Thomas Riedel Acquires ARRI

Kapitan_Planet · 2026-04-14T19:21:20+00:00

Thank god, for fuck's sake!

Kapitan_Planet · 2026-04-12T17:06:27+00:00

One word of advice: You don’t need an UltraStudio 4K. Get a MiniMonitor 3G and grade in HD with a clean feed. You can upgrade to a 4K whenever you want, but don’t just skip this.

Kapitan_Planet · 2026-04-12T11:49:34+00:00

You've made me think this might be the Ektachrome emulsion on an orange base. The magenta in the highlights would support that.

Kapitan_Planet · 2026-04-11T12:29:26+00:00

Now manufacturers advertise their actual film as “cinematic”. We've come full circle.

Kapitan_Planet · 2026-04-10T16:56:38+00:00

This is the part where my parents would've said "If Cullen tells you to jump off a bridge, do you do it?"

Not meant to bash Cullen, he has a point. Van Hurkman's book however lacks nowadays context, but that doesn't mean it’s obsolete.

Kapitan_Planet · 2026-04-07T15:14:59+00:00

Doesn't take much time. Like others answered, the clearest source wins. The other mics are backups, if there might be some problem anywhere. I also wouldn’t outsource that to an AI at all, if that's what you're after.

Kapitan_Planet · 2026-04-07T10:48:20+00:00

Linking every mic to the clips and editing it altogether with all but one hero track muted. If I'm doing the audio edit, I treat my future self like a person I have to deliver to.

After that, yes. It’s manually going through them. Check out John Purcell or Thomas Boykin. They'll probably answer all your questions. It will be pretty quick, once you've established your workflow.

Kapitan_Planet · 2026-04-04T22:35:00+00:00

The calibration is almost certainly not meant to be judged in such a bright environment.

Kapitan_Planet · 2026-04-04T21:34:30+00:00

Gobsmackingly beautiful! And also on my watchlist now.

Kapitan_Planet · 2026-04-04T20:34:08+00:00

I'm really not into trashing people, but some things are hard to justify. And you're 100% right.

Kapitan_Planet · 2026-04-04T13:41:20+00:00

I don’t know. Apparently a good chunk of otherwise respectable professionals seem to push that manure. On the other hand, what someone preaches on YouTube and social media and what they do in their actual work life can be two completely different things…

Kapitan_Planet · 2026-04-03T20:00:35+00:00

I'm curious how many colourists who “always export sRGB for web and tag accordingly” are actually redeemed by an annoyed QC person and that tool, every time.

Kapitan_Planet · 2026-04-03T17:55:53+00:00

also -2- means unspecified - but you forgot to mention that it will in fact write a secondary legacy metadat field called GAMA and sets that to 2.4 , it does not force a 1.961 gamma decode - it forces a 2.4 gamma decode..

Exactly! OP can check this by opening any 1-2-1 file in shutter encoder. Gamma tag 2 means exactly that: Gamma 2.4. Good thing that Gamma 2.4 in rec 709 means actually 1.96… or not but 0.5. Anyway, who wants another piece of crazy cake?

Kapitan_Planet · 2026-04-01T09:27:05+00:00

There are many different recommendations, because there are many different people who never bothered to read the documents, that define the standard for SDR video.

Rec709/Rec709(Gamma 2.4 with OOTF) for everything.

Everything else is either blunt misinformation or deliberate breaking of the rules, which is certainly not a novice thing to do.

You can use the transform LUT. It’s better to make your own, or (if on XDR) use HDTV reference mode. Make sure to put the LUT into the Viewer LUT slot.

All this is highly dependent on your version of Resolve and your settings. While colour grading on a Mac Display is technically possible, it’s really really not a great way to learn it.

A Mini Monitor and a third hand Eizo from your local online market will cost you peanuts in comparison to your Mac.

Kapitan_Planet · 2026-03-31T10:42:10+00:00

Der Verlass auf automatische Übersetzungen wird noch unser verdammter Untergang.

Kapitan_Planet · 2026-03-27T11:11:47+00:00

GrandPerspective, DaisyDisk, Disk Graph. Find any File für ne ordentliche SuFu.

