Emily Haine

Watch your corrections through a curve and see how the image acts. For every little curve adjustment you make, the prior corrections will behave differently and you will get a different result. Good luck.

Can't think of a better place than Lowepost for these things, it's really mentioned everywhere, you just have to know what to look for. From the Hobbit article: "Luma curves are one of my favourite tools to use in achieving a richer, bolder look. By grabbing a still of how a shot sits with the desired exposure levels etc and playing with the curve in conjunction with Lift Gamma Gain, you are able to get some extra tone into areas of the picture that the standard tools can’t reach alone. Often you end up in the same place as your still with no perceivable difference, but sometimes, with enough experimenting, you can come up with some beautiful richness and depth and still keep the same exposure level to what you started with and desired in the first place, just a much richer frame in certain subtle areas. This doesn’t always work so you have to be judicious."

I didn't necessarily mean to say that you need to work with the curve controls. What I ment is that you can reach a more filmic contrast by sending primary contrast corrections through a custom curve or a pre-defined one in a LUT. The corrections on your first layer will then be altered by how the curve on your next layer swing and that combination will give you more control of in which range the deep black falls. Film bend of the top of the curves very gently and I can agree that lowering the brightest values can look more cinematic. Pivoting the deepest black towards the mids is also a thing many colorists do.

It seems like the new Fusion class with Lee will cover how to do exactly what you are asking about.

My take on this is that the key is to understand brightness and contrast. The colorists you are referring to primarily run all their contrast adjustments through a curve. Understanding a thing or two about color harmony also helps.

I'm a huge fan of Kevin, and impressed by the high level of quality content on this site!

BlackMagic Design just announced Blackmagic Raw - https://www.blackmagicdesign.com/products/blackmagicursaminipro/blackmagicraw ..."easier to use and much better quality than popular video format". Interesting statement. EM

Good point. You sometime want to retain the sequence TC. Right click on the reference clip, go to clip attributes and change current frame to match the sequence timecode.

The workaround is to click on the track number (v1, v2...) or copy the clips to a new timeline. This is an annoying bug that's been around for a long time now.

Different mathematics, the operators are way more sophisticated in the Filmlight systems in my opinion.

One of the old great Panasonic Plasma's or a new pro line?

It's data, not a clip. Right-click it in the edit section and make it a compound clip.

Professional reels in big companies are a selection of the best work. Check CO3, Mill and MPC for inspiration. You will never get hired by selecting the best looking shot from each film you have colored. It doesn't say anything about your level.

I have tried to hue shift pink to red by using the hue vs. hue and it swings by many colors but not red. Do you know of any curve based ways to swing pink to red as I'm trying to avoid keying?

Interesting to see the that all the corrections are done before the LUT and that the final image is so close to the BOB reference. Well done!

I use the classic one all the time, I have done several tests with the old new one and it fails to do the most basic shots. Even Adobe's stabilizer performs better.

Just close down the main scope, and it will become an option above the keyframes panel.

Good work Alan, great taste. And so has Rankin!

Abby just answered your question, it's totally up to you. Colorists do what they prefer.

Very useful Marina, thank you for sharing!

Do you often get timelines from Edius editors?

Have you decided what to go for @Adéyẹmi?

I would go for the Eizo. They have tons of experience in making quality products and calibrators love them because they are accurate. Personally, I prefer Eizo over FSI because Eizo just feels a bit more premium.

The monitor is excellent. Extremely good for that amount of money. It's not "recommended" by some because it doesn't come with SDI inputs, but with a cheap HDMI to SDI converter you are good to go. Happy shopping.

I received some AAF's from the editors and when I try to import the AAF into Davinci Resolve it gives me the following message "The selected compositeMob index is out of bound". I have never seen that message before. Have you? ... and what does "Choose a source timeline" mean? That's an option I get when trying to import another AAF.