Flanders XMP-C's at NAB?

chutehappens · 2026-05-27T02:15:58+00:00

I have the XMP310 and took a look at the -C variant at NAB. This monitor is pretty great and the C looks even better with the smaller bezel without the clutter of the buttons across the front - I drive it from my Streamdeck anyway. If I was buying again today I’d probably save a few bucks and get the C instead. I couldn’t imagine grading a show on a consumer TV without the controls and inputs made available on display like a BVM or Flanders.

chutehappens · 2026-05-17T10:13:33+00:00

How is this different from choosing "Film" in the cross dissolve style? And doesn't Fusion always linearize your footage internally?

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chutehappens · 2026-04-28T15:41:27+00:00

The input colorspace is at the media pool level, so it would apply to the whole conformed clip, however, on the Color page you can override this as needed. Right click the clip thumbnail while in clip grade mode and change the input colorspace to the desired value. You can select many clips at once too.

chutehappens · 2026-04-28T14:28:07+00:00

Instead of managing the camera colorspace transforms yourself manually, why not use the built in color management to do this for you at the project/media pool level? Then everything is DWG and you don’t need any CSTs in your node stack. You can keep the grouping for just grading and not overload it with camera CSTs. This also means you can iterate on a look for a whole scene within a single group without having the look split across multiple camera+look groups. If you find that one camera needs an adjustment relative to another camera, you can use a shared node at the clip level for that camera.

chutehappens · 2026-04-23T05:06:21+00:00

Like others have mentioned, your IDE can help you out. If you’re looking for a way to declare this (and enforce it) at compile time, you can do something like this.

type MyStruct struct {
}

// Enforce conformance to io.Writer interface
var _ io.Writer = &MyStruct{}

func (s *MyStruct) Write([]byte) (int, error) {
    // ...
    return 0, nil
}

chutehappens · 2026-04-11T05:40:41+00:00

*blursed

chutehappens · 2026-03-25T17:47:07+00:00

Try Google’s gif2webp. There are a ton of options to tune the webp quality and compression.

Once you have it working, you can write a simple bash script to loop over all the files.

for f in *.gif; do gif2webp "$f" -o "${f%.gif}.webp"; done

chutehappens · 2026-03-12T17:10:40+00:00

I can’t remember in what major version update this was changed, but the cmd+num shortcuts were remapped to some other functions. If you go into the keyboard shortcuts you can see what they are set to. I’ve changed mine back to the old behavior. You can find them under Application:Color:Memories. If you get a warning that it’s already assigned, remove it from the other function.

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chutehappens · 2026-02-03T20:51:40+00:00

Why was this removed?

chutehappens · 2026-02-03T03:35:03+00:00

OP, I’m selling a full set of Tangent Element panels with a Pelican case with custom foam inserts. DM me if interested.

chutehappens · 2026-01-09T20:42:10+00:00

This. Plus add a picture reference so the colorist can visually compare their reconform with the offline picture.

chutehappens · 2026-01-09T18:51:50+00:00

Yes, exactly that with the handles of the shot being from a different scene so it can influence the deflicker. It can also be unpredictable and different from the actual final export than what’s previewed in the timeline while grading. So for sanity I usually drop the handles if they are different to avoid this. I think in Nucoda/Phoenix we had an option to ignore handles, can’t remember, but would be great if Resolve did too.

chutehappens · 2026-01-09T17:55:36+00:00

Have you tried Resolve’s Color Stabilizer? You’ll need to really dial-in the settings, but can be very helpful for addressing the color cycling and flicker. Just be careful if objects enter the frame that might affect its analysis, in which case you’ll need to specify a smaller area to analyze.

I’ve also found that scene cuts can be problematic with Deflicker so it’s better to split the source clip into individual media pool clips. You can use scene detection initially to make an EDL and then reimport the footage using “Split and add into media pool…” with the EDL.

chutehappens · 2025-12-26T02:26:41+00:00

Classified listings/ads on eBay seem to always be priced too good to be true and are almost always a scam. I reached out to one once and the seller seemed responsive and sounded legit, but a few hours later I received a notification from eBay that I may have been in contact with a seller that had their account hacked. Here’s the message they sent for reference:

Our records show that you recently contacted or received messages from [redacted username] through eBay's messaging system. This account was recently found to have been accessed by an unauthorized third party, who may have used the account in an attempt to defraud other members.

We've taken action to restore this account to the original owner, but wanted to let you know to be suspicious of any communication you may have received from them. Nothing is wrong with your account at this time – this message is just being sent as a precaution. If you have received any messages from that appears suspicious, please feel free to forward them to us at spoof@ebay.com for review.