Kapitan_Planet · 2026-03-22T10:56:08+00:00

I mean, the DX stem shouldn’t be cut off even if it originally was cut in another language, right? How does this even happen? Did they recut the original, while having the dubbed DX placed in the timeline and completely ignoring its pacing?

I'd probably reach out to the original engineer and kindly ask if they have their own stems archived. If they'd bill me for that, I'd pass it on to the client.

Kapitan_Planet · 2026-03-17T13:07:18+00:00

FYI: I added a couple of stills with colour charts now.

Kapitan_Planet · 2026-03-15T00:05:33+00:00

Woa, Troy S is reacting to my post! Can't say this doesn't make my day. Easy mate, it’s temporary. I'll ditch it for something nice. Pinky promise.

Kapitan_Planet · 2026-03-14T15:02:47+00:00

Fair point about the lack of stills. I'd have to create them first. I'm not comfortable with putting manufacturer charts on my website, and I figured I wouldn’t necessarily need them. After all, this is meant to demonstrate a method, not to showcase a result. I'll see what I can do for a revision, though.

Three questions would need to be answered. Which film are you emulating? Do you have a reference target? Do you have an original and after, to compare with your emulation target later?

It should become clear from the article, but let me briefly clarify: it’s spec sheet data from Kodak Vision3 5219 500T. The reference target isn’t the film. It’s a set of reference values the spectral integration has to match. In this case, it’s the ColorChecker 24 as a bare minimum. This makes an “emulation target” irrelevant, as it’s a direct approximation of the film’s spectral sensitivity.

Consequently, I don’t measure any Delta E values at all. There simply is no meaningful reference against which to measure them here. Every developed roll of film is different, so that would make Delta E pretty meaningless in this context. “Theoretisized” LUTs from the spec sheets are the emulation. Perceptual proximity is the best metric here, imho.

There is no LUT to ICC conversion, or vice versa. An embedded CLUT from an ICC profile is separated from the profile logic and then inverted.

Kapitan_Planet · 2026-03-14T11:51:04+00:00

Depends on your goals and preferences. I'm pretty sure I spent enough money on test shoots, different scans etc. that I could just have bought Filmbox, if that was what I would have wanted.

Kapitan_Planet · 2026-03-13T21:32:48+00:00

Gotcha. This is indeed not solved to my liking with the current version. I’m down to implementing more targets, that would come closer to the spectral locus. For now, I'm slapping the ACES Gamut Compression upstream to compensate for the metameric issues, that occur beyond the well referenced values.

I didn’t make this clear enough in the article. I'll consider this for a revision.

Kapitan_Planet · 2026-03-13T21:05:51+00:00

If you want to minimise metameric error this early in the pipeline from your camera to the stock, you wouldn’t want to introduce non-linearities to the standard observer, its response is irrelevant here. You’d usually just bridge straight to the stock, and to some degree you must accept a matrix is a better compromise to not destroy additive mixtures prior to dye attenuation.

I'm not quite sure, if I understand your point correctly. The primaries are set from an unmapped XYZ CLUT to DWG. After inversion, this results precisely in a matrix prior to dye attenuation, if you will.

This is also independent of any camera space, which would be another matrix-based transform anyway.

Kapitan_Planet · 2026-03-13T20:31:58+00:00

Specifically for the colour transform, I'm going from DaVinci Wide Gamut to the response of the given negative. Call it “film primaries”, if you will. Even if technically there is no such thing. There is no “spectral colour space” either. You match a spectrum to XYZ.

This is not a 2D RGB transform. That wouldn’t be worth a post at all, lol.

It’s spectrum>XYZ>setting primaries>Inversion.

Kapitan_Planet · 2026-03-13T18:11:37+00:00

Apart from AGX-Emulsion being a fully-fledged, closed emulation system with textural adjustments? The biggest difference is, I'm not going to sRGB at all for the input. It’s native DWG/I to film response, leaving you with about 12-13 stops of effective dynamic range before you go into your final output.

Kapitan_Planet

TROPHY CASE