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  1. Yesterday
  2. Nicolas Hanson
    Just export a regular EDL? Or am I missing something?
  3. Nicolas Hanson
    Not sure why it doesn't work but i will investigate some more when I'm back at the office tomorrow.
  4. Robert Newman

    Just a guy who is mostly ignorant of all things photographic and cinematic, and wants to learn something new.

  5. Robert Trim
    Kevin. A thought about the edit lesson. I found it odd that you spent minutes talking about adding a LUT to the footage in the edit module and how to do a split screen, but not a second about how to use editing tools. Having done dozens of training videos, I know what a pain it is to re-do a module. However, I'd like to suggest that you re-do the edit lesson to focus on the editing tools...which are woefully weak in Scratch, but it will do cuts and the like. How do you accomplish a cut on a specific clip on a specific track? How do you add a dissolve? The help menu does not show a short cut for a cut (DaVinci is 'B', Premier is 'C', Final Cut used to be 'R' but not sure what it is now)... is there a shortcut key for a simple cut? Thanks for you effort. I use and teach Scratch from the DIT perspective. In that realm, the edit page is not/rarely used. Bob
  6. Last week
  7. Jeff Sousa
    Hi Kevin, loved the series. I have a request for a few more episodes... (1) In depth with "Frame Ref." vs. "Shot Ref" vs. "Snapshot" vs. "Add Copy" vs. "Memory" vs. "Trim Buffer" vs. "Alt-clicking a shot". In other words, how do you save, recall, and quickly apply your grades? How do you send them to clients? What are strategies for storing looks and comparing grades in the tray? And basically, what is the benefit to having so many different kinds of "stills." (2) Best practices for using Neat Video on multiple shots. How to cache Neat Video as a node before your primary grade so you can have real-time playback with client in the room and make adjustments and keep real-time playback. How to add Neat Video when you've already started grading and realize you will need it, but don't want to lose your grade, and don't want to mess up your node tree. How to copy paste Neat Video settings between shots, when things seem to get messy with the matte/fill tool. Any other viable NR to Neat Video. (3) Best way to make yourself roto mattes for grading. After Effects bridge and Mocha / Rotobrush? Some other plugin that's more native? Thanks! Jeff
  8. Mazze
    Doesn't the latest DecklinkVideo Driver work?
  9. Adéyẹmi
    How do u export a preconformed edl from premiere for use in Davinci
  10. Nicolas Hanson
    Do you know where I can download the Decklink HD Extreme 3D+ driver? It seems like it's fine for DaVinci Resolve but Avid tells me that it's out-of-date and that the plugin will be ignored.
  11. Luca Leocádio Soares
    Gamut mapping with qualifier seems to be a quick and good way to accommodate the bright highlights during HDR grading. Thank you for the tip Anton!
  12. Earlier
  13. Keidrych wasley
    Just to add a layer to the conversation. Many DoP’s use custom LUTS some will be designed for the camera eg a .aml for the newer Alexa’s. Other DoP’s will use a custom lut loaded into a monitor. Roger Deakins uses one LUT only and has done since he started working with the Alexa. He has made minor changes to saturation and contrast for some films. The LUT has contrast curve baked in so that the image on the monitor 95% represents the final look of the finished film. This lut is then taken into post production for a consistent look from set to grade. This is why eg Sicario was graded in a week. Roger mostly shoots at 3200 or 5600 and creates the look from the lighting rather than a white balance / tint change. I’m a fan of this ‘one light’ one LUT approach but it won’t work for everyone of course. In resolve you can create a lut simply by manipulating the image with nodes then right clicking the timeline still and exporting a 32 cube LUT which you can the convert to whatever in lattice or if for Alexa mini etc use their free color tool. In fusion you can create 64 cube luts etc and get even more precise. Personally i’ve worked in aces and created a lut from a modified cinegrain pipeline 2383 lut which I modified to my liking then converted for use with the Alexa mini in camera. I’ve been very pleased with the results.
  14. Aman Shah
    Is it still available?
  15. Chris Gregory
    Hi - I am looking to buy TWO Baselight systems. I require today a Baselight One system with either Blackboard Control surface or a Slate Control surface Baselight two System with a Blackboard One or Two Control surface. We have orders for both the systems that we must fill Please let me know if you are interested in selling your system - email chris@thameside.tv Many thanks Chris
  16. Anton Meleshkevich
    Isn't infinite contrast of OLED (compared to 700-1200:1 for ips) better than more uniform panel? I'm not saying it is, I just want to understand, why uniform ips with low contrast ratio is better than not so uniform OLED with infinite contrast.
  17. Anton Meleshkevich
    In addition to Marc advice you can also slightly desaturate highlights. Or apply gamut mapping only to highlights using qualifier.
  18. Anton Meleshkevich
    I found changing viewing position helps a lot. For example sit on client sofa, turn off interface and grading monitors and watch from there, playing your program on the client TV.
  19. Anton Meleshkevich
    Usually you create a LUT for a monitor, not for a camera. LUT should be a 'log-to-video + grade' size17 LUT. Basically you don't want to bake any cdl to a LUT, but your DP may want you to do that. So you probably should tell your DP to adjust temperature AND TINT in a creative way instead of just set and forget 5600 for daylight and 3200 for tungsten. Or you will have to bake cdl-like corrections (or more accurate color balance in linear gamma) to LUTs for each scene to make LUTs work properly (especially extreme teal-orange LUTs). Of course you can create cdl on-set. But I like to avoid this as much as possible. Just my personal preference. Also test your LUT with all kinds of neon lighting.
  20. Nick Oostdijk
    Hi everyone, new member here! I will be grading film for the first time soon and i’m very curious how to go about this as I am only used to grading digital footage. Does anyone have some good tips/advice on grading film? Is it any different than for example grading a Rec.709 image converted from LogC? Thanks in advance! Nick
  21. Lee Lanier
    You can mask and color grade 360 VR as you would any footage. You can do this in Fusion or in the Color tab. To do this in Fusion, it's easiest to view the footage in the LatLong format, as shown in Lesson 07. For exportation, you can render it through a Saver in Fusion or render it out of the Deliver tab as you would any other footage. In general, 360VR is rendered out as LatLong, although you can use a Panomap tool to change the mapping before rendering.
  22. Tom Evans
    Cool, I will give it a try!
  23. Sarina McCavana

