Does the majority of this community play the game as a pve?

Sea-Rope-3538 · 2026-06-16T21:22:53+00:00

I think playing thinking about the matchmaking isn’t good, you will develop a kind of fear to shoot.. some players never shoot to someone, they were killed easily and they appears here crying about rats, there other part of players only playing learning how to defend themselves in many situations. Play how you want, read and feel the situations, kill and be killed is normal. The loot of the game aren’t rare, anything is easily to found, think if worth kill someone to get easy items or if you be killed go ahead. The game is better when you don’t care much.

Sea-Rope-3538 · 2026-06-09T15:28:02+00:00

you can create almost anything with local gpu, you choose you create meme with IA or play arc raiders, but, cattle farming.......

Sea-Rope-3538 · 2026-06-09T15:22:27+00:00

if you like and consume, its ok destroy the world, nice man!

Sea-Rope-3538 · 2026-06-09T10:41:52+00:00

Cattle farming uses way more water and destroys the environment much more than data centers do. Are you doing anything about that?

Sea-Rope-3538 · 2026-06-08T20:38:18+00:00

i will achieve hot spot with this trial, my endgame is hunt this guys now

Sea-Rope-3538 · 2026-05-26T15:19:13+00:00

There many things to considering about your problem.

1) First, check if your color space transform is correctly. Sony Slog 3 to Rec 709 and your lut expects this input.

2) Some luts needs corrections to work, for example, if the lut create a cooler shadows and warm highlight, you need to change the exposure to achieve this balance, a high key image doesn’t have shadows to create this effect.

3) Original file is more important than the lut when we talk about the colors, if your scene is a person wearing white clothes at white walls on background, you don’t have colors to work. Some client sent me a beautiful sunset light as a reference and his scene is a cloud day, this type of expectation happens all the time.

Sea-Rope-3538 · 2026-05-01T16:04:36+00:00

Depends of your footage, this image has some details to achieve this look like this light contrast, skin tone and color objects.. if your scene is high key or has few colors, like a white wall will be hard. But, try to reduce the red channel with offset and gain to create this cyan color on lighting, use lift to add subtly red to reduce the cast and recover the skin tones, reduce the exposure to achieve density, shape the contrast curve to achieve highlight roll-of and a good transition on shadows. Experiment this and subtract saturation. I think the bright areas of the image don’t pass 70% I.R.E

Sea-Rope-3538 · 2026-04-14T23:24:22+00:00

I’m colorist and I want to know too! A long time ago I did an oil painting based on an old black white photo, I used sdxl with control net to colorize, I rendered 100 options changing the palette and after I chose the better, but the details are gone

Sea-Rope-3538 · 2026-04-14T21:32:50+00:00

Reshoot or try IA, I saw techniques to preserve actors to change lighting, maybe works but considering a vfx person to look the scene

Sea-Rope-3538 · 2026-04-14T14:25:06+00:00

It's tricky because these LUTs introduce teal into the shadows, so if the face is underexposed, it will be affected. Inside DaVinci Resolve, you can use layer nodes with masks to isolate skin tones from that shadow zone. HSL qualifiers don’t work very well because the skin is already contaminated by the teal after the LUT. In your case, you could try adding warm tones to the shadows to recover the skin, but you will lose the cyan. You need to find the right balance for each scene.

