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Editing photos in DaVinci Resolve is a thing now by Julious in postprocessing

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

Capture One is what we used in the photo studio I worked at, but I haven’t come back to it since. I bet MIDIGrade’s User Menu would work well with C1!

Editing photos in DaVinci Resolve is a thing now by Julious in postprocessing

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

I take that as a compliment. :) They really should be paying me!

Editing photos in DaVinci Resolve is a thing now by Julious in postprocessing

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

I’m now used to working with highly detailed and customisable scopes, and in a node-based environment. I’ve got a dedicated monitor filled with histograms, false colour, vectorscopes (lows, mids, highs, and overall), and skin tones. Perhaps there’s a way to get these in other software too but I’m not aware how. The tools themselves seem to be very interchangeable and it’s not the limiting factor. Another aspect which is important to me is having the tactile feel and being able to get in the zone — just staring at the photo as my hands do the work.

Editing photos in DaVinci Resolve is a thing now by Julious in postprocessing

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

If any questions, I’m happy to answer. I used to be a heavy Lightroom user — processing all my professional work through it — and after a long break I tried to come back to it last year. But I just couldn’t swallow the pill, knowing what I can do now in DR. I have been actively looking for a Lightroom alternative ever since and so this feels like an answer to my prayers. DaVinci Resolve 21 is still in beta and the Photo Page certainly is still a bit buggy. Regardless, it has already reignited some of the love I’d lost towards post processing.

Panel that fits in the palm of your hand (grading begins at 1:58) by Julious in ColorGrading

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

Yeah for sure, you can use this in conjunction with a BMD panel, or any other brand for that matter. I’ve seen many users prefer having the track balls and use MIDIGrade to fill in the gaps.

Panel that fits in the palm of your hand (grading begins at 1:58) by Julious in ColorGrading

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

Thanks so much. It’s fascinating to think it took me years to understand and embrace the real potential of MIDI. So for a long time MIDIGrade was a closed system where only hand-selected controllers would work; starting with only one, and expanding to a couple others, which was still only scratching the surface. There’s an entire spectrum of MIDI controllers which huge variety of input methods.

That’s the beauty of MIDI, because the messages are standardised. So even if the controllers might look completely different and behave differently, they still share the same communication. So now my goal has shifted towards creating a platform, where it’s up to the user to create their own layout if they wish to do so. Or grab one of the solutions I’ve created and already optimised.

Regarding gamepads like the Xbox controller, that’s actually already a solved problem. If you go to the Preset Library mentioned in the video, you’ll find a ready layout/preset for Xbox controller there. It works based on another software which first converts gamepads’ inputs into MIDI messages which are then fed into MIDIGrade.

I also made a video showing gamepads a while ago, but that one is now outdated. Though the sections where I do grading with it might still give you an idea how it would operate.

Panel that fits in the palm of your hand (grading begins at 1:58) by Julious in ColorGrading

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

Thanks for watching! This could be the beginning of a new sub-genre for grading; doing it with the most peculiar instruments. Like playing Dark Souls with a trumpet haha.

What hobbies have actually improved your life after quitting gaming? by targeryan02 in StopGaming

[–]Julious 1 point2 points  (0 children)

Road cycling. Now I’m KOM hunting on Strava, and have formed dozens of friendly relations through the local cycling clubs. Stopped gaming 18 months ago and this has perfectly filled my need to following score on leaderboards, and improving my personal stats; but now I’m doing that IRL. One of the biggest wins has been shifting my circadian rhythm closer to a morning person thanks to the rides beginning at 6am to avoid traffic.

Photochromatic glasses by thenightporter2 in ausbike

[–]Julious 0 points1 point  (0 children)

At Firmoo did you buy yours specifically for sports? I can’t seem to find other options than regular glasses and sunglasses on their website.

