in Baselight using Baselight LOOK, FilmLight’s software-only macOS application. The day also includes an exclusive sneak peak into the features that are coming to Baselight in the future, and a presentation about Baselight Streaming.
  5. Would love to get a recent update from this. I understand monitors in the budgeted range is still wild but I think It would be nice to get constant updates and have a database of measurement reports.
  6. First of all, "working under the transform" means the opposite of what you write. It means working prior to the transform / on nodes before the transform. If you want to work on a normalized image you will have to work on a node after the transform. If you want access to the log data, you will need to work on nodes before the transform. It can be more complex, but you are confused enough. I suggest you watch the first lessons of this course, it explains the concept very well.
  7. How can I work under the transform so everything appears "normalized" and not in log so I can get proper keys etc. Sorry if I'm not explaining myself properly
  8. Yes of course, what is your question really?
  9. I swear in the past I've put the CST or any lut at the end of the node tree and I've worked under the lut or transform. Every thing displayed would be in rec709 even tho I'm working under the final transform. I could put the transform first but I hear its cleaner to put it towards the end of the tree
  10. Because the transform is applied on the third node. Resolve processes the first node first, the second node next and finally the third node and it will stay in camera space all the way until it reach the transform. I guess what confuses you is that you see the transformed image on your monitor. That does mean the image is rec709 but it doesn't mean the nodes prior to the transform is rec709.
  11. I'm sure this is a dumb amature question but why is it that if I have a log to rec709 CST at the end of the node tree why arent all the nodes before in rec709? Each node is unaffected by the node after
  12. AS Moritz stated, linear content, such as ACES2065-1 needs to be delivered in a floating point container. ProRes, H264, DNx, etc. are all integer and will clip the signal at 1 (while the actual image content can go way higher than that in lienar space) The only way to transport ACES via a ProRes file would be to encode it with a log curve (such as ACEScc or cct), but the proper way to deliver ACES, is to use ACES2065-1 in an OpenEXR container.
  13. Earlier
  14. Creating dailies inside of DaVinci Resolve, editing in Avid Media Composer and sending the timeline back to DaVinci Resolve for finishing has become pretty much a way of life for many editors. Editing everything inside of Avid Media Composer in high-resolution is just not practical when dealing with hours of footage, and creating dailies inside of it is too slow. The time it takes to transcode can sometimes be 2-4 times real-time, and when you’re dealing with an extensive amount of footage, your system could be running for 24 hours for multiple days in a row, which means it’s not doing anything else other than that. That is why many editors have switched to using DaVinci Resolve for all their dailies work. Not only is it lightning fast, but it can also transcode all your super high resolution footage down to Avid friendly MXF OP1-Atom files - the same type that is read by the Avid Media Composer databases. Resolve need help However, that doesn’t mean everything will be smooth sailing inside of DaVinci Resolve either. You'll need to give DaVinci Resolve a little push in the right direction when, not only creating the dailies, but also when sending your final AAF from Avid Media Composer back to DaVinci Resolve to do your online. In this tutorial, you’ll be walked through things you should consider and do before creating your dailies and the full database round-tripping-process from Dailies Creation in DaVinci Resolve to editing in Avid Media Composer and back again for finishing. Enjoy the video! By Kevin P. McAuliffe
  15. ACES needs a Float container. EXR is the right choice.
  16. just released Kharma PFE LUTs, a collection of True Print Film Emulation LUTs for Colorists and DOPs created in close interaction with the industry and renowned image scientists. The 9 Kharma LUTs are generated with true film spectral and colorimetry data from specific film stocks and emulates Kodak Vision3 5203, Kodachrome 5268, Fuji Eterna, Ektachrome 7294, Fuji Eterna SR12, Kodak Vision3 2383, Eastman EXT Color Print Film 2386 and Fuji 3510. More info and sample clips on this site:
  17. 15% OFF Lowepost Subscription and lifelong price-lock 15% OFF Ravengrade Courses (Color Grading Masterclasses etc) 30% OFF Ravengrade grading tools (Cinelook, Cullen Kellys MasterTone, Daro, Mira PowerGrades and the new Kharma PFE LUTs released today: 40% OFF Ravengrade Complete that includes all existing and future training and grading tools in one subscription.
  18. Hi Lee Just joined Lowepost to learn about Stereoscopic toolset. As I said in Facebook forum, "Anyone know anyone who can do private online training on the DaVinci Stereoscopic tool set? I am apretty well versed stereographer/stereo supervisor (Bugs!, Carmen in 3D, Madam Butterfly 3D, Meerkats 3D, Tiny Giants 3D, Arctic 3D etc.) but would like some help navigating the Resolve stereoscopic toolset to my desired ends." Do you do one on one? Best Phil
  19. Anyone know anyone who can do private online training on the DaVinci Sterescopic tool set? I am apretty well versed stereographer/stero supervisor (Bugs! - well, the digital versions!, Carmen in 3D, Madam Butterfly 3D, Meerkats 3D, Tiny Giants 3D, Arctic 3D etc.) but would like some help navigating the Resolve steresocopic toolset to my desired ends.
  20. Hi Luca! This is Teodor (you can call me Teo!), sending a message from Serbia I am interested in your FSI DM240 and would love to purchase it from you, if you still have it available! I hope I didn't see the post too late! I have a friend who lives close to Montreal, he would pick it up, or we'd arrange for you to ship it to Serbia (I'd cover the cost, of course)! This is the first time that I use this website, I am not sure how communication usually goes, I'd recommend for us to either move to email, some other platform, or even direct messages here, if they exist, since sharing personal information might not be ideal in a comment section hahahaha Thank you in advance, sending positive energy from Serbia! With gratitude, Teo
  21. Yup, still there. Feel free to send me a PM.
  22. Hi! Do you still sell the T-Tap? Thanks
  23. Hi. I have an upcoming project shot on the new arri 35. Is there an update for revengrade, otherwise whats the suggested workflow. I was thinking Simply to Color transfor from logc4 to logc3 and correspondant colorspace but that kinda defeat the arri 35 pourpose i think. Otherwise go to aces. I wanted the revengrade option available. What do you think?
  24. Hi, guys! I need in your advice about monitor calibration. Do you can suggest who calibrate OLED TV (for colorgrading) in Spain with te possibility to go any city.
  25. I believe it would depend on your needs. At that price point, I'm thinking non-4K and non-HDR? The Flanders DM250 is excellent and costs $8,000. OLED, 24.5 inches. Their customer service is also excellent. I adore working on an older CM320 from them.
  26. Hi eveyone I'm dit While studying ACES, After converting ACES2065-1 to PRORES4444 through davinci resolution, then I set the ODT to 709 in the ACESCCT workspace but I found problem the highlight clipping compared to the original. The ACES standard EXR does not have this issue. EXR is same Original What is the cause of this problem?
  27. Thanks Would it be a good idea to always have a second source input for skin incase I need it and pipe it into a parallel node stack where I'm doing my look?. Also whats the advantage of a second source input over just immediately creating a parallel node?
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