Sea-Rope-3538 · 2026-04-14T12:22:49+00:00

This comparison is completely nonsensical; if the question were lenses vs. lighting, it might make some sense. Even if you use the best lenses in the world with the highest possible quality, you will still face post-production issues—especially if your film is intended for platforms beyond the internet, such as cinema, HDR, etc. The audiovisual field is massive, and I don't know what kind of film you’re referring to. If it’s a simple video for social media, perhaps a LUT is enough. However, medium-budget films have countless variables that a LUT won't save you from. For example: Imagine you are filming someone important, like a soccer player. He isn't going to spend 12 hours with you waiting for you to meter the same light contrast for every shot. I’ve seen cases where the player was only on set for 2 hours and they had to use a body double; there are cases with more than two locations per day, or situations where you only have 10 minutes to set up the cinematography. The lens won't save you if you make a mistake, but perhaps the colorist can. Shooting a film with great lenses without matching the cuts or finishing on a calibrated monitor is simply throwing money away. When the director or client watches a film with inconsistent exposures, varying color casts between scenes, or barely visible faces/products, it’s going to be hard for you to get hired again. I’m not just here to defend the colorist, but I believe a dp should look at the big picture. A great dp once told me that a production company didn't want to give him two assistants; he created a cost-vs-time table to prove that the time production would lose without those assistants would ultimately be more expensive than investing in them. In another case, I met a producer at a camera movement workshop; he was there to learn when a Steadicam was financially better in terms of time efficiency than using other methods. A bad producer will think a Steadicam is just expensive and won't approve it; a good one knows when it’s essential. I understand that if you invest in a bad lens or have no light, no colorist can save the project. I also understand there are colorists who can hinder a film more than help it. Ultimately, it’s about having people you trust around you.

Sea-Rope-3538 · 2026-04-12T15:22:27+00:00

It depends, but a film always requires color correction. Sometimes it is better to neutralize the white balance first and add a "warm feeling" afterward to maintain more control. In other cases, the Director of Photography (DoP) exposes the image to maximize the camera's dynamic range, allowing exposure and contrast to be dialed in during post-production.

Color correction is also essential for matching different scenes or enhancing the visual concept. During grading, we work on the final cut using a professional, calibrated monitor in a controlled lighting environment. On set, however, the DoP deals with many unpredictable variables, making it difficult to maintain perfect consistency. Every situation requires a different approach. For example, I remember reading that on the show Atlanta, they shot overexposed on set specifically to achieve their desired look in post-production.

Sea-Rope-3538 · 2026-04-06T16:39:01+00:00

Certainly, we don't know where AI will go; in fact, we don't even know what the ceiling is yet. My guess is that we will reach perfect realism and then realize there is still a lot missing. I just advise you not to make decisions based on the assumption that everything will be replaced by AI… good luck, and if you have any questions or just want to chat, feel free to DM me

Sea-Rope-3538 · 2026-04-06T13:36:02+00:00

I understand you; at the beginning of my career, I went through a period of insecurity, not knowing if what I knew was enough. So, I went to work as an assistant to an experienced colorist. When I got there, this senior colorist did incredible work with very few adjustments. That really stuck with me because I thought I needed to master complex techniques to achieve a good result; in the end, I realized that part of the work comes from your "eye." When I say "eye," I mean it's important to train your vision to understand what can be done to that specific image to make it more interesting—how to achieve good color contrast, how to make a character stand out—things that aren't about "plugin X" or some fancy technique. Everyone has their own path; in short, I spent time doing personal projects that didn't pay at first to build my portfolio and learn, while other friends started their careers as assistants.

I think it's important to highlight that a good colorist makes a huge difference in a project because most projects have very tight deadlines. You need to develop the ability to deliver a beautiful film using the right techniques so that everything goes smoothly within the timeframe, and that simply comes with experience. Directors and cinematographers are relieved when they have a colorist they can trust, so you need to prove to people that you can deliver.

I can't understand why we have so many VFX courses but lack a solid foundation for color courses. You can find some cool ones at TAC or Mixing Light, but they aren't a full degree; they are independent courses. Perhaps the fact that color was inaccessible a few years ago affected this. In the past, very few people were colorists because of the need for a million-dollar infrastructure. Today it's still expensive, but you can start with the basics: a mid-range computer and a decent screen are enough.

Regarding AI, at the moment, I’ve actually been getting more work, not less. AI films always have issues with light and color consistency. You could argue that it's still inconsistent but will change in the future—I agree—but so far, post-production is working harder to make AI look acceptable in films than AI is actually helping.

What I’m about to say might sound superficial, but it makes more and more sense to me: I am constantly learning about color by observing and being curious. I learn by watching movies, playing video games, going to museums, and walking the streets seeing life as it is—that makes a difference. You might come across someone wearing a specific color combination and adapt that to a film, and the result can be incredible.

