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Emily Haine

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Everything posted by Emily Haine

  1. Emily Haine

    Print Film Emulation Workflow

    Emily Haine commented on Lowepost's insider article in Insights

    Just amazing!
  2. Emily Haine

    Baselight VS DaVinci Resolve

    Emily Haine commented on Lowepost's insider article in Insights

    Fantastic post and can't wait to check out Josh's Baselight training.
  3. Emily Haine
    Graded with the help of Niran film print developed by Mitch for Ravengrade
  4. Emily Haine
    Thanks for sharing your knowledge Mark!
  5. Emily Haine
    Thanks for sharing your knowledge Mark!
  6. Emily Haine
    Hi Willian. I do understand you are talking about a color managed workflow, that's why my example was in ACES. Your workflow still makes no sense, if you want to match cameras you should let ACES/RCM handle the transforms and if you want to override their judgement, that can be done on clip level and not node level. When using ACES in Ravengrade you simply set working color space inside of Ravengrade to ACEScct and the rest will be handled by how you set up the color management inside of Resolve.
  7. Emily Haine
    Not sure if I understand, but if you have different formats in ACES you should set the ACES Input transform to "No Input Transform". Then, if you want to challenge how Resolve interprets the clips on your timeline, you could change input on clip level. Why would you want to change gamma on node level?
  8. Emily Haine

    Masters of Color

    Emily Haine commented on Lowepost's insider article in Color Grading

    Thanks for this amazing show, it's a gold mine for every colorist.
  9. Emily Haine

    The New Arri LUT

    Emily Haine commented on Lowepost's insider article in Workflow

    I asked, they are aware of it but have not updated.
  10. Emily Haine
    I asked, they are aware of it but have not updated.
  11. Emily Haine

    Color couch podcast

    Emily Haine commented on Lowepost's insider article in Color Grading

    Love your brilliant color work at MPC, Vincent. Looking forward to listen to your podcast.
  12. Emily Haine

    The New Arri LUT

    Emily Haine commented on Lowepost's insider article in Workflow

    Seriously, I didn't know this, but I have noticed that some footage looks different with the LUT built into the Alexa footage and the one I apply manually.
  13. Emily Haine
    Seriously, I didn't know this, but I have noticed that some footage looks different with the LUT built into the Alexa footage and the one I apply manually.
  14. Emily Haine
    Any comment on this @Bryan Gordon?
  15. Emily Haine
    It's actually read as 6-8000 kilobits per second which is correct.
  16. Emily Haine
    I'm sorry to say you are wrong. The last node in the chain (the log2rec709 transform) needs to be a part of the LUT generation in DaVinci Resolve and any transform happening inside of your monitor must be disabled.
  17. Emily Haine
    Not sure what you really want to do, but you can get a long way by working the contrast to get good separation followed by tweeking the different hues to add some more life.
  18. Emily Haine
    Thank you so much for your insight @Douglas Delaney, love that you compare the scopes with your parents 🤣
  19. Emily Haine
    Look at that tanks!
  20. Emily Haine
    Normal procedure is to watch through a log to linear transform on set in form of a look up table. Skipping this step means you have no clue how your footage looks until you're in post, and you might be surprised. I'm sure you will find a list of LUTs for your Black Magic Camera in Resolve, and that will be the closest representation of how MBD think your footage should look. Technically, that should be your starting point as it's designed for your camera, but if you prefer throwing on a different LUT - that will be entirely up to you.
  21. Emily Haine
    So you watched what you shot in log?
  22. Emily Haine
    Sure about that? Have you shot log and watched log on your monitor without any log to linear transform?
  23. Emily Haine
    You can experience some gamma issues on DNxHR 444 but if Adobe Media Encoder interpret it properly, why not go that route. If the final delivery is 1920x1080 you could go with DNxHD185x (10 bit) instead as that matches Prores 422 quite good and carries the gamma properly between the apps.
  24. Emily Haine
    Hi @Justin Oakley. Kevin is using the ArriK1S1 LUT because the footage in course is shot on ARRI with this LUT. When you apply the workflow demonstrated in this course with your own footage, you should switch the Arri LUT with the LUT that that your footage was looked through on set.
  25. Emily Haine
    Very nice write-up and, and I also love the sweet monitor on that top pic. Is mapping different functions to the buttons and knobs a straight forward process on the Elements? Considering a buy because I'm jumping a lot more between apps now than earlier.
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