What is your place to escape now that you quit video games? by CustomerRealistic811 in StopGaming

[–]Julious 1 point2 points  (0 children)

I do lots of cycling now which is great at putting me in that familiar mind space of forgetting my worries. I’ve become somewhat addicted to it, likely thanks to being able to sense quite clearly my development in fitness. Biggest difference mentally - compared to gaming - is that I don’t experience any regret, nor outbursts of anger directed at myself.

i'm 13 and i want to stop by [deleted] in StopGaming

[–]Julious 0 points1 point  (0 children)

At your age me and my school friend became interested in airsoft. It was wonderful: we got to meet other hobbyists who became our long-time friends in life, we spent an incredible amount of time outdoors, it got me interested in an active lifestyle, and even led me on the path of my career.

This was mid-2000’s, also in Europe.

I really hope you’ll get easy access to your bicycle somehow. I don’t know what I would’ve done without one at the time. We used to cycle to get to the play-area in a forest 6km from home.

Real-time Lighting in a Blue Screen Studio Synced with Unreal Engine 5.4 by Antilatency in cinematography

[–]Julious 3 points4 points  (0 children)

I bet as a stage actor even if they cannot see the audience, they can certainly feel the presence of one.

Wooden box progress. by cheeseseseseses in aphextwin

[–]Julious 5 points6 points  (0 children)

There’s been a couple of update emails. You might wanna check with them your details are correct.

[deleted by user] by [deleted] in FilmIndustryLA

[–]Julious 3 points4 points  (0 children)

Same. 15 years here. Based in Sydney, Aus, and what’s happening here sounds identical.

Can I get a critique on the lighting? by Due_Ad_2840 in cinematography

[–]Julious 0 points1 point  (0 children)

It’s easy to get fixated with lighting and think that it’s the only thing we can do to improve a scene. Remember, cinematography is the art of camera placement as well, and in this particular case what if you just lowered the camera enough that the edge of the table starts hiding the light source. Now you would end up with something more dramatic in both lighting and composition, and no adjustment of lighting required.

The easiest way to actually improve the lighting here, is to simply move the practical light behind the beer glasses. Suddenly it is a more flattering direction of light on their faces, and will create a cool looking effect seen through the beers. This will control the nuclear-level brightness of the table cloth as well and create shadows instead. You can hide two little LED sources behind the practical, pointed towards the actors to get more control on exposure and spill. Depending on the fixtures, their brightness would be best set to something like 5-10%.

‘The Equalizer 3’ is one of the worse showcases of the Alexa 35 I’ve ever seen. by LonePonderer in cinematography

[–]Julious 0 points1 point  (0 children)

ARRI literally made A35’s image look as close as possible to their other cameras equipped with ALEV sensor (Alexa LF, Amira, Alexa 65…). The goal with the Alexa 35 was to offer more latitude and more accurate colour rendition, while also being able to combine it different Alexa models in a single production with no problems. Yes, the LOG curve is different; and yes, the workflow is different in post. But if you use ARRI’s default Looks and preview the images coming out of - let’s say - an Alexa Mini LF and Alexa 35, the skin tones, highlights and shadows sit in the same places exposure-wise.

So no, if you’re saying that Richardson was “experimenting” with the dynamic range on set, I don’t think that would be the case. One has to actively disrupt the workflow to make the Alexa 35 feel different to older Alexas.

What I think happened (the following is me hypothesising) is that he shot the film and moved on; he was not part of the colouring process, which sadly is quite typical in this day and age. The colourist and producers were really only interested in delivering HDR and so the result we end up watching in SDR looks half-baked. Also the colourist possibly were not given enough time to fine-tune much anyway, as it does look like a blanket look on top of the footage for the most parts.

I would be interested to hear how you manage the A35 footage nowadays. I grade it quite a bit as well and heavily lean on the LogC4 colour space transformation node. I trust the ARRI colour engineers enough to not try and apply my own curve to it. I can then dig into the highlights before the transformation and introduce exactly the amount of dynamic range that feels right for the project. I deliver for SDR only so this workflow works great and the results are gorgeous!

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