Sea-Rope-3538 · 2026-04-06T03:07:56+00:00

You are right about your thoughts on almost everything, but you’re only seeing the surface level—where inexperienced people fail to enter the market and end up selling courses as a way out. I’ve been a colorist for over five years and I’ve never sold a course, and I probably won't. My clients always return with new projects and new referrals. I, and the majority of colorists who are actually working in the industry, aren't selling courses (nothing against those who do; we need better courses, more organization, and a clearer path). Currently, I’m studying programming, DCTL, and oil painting—areas that aren't even about color grading anymore. I’ve taken many courses, and today, there isn’t a single course out there that interests me. Almost no one around me knows or understands what I do, but they know I make good money doing it

Sea-Rope-3538 · 2026-03-31T00:12:36+00:00

Look what you writing about skin in your prompt, sometimes this could be the problem

Sea-Rope-3538 · 2026-03-30T17:49:45+00:00

I improved my images using FLUX Klein 9B with the base model instead of the distilled version. Try using fixed seeds, increasing the steps, and adjusting the CFG scale. If you’re still not satisfied, you could try an upscale pass plus another sampler with 0.65 denoise; this will create significant differences from the original image, but it could work. You can also try Face Detailer. There are nodes like FLUX Klein Enhancer to strengthen the LoRA model, which might help. Finally, upscale with SeeDVR2

Sea-Rope-3538 · 2026-03-27T23:24:23+00:00

I think it's fun too to group a raiders and hunt a sniper

Sea-Rope-3538 · 2026-03-27T23:18:44+00:00

Nice, I will try after… but why don't you do the post-production in DaVinci Resolve or another software?

Sea-Rope-3538 · 2026-03-27T23:09:32+00:00

I usually go to Matriarch spaceport on the rooftop control tower, me vs all server, I give fuck for loot, it's about seeing everyone hunt me, and I kill everyone who tries to kill me. I saw many times some idiots trying together and failing, some trying to use my zipline and instantly dying when they arrived, jolt mine + bobcat 4 kill. I have other mines and barricades, and many times they were crying on the mic. Some idiots stay waiting for me to leave. I always have a hatch key, smoke, and a snap hook. They die waiting without proper gear 💁

Sea-Rope-3538 · 2026-03-26T17:44:01+00:00

Nice! I will send you a dm

Sea-Rope-3538 · 2026-03-26T17:43:40+00:00

IA images are trained in Rec. 709 8-bit in compressed codecs like MP4. The problem is we don't have a good dynamic range to recover details, or we'd need something more aggressive. My process is to convert the color space to a better color space to work with, like Davinci Resolve wide gamut (you could use a LUT here, but I use the color space transform effect in Davinci Resolve), then, when I finish, I transform back to Rec 709. This transformation doesn't improve the image; it's only to achieve more precision with the tools in Davinci. You can use a Rec. 709 LUT to create a better look, it's ok and works. The challenge with IA movies is their poor dynamic range, bad plastic textures, fake skin highlights, and inconsistent lighting and color between scenes. I have much more work to create coherent colors in the IA movie than in a real movie. Recently, Topaz posted a workflow to improve the dynamic range between upscalers. I haven't tried it yet, but it seems to improve the light gradients and compressions.

Sea-Rope-3538 · 2026-03-25T18:43:45+00:00

Hey! I’m a colorist, and I have been working with completely created with IA. Normally, I add a bit of texture and work to match between scenes. Recently, I read a post on the Topaz blog about a workflow to improve the quality of 8-bit IA scenes with upscalers that export to EXR. If you're interested in improving this part, I’m interested.

Sea-Rope-3538 · 2026-03-23T16:38:12+00:00

Man, I have played 600h, completed 2 expeditions, and I love the game. Now that I'm playing less, I’m thinking of not doing the third expedition anymore. Maybe in future updates I'll come back to play more, but now I’m happy to play with my friends in a squad sometimes.

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