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  1. Last week
  2. Marieta Farfarova
    This was an excellent course, I learned a lot! Thank you, Kevin. I have just a couple of questions regarding lessons 10 (Color channel mixing) and 18 (Film emulations and grain) Is there an in-depth lesson that explains how the RGB Mixer works? Or would you say it's a matter of experimenting with values to see if you can get an interesting look? My understanding is the film LUTs within Resolve expect a Cineon Log curve. Therefore, a CST should be applied prior to the 2383 LUT converting the footage from Arri LogC3 to Cineon Log in order for the LUT to work properly. Is this wrong? Thank you again for everything. Looking forward to seeing the rest of the courses on Lowepost!
  3. Nicholas brecken
    The mention of Ansel Adams was great. I had heard of the black and white technique for contrast. Thanks for this insight. Will be testing this out!
  4. David Gomez Ojeda
    Hi group Any chance to export and make the looks work through Arri Reference Tool to get the looks into the camera? Not getting accurate results here. Thanks!
  5. Earlier
  6. Anfisa Zelentsova
    Hello everyone, We're happy to announce our first colourist awards! Dehancer Colourist Awards is an annual competition for colour enthusiasts, created by colour experts. It’s a great opportunity to share your own story about colour and film aesthetics with the world! You can submit a movie for the following categories: • Feature Film • Short Film • Documentary • Music Video • Mobile Video (shot on mobile) Important dates to remember: submission opens today on September 15, 2023 closing on December 15, 2023. The winners will get generous cash prizes of 6,000 USD each, Lowepost subscriptions and more! To participate or learn more, please visit: https://awards.dehancer.com Good luck everyone!
  7. Anfisa Zelentsova
    Join our first Dehancer Colourist Awards! Dehancer Colourist Awards is an annual competition for colour enthusiasts, created by colour experts. It’s a great opportunity to share your own story about colour and film aesthetics with the world! You can submit a movie for the following categories: • Feature Film • Short Film • Documentary • Music Video • Mobile Video (shot on mobile) Important dates to remember: submission opens today on September 15, 2023 closing on December 15, 2023. The winners will get generous cash prizes of 6,000 USD each, lifetime licenses for shortlist nominees and more! To participate and learn more, please visit: https://awards.dehancer.com Good luck everyone!
  8. chris jacobson
    Thank you for your comments. I understand where you are coming from. Mostly a pure mathematical fundamental. However, "Color management is nothing more than the process during which your image goes from recording state to display state" I disagree, the "process" changes depending on who wrote the code. It is the mapping that is open to interpretation. Just like every AI or social media has an algorithm so does color science. How one mathematical equation will interpret ...let's say for example red mapping bit depth, this can make a huge difference in the output of the delayering and hence would change everything. For example how I could use a curve and key combination to achieve the desired look for skin tone. The biggest discrepancies become apparent in red and blue Bit mapping. Bit mapping is the biggest interpretations in color science. A process I prefer to leave to the colorist working in RAW, in this particular case, me.
  9. Darren Shearer
    Hey Bruno, Great, thanks for the confirmation that I'm not the only one! I will reach out to FL and see what they can tell me on this. Thanks again for the help. Darren
  10. Levente Horváth
    Dear Chris! Color management is not a creative process that you would rather do... Color management is nothing more than the process during which your image goes from recording state to display state. In this case, after debayering, your image will be recoded from a logarithmic state then until it is linearized,then in this case to a power function, which e.g. the gamma is 2.4. The gamut must also be mapped using a 3x3 matrix. Or else you won't get accurate color reproduction. The dynamic range of your monitor and camera is also different. In this case, the Tone mapping is adjusted, and the material goes through many other changes, such as Saturation mapping, OOTF, OETF, etc. This is much more complex and mathematically precise, unlike your LGG solution. If you experienced clipping, it was because you were working in a display refereed environment. You shouldn't skip the look development stage either, ask for the help of a color scientist. Once he will create a LUT for you, which you can use for the entire TV show. You need an S - contrast curve set to middle gray, which distributes the dynamic range in the SDR container based on your preferences. You need a nice general color palette that is made in 3D space, more advanced color modes and a lot of technical elements that you can't even reach under the resolve color tab.
  11. Bruno Mansi
    Hi Darren, I can confirm that by adding a Paint effect (with a circular blur) would cause a crash in the Baselight plugin, and I didn't need to add any feathering. It seems to happen when you actually park on the shot with the paint effect. I can see some sort of revolving icon in the extreme top left of the Baselight window, and then everything stops. If you render the Paint effect first, then there's no problem with Baselight, so this is the workaround for now. It must be something to do with the real-time rendering of this effect that's causing some issue with the Baselight plugin. Might be worth a support call to Filmlight, who are pretty good in this area.
  12. Bruno Mansi
    When you export the AAF, are you choosing to consolidate the media? This is where I've seen Avid adding the '.new' extension to the clip name, as it's effectively creating a new clip. I haven't tried exporting an audio AAF to Resolve - just picture AAFs, but if I have all my original audio rushes available to Resolve, I would think to just export the AAF without any consolidating or embedding of media (as you might do if sending to Protools). In fact, I don't think Resolve can accept AAFs with embedded media.
