Thomas Singh

Is the contrast and pivot tools ment to be used on logarithmic footage? Does it convert a straight line to an S-curve? What if the footage is rec709 and the footage already have an s-curve applied, how will the contrast tool affect the image then?

Does an log image have linear gamma? Is that the same as a linear line that can be seen on a ramp from black to white? What happens when you apply an s-curve to this linear line, is the gamma curve then re-defined?

I'm struggling a bit to understand what is the practical definition of rec709. When starting from log, how much change is enough before you can call it rec709? In most tutorials, the tutor defines the image rec709 as soon as an random s-curve or a normalization LUT is applied. What is correct? When can you define the image as rec709?

Can someone explain Color Matrix to me?

Peter Doyle talks about Supression LUTs, any idea what that is?

That's why you can't balance an image alone in all situations with those controls. The pivot point is on the botton which means absolute black stays black in the cases where the black is absolute black. In all other cases you will need other controls to balance black.

Temp control is a kelvin slider and shifts between blue and red. Tint control shift between green and magenta and is traditionally used to handle sodium vapor and fluorescent situations. These two controls are not enough to balance an image alone in all situations, but definitely be a supplement to the other tools.

What does the R or CIE stand for?

You will get much more bang for the bucks by going the HP route. Cheaper and more power. The graphic card requirements can vary between the editing apps and color correctors (Avid wants that, and Resolve wants that) so if you e.g want to run both on the same machine you can benefit from a HP Z840 as it got more slots. Alternatively buy an Cubix Expander for the Mac. Nexus, Interplay and most third part solutions run on both.

I agree with the above, unless you use a creative LUT in a linear color space. That will let you balance the image and apply the creative LUT afterwards.

What is really the difference between setting the timeline to 1080p or 1080i50? I understand that 1080p is 25fps (european) only, but if the footage is shot progressive it will not benefit from the timeline translation anyway, or am I wrong?

I bet you are right, but unfortunately it's not possible to discover all the technical issues like image retention and uniformity without running tests over time. I vote for Sony A1.

Hope not, LG got serious issues with their panels.

Flanders just announced a new 60" client monitor that will start shipping in January. What do you think about it? http://www.flandersscientific.com/XM650U/

I think the advantage of using DR for editing would be for small indie companies or freelancers not needing to have access to anything else than one single software.

Thankful for your answer Mike!

What features would you like to see in future versions of Davinci Resolve?

Thank you so much Arthur!

What features would you like to see in future versions of Baselight?

The camera manufacturer LUT's that's most often used to "normalize" the image also transfer chroma values and affect the gamut.

Because adding a normalization Lut (Log --> Lin) or using curves whatever to a Lin destination is the same thing. Some prefer using a Lut for this, others to do it manually. You can of course combine a Lut transform with e.g. curve adjustments if you like but there is no point in normalizing with curves first for then to do a Log to Lin conversion with a Lut because you're already there.

Do you have any good references on a typical 80's look? The client is not shooting on Beta tape and is not dressing the set and costumes from the 80's because this is a contemporary piece, but we are interested in tweeking the hue into the the color palette that was typical for that period of time.

I'm a long time Avid editor and want to know if you have used Davinci Resolve as in an professional editing environment? Performance and stability is crucial for me, and I even find Premiere a bit risky when working fast pace with directors sitting next to me or having a room full of clients and needing to deliver.

Many great suggestions here, thank you. I know I can add a pilar box effect and change the parameterd, it's just that I have to set the aspect and measure myself instead of simply go to a drop down menu choosing a square defaulted letterbox.

Most of our projects are delivered in 16:9 only, but sometimes they ask us to do several version of the same spots in 1:1. When working in 16:9, we sometimes apply a 2:35 letterbox or similar and use the conceal effects to re-position the images behind the mask up and down to be able to choose the section of the frame we want. I'm actually looking for the same thing now, just a way to apply a vertical letterbox that are 1:1 accurate so that I can reposition the images. I know my initial question was a bit confusing because I mentioned the word grid. An 1:1 accurate vertical letterbox is actually what I ment to ask for.