    Hi,

    I am a French - London based DVR colourist with experience in colour grading short and long form projects for clients and companies in the UK and abroad, such as Sony, BBC FOUR, Discovery US, UKTV, RSA films, IRIS Worldwide, GTB, FCB Inferno, Sassy Films, Adjust Your Set, JSR, Be Heard Group and Ichi.


    Colour grading digital content mostly, short films, commercials and idents for UK and wider brands such as M&S, Homebase, DFS, Microsoft, Nissan, Ford, Uber, NIKE, Reebok, Shell, Samsung, Starbucks.


     

    1. Show previous comments  1 more
    2. Orash Rahnema

      Orash Rahnema

      Ciao!

    3. Margus Voll

      Margus Voll

      Welcome!

       

    4. Sjors Krebbeks

      Sjors Krebbeks

      Welcome to our community! :)

  24. Bruno Mansi
    No one ever said owning a Baselight system was cheap! I'm afraid I've no experience of the hardware on a linux-based Baselight system. You could also try posting on the Lift Gamma Gain forums and see if anyone can help. Ideally, you should stick to what Filmlight recommend, as they cannot guarantee correct operation if you decide to install your own unsupported hardware. Setting up Linux systems can be trickier than your usual Mac or PC systems, and there may be driver issues with unsupported cards that will prevent the system functioning correctly.
  25. hemanth kumar
    Hi Thank you for your reply.They don't want to tell us witch card will go with baselight 4.4m1 They are asking me to buy the card from filmlight the card price is too high. They said RTX 6000 will fit but right now i don't have that much money so i am looking for alternative card. can you suggest me GTX 1080ti will fit (in 780TI GDDR5 the 1080ti has GDDR5X is that ok please let me know. Thank you Hemanth
  26. Bruno Mansi
    I would have thought a quick call to Filmlight would answer your question. The 780Ti was released in 2013, so by today's standards it's nowhere near the performance of modern cards like the RTX2080. As a comparison, here's a link to a site that compares graphic cards... https://gpu.userbenchmark.com/Compare/Nvidia-RTX-2080-Super-vs-Nvidia-GTX-780-Ti/4050vs2165
  27. Kai Klassen
    Hi, for Arri cameras there are official tools you can use to create the aml or xml for in-camera use. For the ‚newer‘ cameras: https://www.arri.com/en/learn-help/learn-help-camera-system/tools/arri-color-tool For the ‚older‘ cameras: https://www.arri.com/en/learn-help/learn-help-camera-system/tools/arri-look-creator The ‚Arri color tool‘ is also handy in a different way. Not only you can use it to transform the cube to aml, you also can import luts and convert them to any other lut format (e.g. Nucoda). No batch convert though, as it is not especially meant for this purpose. But its for free and if you have a lut that you actually need in another format it works. Cheers
  28. Sjors Krebbeks
    Throughout the past couple of years, Assimilate SCRATCH has become the #1 tool among professionals for today’s on-set dailies workflows. If your production requires excellent metadata management, highspeed background transcoding, superb audio sync capabilities, or solid color science for look transfers on-set, while keeping a maximum of flexibility and operating speed - there is hardly a way around SCRATCH for Dailies. Instructor Kevin P McAuliffe covers everything from project and system setup, through audio syncing, LUT-application and metadata QC all the way through rendering and reporting, so you can get your assistant editors the dailies they require. About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures. Who is this course designed for? DITs Conform Artists Editors Colorists Visual effects artists Lessons Overview: Lesson 01: Overview Lesson 02: System, User And Project settings Lesson 03: Media Browser Lesson 04: Audio sync Lesson 05: Color Luts Lesson 06: Exporting Lesson 07: Metadata reporting Software required Assimiliate's SCRATCH. Download the trial or use the code PR3MIUMUSER at checkout to activate a 20% discount when buying SCRATCH.
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