  13. Darren Shearer
    Hi Bruno, Thanks for trying to simulate my conundrum! I have found that Paint Effects or Spot Colors with a lot of feather can be the biggest culprits, but it seems like you have tried a good variety of effects in there. I am on Avid 2018 and on BL for Avid 5.2137. We had some success on one of our stations turning off the cache, but not so much for mine. Thanks again for the help Bruno and any further insights would be much appreciated! D
  14. Thomas Singh
    I have this strange audio conform issue when going from Avid to Resolve with an AAF. Resolve reads in the wrong audio clip. The audio on the Resolve timeline gets this ".new" extention behind each clip name, but the ".new" is not there in Avid and it's not there if I click "find clip in media tool" in Resolve. The way I bring the AAF in is by first loading the footage and then linking to the source while importing. The same happens if I choose not to link. Any suggestions very much appreciated.
  15. Bruno Mansi
    Hi Darren, Tried a quick test and couldn't reproduce your crash. So, Baselight on layer 3 with shots on layer 1. Various effects added to shot layer and layer 2, including Avid native effects and a couple of BCC effects. Not done anything too dramatic like stacked effects or multiple Baselight layers. Specs of this test setup: HP G9 Laptop with Nvidia graphics, 32MB RAM, MC 2018.12.15, Baselight version 5.3.16760, no external hardware (eg. Ultrastudio). B
  16. Darren Shearer
    Hi All, I am experiencing a significant amount of crashes when I put Baselight on the top track of edits with other effects below. Is this a metadata confusion or maybe something being caused by Baselight needing to see through the effects below to the actual clip? Any help/insight would be appreciated as I really like using Baselight as an overall treatment layer but it's not working out too well right now. Thanks! Darren
  17. Max Stromberg
    New episode with Stephen Derluguian released! See more of his work here https://www.instagram.com/sderlug/
  18. Geraldo Alexandre
    Should i buy a M1 or upgrade to the M2? im thinking of buying one to be my main workhorse
  19. kowshik sivakumar
    This is very helpful, thank you very much Lynette
  20. Alex Dimnichev
    Hello! I am new to learning ASSIMILATE SCRATCH. I'm interested in the method described in this tutorial. But I don't understand how to make the mask mentioned in the tutorial. I would very much like to get a detailed explanation of how such a mask is made. Thank you.
  21. Max Stromberg
    Hi! We're working on a new series where we interview great colorists. The focus is more on the soft skills of the job, getting clients, maintaining the relationships and working with them in a good collaborative way. Being a colorist is such a dynamic job where all those skills matter in addition to the technical and creative side so we wanted to show that. First interview is with Aleks Ver. You can see more of his awesome work on his instagram. Thanks for checking it out and let us know if you have any suggestions for future episodes. /Max Stromberg Pixelview.io
  22. Ismael Ouattara
    Note on Lesson #4 (12:22) : the Color Warper is also color space aware!
  23. sunnanhai
    What is the first step in these videos? Is it a logC to Rec 709 LUT or a specific print LUT? Looks like Resolve's Kodak print LUT, but just was curious!
  24. sunnanhai
    What is the first step in these videos? Is it a logC to Rec 709 LUT or a specific print LUT? Looks like Resolve's Kodak print LUT, but just was curious!
  25. Darren Shearer
    Thank you Andy. Once again, most helpful. I still need to work out the exact Sony S-Log 2 (Matrix on) camera profile to use the scene-referred workflow (you had given me some direction and even a profile for this a while back). My studio should be switching to S-Log 3 soon, which will make things much simpler! Thanks again. I really appreciate the personal attention you and the Filmlight crew give for these things. Darren
  26. Andy Minuth
    Hi Darren, for 709 footage, you can keep all colour spaces on 'Rec.1886: 2.4 Gamma / Rec.709'. This will then give you a classic video grading pipeline. The more modern approach would be a scene-referred grading workflow: InputCS: According to the footage WorkingCS: e.g. T-Log / E-Gamut DRT: e.g. TruelightCAMv2 CursorCS: Rec.1886 'Legal to Full' and 'Full to Legal' in the cursor should be set according to the footage and Avid project settings. Most people have a legal range project in Avid, that means you should set the cursor to 'Full to Legal' in Baselight for Avid. 'Legal to Full' can be turned off for certain shots. I hope this is helpful. Andy
  27. Darren Shearer
    Good morning colour gurus, I noticed yesterday that my input and working color space had changed over to Rec 1886 2.4 Gamma/Rec 709 (from rec 709 video legal) and I had graded a whole sequence already, but wanted to make sure I wasn't making an error in this. For some reason, I like the gamma better in 1886. I am on a typical Avid set-up with a Sony Trimaster at 2.2 gamma. Is it OK to be using the input and working colour space as Rec 1886 2.4 Gamma/Rec 709 with "legal full scale" on or off as needed? ***I have since done some more research and watched the Lukepost tutorial on Baselight Colour Management, and I think now, I just need to figure out my three color spaces as when I set anything but Display Referred, it crunches my shots. Display Referred is the only one that makes no change until I grade it. So, with no real intention of getting someone to tell me how to set this up correctly, using S-log 2 footage (matrix turned on), I would be forever grateful if someone could help sort me out on this as I really migrating all my studio's grading over to Baselight and want to make sure I am setting up correctly. Thanks in advance for your help! Darren
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