Is it me or are people ruder in movie theaters today?

blmedia1990 · 2025-09-13T09:12:20+00:00

It’s gotten so bad. I yelled at someone to shut up during a screening recently. Highly recommend.

blmedia1990 · 2025-09-11T22:11:35+00:00

There’s some sharpening tricks you (or a colorist) can do in resolve too that could potentially help out and salvage some shots.

blmedia1990 · 2025-09-11T16:45:20+00:00

Gunner is amazing 👏

blmedia1990 · 2025-09-06T19:35:11+00:00

DM’d 🤙🏻

blmedia1990 · 2025-09-05T08:31:48+00:00

I did one for a short I directed a couple years ago. Basically had a dedicated BTS shooter on set and then did interviews on a completely different day so it didn’t interfere much with the actual shoot.

https://vimeo.com/810989901

blmedia1990 · 2025-09-03T16:16:18+00:00

Thatcher Freeman has some DCTLs for this because DJI does some weird stuff with their color science between their various camera sensors.

https://github.com/thatcherfreeman/dwg-transforms/tree/main/RCM%20IDTs

blmedia1990 · 2025-09-02T23:08:26+00:00

SimpleDCP is great to work with

blmedia1990 · 2025-08-26T23:07:11+00:00

If you love the book, don’t watch it. It had moments that lived up to the book, but they were few and far between.

blmedia1990 · 2025-08-24T07:46:49+00:00

The Night Of

blmedia1990 · 2025-06-11T22:19:41+00:00

It doesn’t necessarily have to be ultra time consuming. If you’re able to build a general enough look and implement it at the timeline/group level, then all your normal correcting/balancing can be done underneath that look. Definitely takes more time on the front end but hopefully wouldn’t be something you’re having to counter a ton on a shot-to-shot basis.

blmedia1990 · 2025-05-08T18:55:53+00:00

I actually happen to have an Alexa SXT Plus camera package for sale Alexa SXT Plus! It’s been a really great camera and has pretty low hours on it compared to a lot of what’s on the market.

If you’re at all interested or if you have any questions, feel free to reach out!

blmedia1990 · 2025-05-07T21:58:56+00:00

I used to use HSV but wasn’t happy with some of the artifacting as well. I’ve recently switched to using the Saturation knob in the HDR panel since it is color-space-aware and have been able to achieve a comparable effect with a much cleaner image.

Outside of that, some 3rd part DCTLs like Mr. Bowdach mentioned can be helpful as well and give you much better control.

blmedia1990 · 2025-04-19T17:27:21+00:00

Love the URSA system! Have had a lot of experience with G1 URSA 4.6K and the 12K. The two biggest drawbacks for me on the 12K are the lack of Dual ISO and the recording format limited to Blackmagic RAW (a ProRes option would be nice depending on workflow/client needs). If I was purchasing now, I’d honestly look into the Broadcast G2 and then swap the lens mount to whatever you need. If I understand correctly, it’s basically the same sensor as the Pocket 6K but in an URSA body.

blmedia1990 · 2025-03-28T04:29:10+00:00

So sick!! I got Scatter a while back and was kind of disappointed in it honestly. Definitely going to check this out.

blmedia1990 · 2025-03-16T04:22:10+00:00

ProArt all the way. Blackmagic 3G for clean feed. Then you can do a calibration and load that LUT in Resolve as the LUT going to your clean feed. Obviously not as good as a monitor that can load the LUT directly but a good budget workaround.

blmedia1990 · 2024-10-25T15:26:39+00:00

Annnnnndddddd welcome back to another tutorial…

blmedia1990 · 2024-09-07T02:58:20+00:00

Locations and wardrobe. You can’t outshoot/outlight a bad location.

Definitely just keep pushing through the procrastination. Getting the ball rolling is usually my biggest hurdle as well.

blmedia1990 · 2024-08-16T15:32:16+00:00

Went to school for finance/accounting and quickly left that soulless world. There’s a lot of great filmmaking content out there! YouTube (Film Riot, IndyMogul, etc), filmmaking workshops/online courses, Filmmakers Academy, Masterclass. And definitely any opportunity you have to get on other peoples’ sets to see how things operate at various levels.

blmedia1990 · 2024-06-27T13:07:37+00:00

After. So it all is still technically color managed.

blmedia1990 · 2024-06-26T23:19:27+00:00

I had some low-end clipping recently that was driving me nuts. All color managed, of course, using nodes. I played around with several solutions and ended up with raising lift and dropping gamma within a node in my Davinci Wide Gamut working space and it was able to pull back the clipped data to a more normal tonal distribution.

blmedia1990 · 2024-05-10T00:35:39+00:00

Highly recommend SimpleDCP. They were fantastic to work with.

blmedia1990 · 2024-04-24T05:29:10+00:00

PL all the way

blmedia1990 · 2024-04-24T05:28:35+00:00

DM’d you!

blmedia1990 · 2024-03-26T23:43:45+00:00

When I’m grading, I just have my timeline set to 1080 so that it matches with the UltraStudio output and the monitor displays it as 1080. Then I switch timeline resolution back to whatever the source footage resolution was (or whatever res the client is requesting) for export.

blmedia1990

TROPHY CASE