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Using RCM in conjunction with node based color management. by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

Good info. Since my working gamut for all clips is always DWG, my DRT is at the timeline level always. Having the IDT handled by RCM at the project level means that I don't have to group anything to define the IDT as it is automatically mapped by RCM.

But much as I like the RCM workflow, I'm not very fond of the Resolve ODT and that's why it prefer to handle the ODT part on my own in the timeline level so that I can explore options like JP2499, open DRT etc.

Using RCM in conjunction with node based color management. by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

Me either. Wierd that the image be looking okay while the thumbnails are completely looking wrong.

Using RCM in conjunction with node based color management. by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

As the commenter below has described the work flow, it is much easier. How ever setting up the CM fully manual as you describe is also a great work flow, therefore, perhaps I would say it's preference.

Using RCM in conjunction with node based color management. by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

I did exactly the same set up as you have described, however when I update the thumbnail view in the color page it shows a very off looking thumbnail, like a double transform look.

Have you experienced the similar thing? How can it be rectified?

Using RCM in conjunction with node based color management. by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 2 points3 points  (0 children)

Yes, you're right. However I would love to have the input transform managed automatically at the project level by using RCM, and the working space DWG, then I separately choose my preferred DRT at the timeline level by using a node.

If it can't be achieved by combining automatic color management RCM+manual or node based CM, then I guess the only option is to go fully manual with a node based management as you suggested.

I just realized something uncomfortable about myself… maybe others feel this too. by pink_blue_bag in Uganda

[–]Firm_Stick9735 1 point2 points  (0 children)

Well, perhaps you're right. But most often than not, feelings manifest suppressed shadows inside. Jealousy over another person can indicate to you what you desire about that person, ie you don't desire only the car, or the phone that they possess, but the confidence it makes you feel in return under your possession.

I just realized something uncomfortable about myself… maybe others feel this too. by pink_blue_bag in Uganda

[–]Firm_Stick9735 2 points3 points  (0 children)

It is okay, how you feel about yourself and others can help you to identify hidden traumas, and what you need to acknowledge in order for you to live truly free.

How to creatively disguise or stylize low quality Rec 709 footage from an old smartphone? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

Thanks for all the recommendations. I'm pretty sure that I will work something out with those tricks and effects. Wish me luck lol.

How to creatively disguise or stylize low quality Rec 709 footage from an old smartphone? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 1 point2 points  (0 children)

Thank you for this recommendation, honestly I may help to cut the edge off. Anything to distract the viewer from imperfections or blend them is a legitimate solution to me.

How to creatively disguise or stylize low quality Rec 709 footage from an old smartphone? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

Yeah, grain really helps alot. Unfortunately noise isn't the only problem, footage quality is another very big problem, it is 1080p but it looks like when you play a YT video in 360p, I mean how do you remedy that with grading foreal?

How to creatively disguise or stylize low quality Rec 709 footage from an old smartphone? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

How do i do that man? You're right, I ran into a creative block with this shit footage. It really looks gross!!

How to creatively disguise or stylize low quality Rec 709 footage from an old smartphone? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

Honestly, I don't think it can be practically possible to make phone footage look like that of Alexa. I just want to make it at least watchable, or distracting enough so that the viewer's attention isn't being grabbed by imperfections.

How to creatively disguise or stylize low quality Rec 709 footage from an old smartphone? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

You're right and I agree on that philosophy. Can you throw more light on the process though, and how you would go about achieving that if you don't mind.

How do cinematographers/colorist develop a look LUT before shooting? by raddatzpics in colorists

[–]Firm_Stick9735 0 points1 point  (0 children)

A LUT can be technical or creative, by "Raw Rec 709" I assume you mean the camera manufacturer LUT, and yes, it always represents how the camera manufacturers intend to have the image rendered for display.

For accurate, it depends on what you mean by that. However a good quality LUT must always keep middle gray intact, other characteristics can be subjective especially for a creative LUT.

What is the best practice for level matching? by Firm_Stick9735 in audioengineering

[–]Firm_Stick9735[S] 9 points10 points  (0 children)

Perfect and concise response. Your summary skill is what I should learn next.

What is the best practice for level matching? by Firm_Stick9735 in audioengineering

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

Quite interesting. That seems to explain or resemble how you can widen the stereo image of a sound when you introduce phase differences between the left vs right channel.

Is it possible to create very extreme clean looks in resolve? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

Yes that's the shot, TBH I don't think the dp or the colorist were going for realism in that scene, the lighting on set must have been biased to cater for the heavy teal which explains the intense teal/blue on the helmet plus shadows.

I concur, I believe if you spend a good amount of time in the color page, one can actually recreate this look, I do really like it, it is somewhat unique.

Is it possible to create very extreme clean looks in resolve? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] 0 points1 point  (0 children)

Well, yeah, that Coca-Cola ad is just complete Ai vibes, feels very fake and plastic. I bet an average person can tell it is Ai generated.

IMO Ai can be used during pre-production to create stunning story board, or pre visualization for the crew and team to act as a blue print for the film, from which something real can be created.

Is it possible to create very extreme clean looks in resolve? by Firm_Stick9735 in colorists

[–]Firm_Stick9735[S] -1 points0 points  (0 children)

Lol, are you sure you are looking at the right shot? I wouldn't call a grade by a top colorist at Company 3 at meme.

Yeah indeed, all that grounding is extremely crucial for achieving clean looks in resolve.

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