Willian Aleman

If I well remember from an interview someone did to Mark, it's an LG 8. He must be using a LUT box for the calibration, because LG 8 doesn't have support for internal calibration LUT like the following series does.

If I well remember from an interview someone did to Mark, it's an LG 8. He must be using a LUT box for the calibration, because LG 8 doesn't have support for internal calibration LUT like the following series does.

Hi Emily - Thanks a lot for the clarification

Hi Emily - thanks for the prompt response. My question is in reference to REVENGRADE being used in a "Color Managed" workflow. Normally when using CST or any OFX film emulation from a third party company, Resolve unmanaged color space —YRGB— is used. In addition to Resolve YRGB, REVENGRADE video demo is shown using ACES and RCM in a Color Management Project Settings, while REVENGRADE is used at clip level. Why would I want to use change gamma on node level? To match each camera to their own color input and gamma independently of the Project Settings when using camera from different vendors. Normally this is done in a non color managed workflow: Resolve YRGB. My apologies for any confusion.

I just started using REVENGRADE. From the Youtube demo, it is not clear to me if when working in Resolve Color Managed Preference Settings, ACES or RCM, the Working Color Space can be overwritten at Clip Node level when working with different camera gammas within the same Timeline. In other words, is this only possible when using non-color managed workflow, YRGB?

Marc - I can not wait for this masterclass.

Thanks a lot to Lowepost, and Cullen, as the host for bringing this excellent collective of colorists interviews in this series. This is a very welcome series in a time when the online digital democratization allows us to take advance of education for colorists and aspirant colorists as myself. This is especially true when seeing it as an extension of the vast online classes available today, aiming to teach the technical aspect of color grading and pushing buttons, which by the way, are also necessary as a tool set for the colorists, but by itself can become a guarentee to failure. As part of the format of this series, it would be helpful to have a description of each interviewee at the top of the page as the first interviews had.

Mark, I’m glad to hear you are working on the node tree development

Hi Jason, Thanks for the prompt response. I have the experience of grain turning into blocks and ghosty artifacts after web compression, especially in the blue channel. After this lesson, I always try to assign the amount of grain to individual channel instead of globally, reducing the amount in the blue channel. However, this doesn't happen when I delivery to Blu_ray disc. This is due to the higher bit rate available in this format compared to the streaming services, like video and Youtube. By the way. NetFlix streaming standard for SDR is only 25 Mbps. Reason why some grain applied to some of its content has the ghosty grain effect, depends on the end user internet speed. Thanks for the addendum.

Jason and Lowepost, Thanks for the well structured course. Jason is color grading with an external display, but the audience is limited to what can be shown via the UI only. For example, not even on my iMac 27” it's possible for me to see the effect of the film grain applied in one of the lessons through the tinny Resolve viewer, as well as other operations throughout the course. It's going to be appreciated if in future Jason's courses to show the results of his grades in fullscreen playback? Again, thank you for the insights into the different aspects of color grading and look design.

Yes. It would be helpful to have a download link to the promised documents announced during Walter's Masterclass. Thanks for the link to the replay of the class.

Yes. It would be helpful to have a download link to the promised documents announced during Walter's Masterclass. Thanks for the link to the replay of the class.

Indeed, it was an amazing masterclass. Something you wouldn't like to miss the next time. They said it's going to be a replay. I don't know the terms of it.

Indeed, it was an amazing masterclass. Something you wouldn't like to miss the next time. They said it's going to be a replay. I don't know the terms of it.

It’s true. Darren Mostyn is promoting Walter Volpatto Colorist Masterclass - 10% DISCOUNT. Hope to see some of you there.

It’s true. Darren Mostyn is promoting Walter Volpatto Colorist Masterclass - 10% DISCOUNT. Hope to see some of you there.

Yes. It's worth the subscription. Deep diving into color grading and color management techniques, including an intensive workflow in ACES. The only missing piece I'm missing there is working in HDR workflow.

Hi Lisa, never mind. It was a great call. It's all clear now. I'll see you there!

Hi Lisa, never mind. It was a great call. It's all clear now. I'll see you there!

Walter response on his FaceBook account to my question regarding the confirmation of his participation on the master class: "I will be talking with you for 4 hours, workflow and methodologies for long form color and hdr." https://www.facebook.com/waltervolpatto Also, Walter wrote: Walter Volpatto Yes it will be me., no rumors.

Walter response on his FaceBook account to my question regarding the confirmation of his participation on the master class: "I will be talking with you for 4 hours, workflow and methodologies for long form color and hdr." https://www.facebook.com/waltervolpatto Also, Walter wrote: Walter Volpatto Yes it will be me., no rumors.

I just posted a question regarding the master class to Walter on his Facebook account. Let’s see...

I just posted a question regarding the master class to Walter on his Facebook account. Let’s see...

Lisa, thanks for the follow up. I would suggest to everyone to wait for the registration until we have Walter confirmation.

Lisa, thanks for the follow up. I would suggest to everyone to wait for the registration until we have Walter confirmation.