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  1. Yesterday
  2. Not clear from your post if you're running the Flanders directly from the Mac or from something like a Blackmagic Ultrastudio monitor 3G
  3. Last week
  4. Hello, I am new to color grading on a more professional level. I've slowly been getting into it and I just bought my first color grading Monitor Flanders DM160. Since I began color grading Ive been dealing with the whole editing on a Mac situation with the export looking super different on every device. Since then I've been able to color grade and somewhat get the "same" export looking very close on IO devices, Web, and DCP's surprisingly. Usually by using the REC-709A Tags. Just when i thought i had it somewhat figured out... I decide to get a color grading monitor, and I love how it looks on the Flanders, but it doesn't look the same on my Imac. and when exporting its all over the place. So my question is... How do I go about preferences on Davinci, as well as project settings. For preferences: I always have the: Use IMac display for users (checked) as well as the: Automatically Tag Rec. 709 to Rec.709A (Checked). Then for Project Settings: color profile: Davinci YRGB Timeline color: to Davinci WG/Intermediate Output color space Rec.709A Then i will have the color transform in the beginning and then at the end. The beginning one is: arri arri log C to Davinci YRGB & Davinci WG Intermediate. The Ending one being Rec. 709 (since theres no 709A there). and Gammara 2.4 which is the already calibrated flanders monitor. What am i doing wrong? I really want to just look at the Flanders and feel confident that what i'm coloring, exporting is at least similar for playback on a Mac. Leading to my other question. My goal is to color for film, online, and commercial. Should i work on ACES? but then how does that work with Mac if so how to set it up? right now im still leaning a lot on looking at the IMac for color reference, and i get have to test it out in different monitors, but the exports are just so different that I know im doing something wrong. Hoping to learn something new, Appreciate anyone who responds. thank you.
  5. Hi Kyle, there is no secret sauce in this industry, footage that is the result of the director vision and dop job on set is the king. Good film look can be achieved using resolve luts that comes for free, some other good alternatives are: Filmbox (like the halation, you can tweak it a lot and in HDR works great) Ravengrade Luts/DCTLs Dehancer Cinegrain FILM Pipeline (built for aces cct) Juan Melara luts/powergrades These are all valid options that I personally tried, you can also do amazing grades without using any magic lut, avoid free luts from web they can easily break. Have a look also at DCTLs, there are some free and some paid, some of them are similar and you can download a demo to check the differences. Those that pop to my mind are MONOnodes, KH, CullenKelly, PixelTools
  6. Hi Jackey, 1- If you are doing your corrections and grade before the output transform, then you are working scene referred. 2- Correct. About your final question it just depends. Do you want that project to be future-proof? What if the client will ask before final delivery for an hdr version? Do you have a lot of different cameras (think about documentaries) that needs to be matched, maybe using RCM or Aces could be a good choice instead of managing everything with groups and node based color management. It is just up to client/delivery needs and you personal preference. Personally for commercials I use resolve YRGB and match the timeline color space to the main camera so color space aware tools/ofx will behave the right way. When there is even the smallest possibility that later we could have to switch to hdr or for long format with hdr delivery I use Aces.
  7. Earlier
  8. It looks like it should be more lessons then 18 🤔
  9. The awards will celebrate colourists across six categories - Theatrical Feature; TV Series / Episodic; Commercial; Music Video; Spotlight; and our new category, Emerging Talent – which will celebrate work from the next generation of colourists (aged 18-35). Find out more about this year’s awards here: https://www.filmlightcolourawards.com
  10. If I am grading in rec 709 I have to trim pass in dci p3 should I change the luts rec 709 to dci p3 or cst
  11. If timeline color space in arri and output rec 709 ...if iam grading in with luts rec 709 ..it is possible to do trim pass in dci p3.....after rec 709 changing the luts rec 709 to dci p3 or direct CST rec to 2.4 ,dci p3 to 2.6..
