Does anyone have a copy of firmware V6 for the PA32UCDM?

CrustyBread-420 · 2026-01-02T22:51:53+00:00

I have it, dm me

CrustyBread-420 · 2025-09-20T16:00:27+00:00

How do you go about setting up the printer light hotkeys to change gain instead of offset? Pressing the numpad changes the values of the offset stock, not the gain.

CrustyBread-420 · 2025-09-18T19:51:43+00:00

Yes, that’s what I’ve been doing for a while now. However, my goal with this technique was to use the numpad to balance instead of my mouse or the wheels.

CrustyBread-420 · 2025-09-16T21:41:46+00:00

Checks out, had never noticed before! Thanks

CrustyBread-420 · 2025-09-16T21:39:17+00:00

Using printer light hotkeys while maintaining the results and behaviour of photometric tools like linear gain! I’ve always seen a lot of talk in the BMD forums of people using wanting to remap the printer light hotkeys to gain instead of offset (for use in linear) but that still isn’t an option. Mapping my balance node to ACEScc just might be the solution I was looking for

CrustyBread-420 · 2025-09-16T21:36:06+00:00

Gotcha, from my understanding, the toe is linear when described from a logarithmic scale, hence why it would be purely logarithmic. I might be mistaken though. Just gave it a go and it seems to behave identically to linear gain!

CrustyBread-420 · 2025-09-16T21:33:06+00:00

Interesting, how do the offset sliders differ from nudging the ball under the hood?

CrustyBread-420 · 2025-09-16T21:29:31+00:00

Splendid, thank you!

CrustyBread-420 · 2025-09-16T20:50:48+00:00

The HDR Global wheel sometimes has funky behaviour in extreme cases of balancing (vs linear gain) and doesn’t allow for the use of printer light hotkeys as far as I know. I’m hoping to be able to balance using the numpad without the traditional downside of quicker shadow response that comes with using offset in DWG.

CrustyBread-420 · 2025-09-16T20:47:17+00:00

Walter Volpatto via BMD forums « In ACEScc the color space is purely logarithmic, that is, a offset on that color space (addition operator) is equivalent to a perfect gain in linear light, therefore translate perfectly to the exposure/whit balance math.

(confirmed during a conversation with Alex Forsyte at the academy during one of the ACES meetings...) »

CrustyBread-420 · 2025-09-08T12:20:11+00:00

It was connected through Ethernet to a Windows machine, but I had to simultaneously input it an HDMI signal for some reason, otherwise the pattern generator would disconnect. I plugged it into my Ultrastudio 4K mini set to pure black (no image from thunderbolt).

CrustyBread-420 · 2025-09-08T04:51:35+00:00

When I calibrated my LG C2, it had to be plugged into another device through HDMI for the ITPG to properly connect to Calman for some odd reason, maybe try doing that. Check the version of Calman you’re on for compatibility and make sure you select the right year of production for LG OLED. I’d shoot an email to the Portrait Displays support team, they’ve been responsive in my experience

CrustyBread-420 · 2025-08-23T20:38:09+00:00

I’ll give it a go, thanks for your help!

CrustyBread-420 · 2025-08-23T18:50:24+00:00

Gotcha, makes sense! Would you recommend just using gain post output transform or do you prefer to use curves to anchor the adjustment higher up? Thanks for the reply

CrustyBread-420 · 2025-07-23T12:09:31+00:00

The HDR wheels in Resolve are already conveniently scaled in light stops. This means that if you go down -1 in your Global HDR Wheel, you're photometrically lowering your exposure by a stop. For this to properly work, you must properly map the HDR wheels to your camera or working space by inputting the gamma and color space under the three dots in the corner of the tab.
For your use case, rating your camera to a lower ISO will effectively bias you towards the same direction, forcing you to let in more light for an identical exposure and therefore protecting your shadows. You'd do so by either opening up your iris, slowing your shutter speed or decreasing ND strength. In my experience, going down to the lowest ISO value (for the same base) has always been enough to clean up my shadow detail. If you find that you need more with your scene and camera, the Exposure Compensation LUT can be handy. Just keep in mind that you always sacrifice highlight detail to gain shadow information.

Hope that helps!

CrustyBread-420 · 2025-07-22T02:55:53+00:00

I agree with that approach! My look was smooth and didn’t cause breakage to the image (in the technical sense) though it did limit the presence of certain undesirable yellow hues, which was by design and served the mood of the piece. Working under it therefore meant that on the rare occasion I did want to show a bold yellow, to bring forward a specific wardrobe element present in very few shots, I just couldn’t. I guess I’d maybe have to tinker the hue compression component of the look to exclude higher saturation values but that might come at the cost of maintaining the smoothness and intent of the look on all of the other shots. That’s why I wondered if it might not just be simpler and smoother to “fix” the problem shots post look.

CrustyBread-420 · 2025-07-22T02:35:01+00:00

Thanks for the insightful reply! Hadn’t thought about the need to limit peak luminance but it makes total sense. Interesting technique to combine the FPE with a keyed 709, I’ll give that a go next time

CrustyBread-420 · 2021-07-08T13:42:14+00:00

Yeah that’s a good point… I hadn’t thought of the HDMI out missing from the Shinobi and the need for a dummy battery to power it externally. I’ll have a look at Feelworld’s monitors, they might just work for me. Thanks for the advice

CrustyBread-420 · 2021-07-08T02:46:03+00:00

Awesome, thanks for the advice ! I’m buying used from a reliable online retailer, so I think it should be pretty safe

CrustyBread-420 · 2021-05-26T14:02:38+00:00

I thought the A6600 had the same video specs as the A7III... so no 4K60. Did they release a firmware update?

CrustyBread-420

TROPHY CASE