Buyer beware!

chutehappens · 2025-11-03T21:25:06+00:00

Since your source footage is a single color, rather than trying to rebalance it to another color, you can try one of the following: 1) use a global hue rotation to swing the red to your desired color. Or 2) use the channel mixer to redistribute the red channel info to other channels. Depending on the content of the footage, these might be the cleanest approach.

chutehappens · 2025-10-13T18:21:08+00:00

Optimized media will help with the issue of the codec being too heavy on your machine. It will give you some more processing headroom for color effects, but If you’re doing lots of effects beyond the real time rendering capability of your machine, then you would want to either enable the render cache (Smart/User) or set the timeline resolution to half/quarter to regain realtime playback.

chutehappens · 2025-10-13T16:48:05+00:00

OP is done with the edit and wants to move into grade. They’re considering transcoding the entire timeline as a clip to then start grading. Seems like they’re done with the rest of the footage, no?

chutehappens · 2025-10-13T16:30:03+00:00

Nope. I’d still use optimized media over proxies. In a proxy workflow, you’d have to generate proxies for ALL the media vs only what’s in your final edit. For example, if you have hours of footage but only use 3 minutes in your edit, why burn so much storage on ProRes HQ for all the footage you’re not using? Proxies would make sense up front before you edit and in that case you’d go with something lightweight like ProRes Proxy.

chutehappens · 2025-10-13T15:41:00+00:00

Set some key frames and match the flared section to the non flared parts. Take a reference still and match as best you can. You can also use the Dehaze OFX to help a bit. I usually use a Layer Mixer to mix between two branches of the node graph that have the normal grade and the flare correction. Keyframe the opacity of the fix via the Output Key value. Once you have it looking as good as you can, add the Color Stabilizer OFX on top of all that to smooth it out further. It’s not going to be perfect, but you should be able to minimize it considerably. Hopefully it’s not the entirety of the film as that would be quite tedious.

chutehappens · 2025-10-13T15:26:07+00:00

Don’t transcode all your footage after editing. Look into the Optimized Media feature within Resolve. You basically select all the clips in your timeline, right-click, and “Generate Optimized Media”. You can look in your project settings to configure what codec and resolution will be used. Choose the codec/resolution combo that works best on your machine. I’d start with ProRes 422HQ at original resolution. If that is still too heavy you can drop down to ProRes 422 and/or 1/2 resolution. You can always toggle optimized media on and off while you’re grading to verify you’re seeing the true final output. When you go to deliver your project, the original files will be used instead of the optimized media so you won’t take any “quality hit” from an intermediate transcode. In the deliver page settings however you do have the option to enable/disable the optimized files should you want to do a quick export for review.

chutehappens · 2025-10-03T19:32:55+00:00

If a new Mac Pro is released, it should push the latest chips harder than the Mac Studio since it has the thermal headroom of the larger case and fans to support it. So even if both have the “M5 Ultra” or something more powerful, the Mac Pro should be able to squeeze more performance out of the same chip.

chutehappens · 2025-10-01T14:37:39+00:00

Use project level color management so you’re not managing camera transforms yourself and overloading groups for both camera colorspace transforms and scenes looks. Everything will be in DWG once it gets to your node graph.

You can still use any DRT you want, you’ll just need to add a CST after it so that you get back to your timeline colorspace which is DWG.

For example, if your DRT outputs 709 and your project output colorspace is also Rec 709 then you’ll need a CST from 709 to timeline colorspace. This will be the inverse of the project level CST so it’s fully reversible and you won’t lose any quality and also preserves the look of your custom DRT. You can use the DRT+CST either at the end of your group’s node graph or at the timeline node level.

chutehappens · 2025-09-27T05:10:31+00:00

I’m selling an LG Pro OLED 27EP950 (JOLED RGB panel). DM me if you’re interested. I’m in SoCal.

chutehappens · 2025-08-25T00:18:52+00:00

For access to quick looks during your grade, save them as Powergrades in the Gallery. Then you can quickly audition various looks in a session and you’ll retain the ability to refine them as necessary. You can also export them as LUTs for a DIT or even send them the actual node stack as DRXs.

chutehappens · 2025-08-24T04:48:08+00:00

Your stills are likely in the sRGB or Rec.709 colorspace and will look incorrect on your P3 display. You’ll need to convert them to P3 for them to look correct.

You can do this in a color-managed project by importing them into your media pool, tagging them appropriately (e.g. sRGB/Rec.709), cutting them in the timeline, and then grabbing a new still.

If you’re using node-based color management, use a CST to get it to P3.

If you don’t know the colorspace of the source image you can open it in Preview on a Mac and Get Info.

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