  12. Entries open from 1 May - 31 July to colourists on any grading platform LONDON — 23 April 2024: The FilmLight Colour Awards return for the fourth year in 2024 with an additional new category dedicated to rising talent. The awards, which will once again be presented at EnergaCAMERIMAGE in November, are independently judged by a panel of prominent creatives, cinematographers and colourists. New for 2024, the ‘Emerging Talent’ award will recognise and celebrate the work of young colourists (age 18-30) who have worked on a commercial or music video project aired between 1 September 2023 and 30 September 2024. “The next generation of colourists is critical to the future of our industry,” says Jacqui Loran, co-director at FilmLight. “We have introduced this award to help support and encourage these emerging young talents – shining a light on their work and helping them to form a path into the industry.” The new category sits alongside the existing five: theatrical feature; television series/episodic; commercial; music video; and Spotlight, which recognises colourists who have contributed to the creative impact of a low budget feature. The awards are led and organised by FilmLight, in conjunction with EnergaCAMERIMAGE. “In 2021 we welcomed the FilmLight Colour Awards into the EnergaCAMERIMAGE Film Festival programme and we have enjoyed watching the success of the awards and the partnership grow year-on-year,” says Marek Žydowicz, EnergaCAMERIMAGE Founder and Director. “We continue to receive positive feedback about our joint efforts to shine a light on the work of the colourist and their invaluable collaboration with the cinematographer. We can’t wait to do it again this year.” For 2024, FilmLight also welcomes four new supporting partners: ShotDeck (fully-searchable cinematic image library), AMC (Mexican Society of Cinematographers), BVK (German Society of Cinematographers) and ISC (Indian Society of Cinematographers). They join the growing list of long-standing supporters, including: AFC (French Society of Cinematographers), ASC (American Society of Cinematographers), BSC (British Society of Cinematographers), CNSC (Chinese Society of Cinematographers), CSI (Colorist Society International) and more. You can watch highlights from 2023 in the 2024 teaser video, here. Colourists, production companies and facilities are invited to put forward their nominations when entries open on 1 May 2024, with a final deadline for submissions on 31 July 2024. For more information on the awards, including category guidelines, please visit: www.filmlightcolourawards.com ###
  13. On lesson 19 about tracking an image, the image doesn't show up over the footage. Why?
  14. Submissions open on May 1, 2024. The FilmLight Colour Awards celebrates the art of colour across the world and aims to reflect the cultural, visual and technical values of the international colour grading community of today. Watch the trailer :
  15. @Lee LeongCinelook 709 it's a paid product. https://ravengrade.com/cinelook/
  16. In my DCTL List, I only have the CKC Exposure Chart 1.3, but not things like Cinelook 709. Have I installed it wrongly? Thanks!
  17. Hey Cullen, I've been using and grateful for your Look Development Starter Kit. Yesterday, 4/1/2024, I tried to access the Ravengrade Assistant dctle and was met with a message saying my dctle had "expired". I checked my membership with Lowepost and Ravengrade and my membership looks paid thru december. Whaddup? Best regards, Charles Rodriguez
  18. Wondering if anyone else has encountered this error? I tried to access the dctle's and I get an error message saying my dctle has expired. I checked with Lowepost and Ravengrade and my license looks current thru 12/24. What's going on? Regards, Bill Ravens
  19. Dci p3 to rec 709 how to trim pass...any one know.....
  20. Hello, everyone. I'm a little bit confused and seeking suggestions. Should I go for the DaVinci Micro Panel or the Tangent Element for DaVinci Resolve? I only use Resolve, by the way. So, is it worth it? I'm leaning towards the Element kit because I can get it even cheaper than the Micro Panel.
  21. HDR panel is not the best name - I feel a more accurate name is "Wide Gamut \ High Dynamic Range Panel" but thats clearly a mouthful. You can use them for both SDR and HDR grading. Some may say they're "technically" more correct but I would not venture to say "better". Personally, I adjust exposure using a DCTL (or HDR Panel) and creative adjustments using primary panel. Can't help but fall back on printer points frequently though...... Nope - not unless I get a QC note. If it looks good on my calibrated reference, it is good. Happy to apply soft clipping to a clip \ scene if needed 🤷‍♂️ Also, most finishing I use have some type of auto-limiter which you can set up in your template project as a "safety blanket".
  22. You may want to check out this recent PowerGrade collection. May even see a few familiar faces in there - with permission, of course.
  23. One thing I don't like about this tutorial is the fact that it's very dependent on shortcuts, for example when you talk about linking, instead of mentioning about the big link icon, you dive straight to the shortcut menu and worst you don't even point out that icon at all!
  24. We've received a few requests to make a tutorial video showing how to create custom maps for Wave and Wave2 panels when used with Resolve. So here it is... Note the Mapper and Warp Engine is compatible with both macOS and Windows.
  25. I'd love to mention as a PC editor, ProRes is easily accessible in 2024. Adobe Media Encoder, Avid Media Composer, Shutter Encoder, and Magix Vegas can decode and encode ProRes of all resolutions and frame rates. I'm sure Premiere can encode it too, but I don't use Premiere. I recommend ProRes for one extra reason above DNX: ProRes is variable bitrate. This makes it optimal for GFX encoding while maintaining a smaller file size with high quality and performance. I rendered a UHD 30 minute countdown clock in ProRes HQ 422, and it came out to 5.5GB!
  26. I've seen a lot of film emulation plugins and luts on youtube, but I can't help but think there must be better ones out there. Like are professional colorists using film emulation luts from youtube? I use Juan Melara's stuff all the time as it is the best i've ever found. Curious about if there are certain secret luts LOL. I have also used the brim which is pretty cool.
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