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  2. Hey Daniel! Thanks for this! I had no idea I have the studio version and will look into it when I commence the grade all over again! a
  3. Very nice! I have a feeling these are going to stick with me as I read on and I will be imagining the characters looking like this.
  4. As it happens I just drew these Sherlock and Watson designs. Always wanted to do an animated comedy Sherlock Holmes version.I find that drawing is a great way to relax and forget the lock down for a few minutes.
  5. Reading the complete Sherlock Holmes collection. I don't usually have time for reading. Making healthy dinners at home with the wife. We don't usually have time for that. Calling friends and family to say hi and check in with them. Relearning how to composting and grow herbs. Don't usually have the time for that. Listening to as much music as I can. Don't usually have time for that. Meditating often to let go of the stress, anxiety, sadness
  6. Upon further reading, the Chromatic Adaptation plugin is only included in the studio version of Resolve. In my opinion, it's well worth the cost.
  7. Today
  8. There's an OFX plugin in recent versions of Resolve called "Chromatic Adaptation" (under ResolveFX Color in the studio version, I don't know if it's included in the free version). It seems to perform a more complex color transformation than what's possible with basic curves or grading adjustments. You end up with a vastly more accurate, purely technical correction in one node, allowing you to separate your creative / opinion adjustments into other nodes.
  9. Yesterday I had to fix my girlfriend's camera's shutter that some how broke. It was a more than 10 year old camera and I figure if I had fixed a couple of lenses I could very well at least try see what went wrong. After disassembling everything I found that the problem was a broken rivet on one of the shutter blades and I was actually able to MacGayver a fix with a nail and a hammer. I put everything back together and it's alive. I do still have to calibrate the auto focus but I'm saving that for tomorrow. 🙂 Other than that I'm helping my girlfriend with her sculptures, working on a couple of screenplays, two of which are in development. A feature and a TV series pilot episode. Editing some videos and doing some grading and animations. But what I'm really thinking is how to shot a short film. What are you guys planning after all this? All of our short term gigs fell through because they were during this time. I'm hopping they'll be rescheduled. Thankfully the long term stuff is still on as well as some stuff that I've been able to do from home. Hope you guys are all well and spending your time creatively. 🙂 Here's a couple of shots:
  10. Thank you Phil. It's really helpful to just a get reading from someone else. Yes, this last one you sent over with the histogram is def easier to manage (there was a home daylight lamp in the room so it's kind of ok, no orange tint --and the Cinelab technical grade in the transcodes is actually quite lovely. It's the (terminal) error of not using the lamp on all shoot dates that I'm struggling with but from what i'm getting, I should relax my expectations and try and do my best with it. I'm learning in the most silly way !! a
  11. The choice in the shot I altered is whether you want the shirt on the foreground subject to be white, or the walls in the background to be white. I get the impression the foreground is catching a bit of daylight from a window so it's bluer than the deep background. Nothing wrong with it, just a choice as to what you do with mixed colour temperature. I might go for a bit more brightness and contrast. Looking at the histogram that's part of the Photoshop curves filter, you can see that there's very little in the top half of the brightness range of the original. You can see the curve I used to punch it up a bit. Obviously, any of this might not suit your intent or match surrounding shots.
  12. I know 😞 I really don't have an excuse. it was a stupid idea not to get the light on all shoot days...
  13. Hi, I'm curious, what is the lag like from sensor to the image on the monitor?
  14. If you shot 250D under tungsten lighting you'd expect an orange image...
  15. For the last month I've been archiving hundreds of hours of talk radio, news radio and TV pertaining to the coronavirus. I bugged out of NYC a long time ago. No plans to go back in the foreseeable future. I'm deep in the rustbelt. Not many people round here to take photos of. And even so, do we need any more photos of people with masks on? I decided to spend my social documentary time recording an archive of unscoped audio airchecks of how the coronavirus disaster unfolds. Here are some samples. Have recorded hundreds of hours. Probably this week will be my last week more or less recording. We will see. I'm getting burned out with the project. I got ADD. https://archive.org/search.php?query=subject%3A"teoli+coronavirus" PS..if you use any of the audio for projects...give me some credit!
  16. Also, is there a tutorial video that deals with these issues taking into account 16mm film footage? MANY THANKS!
  17. Thank you Phil! I see what you are suggesting there! It's close to where I would push it as well. How would you describe what you did there? Is it tint and colour temperature (to put it roughly) The other detail of this project is as follows... I made some footage using the 250d and a daylight involved so I did get some footage that look decent. I have a feeling the orange footage will never come close to this though... What do you think? A
  18. There's always a lot of opinion involved in this sort of thing, but yes, I'd have thought so.
  19. Hi guys! I hope everyone is holding up ok. Grading nightmare below: I've shot a film with 250d and 500t rolls and in some cases (when using the 250d indoors and in low light) I got a orange tinted result (raw scan images attached) Now, I'm planning on grading this in da vinci. I'm not so sure I can do a massively good job because I've tried a few times and I always get up to a point where the image look ok but still not balanced enough to make me see past the grade (it looks very pushed) Have a look at these two screenshots... are they salvageable in your eyes? A
  20. Congratulations Uli! That’s wonderful. Enjoy your family during this time. G
  21. Imdb: https://m.imdb.com/name/nm9769986/ Website: http://Www.matthewlaming.com
  22. I'm considering getting a Zeiss 10-100 T3 as part of an Arri S/B package. What's the best solution for hanging a filter adapter off the front of the lens? Will a Cokin P 499 Universal Ring work or are there better options? Will this lens work with a standard Arri S matte box and 2x2 filters? I'm trying to avoid going the route of an expensive (and cumbersome) matte box and rail system.
  23. Hey guys! I'm new to cinematography.com so firstly I'd like to say hello to everyone. 🙂 I'm a composer based in Ireland and I have just wrapped up with scoring a feature film this week. I want to keep the ball rolling and work on more projects so I'm posting this here to say I'm available! I don't have a current show reel put together yet but here's a link to the trailer of my latest film and also a link to my website where you can find my filmography as well as stand alone tracks. The Droving (2020) - trailer: https://youtu.be/o7h7WS01VoQ Website: Www.Matthewlaming.com I specialise in ambience but I can cover a wide range of styles. all the best, Matthew
  24. The low pass filter is usually built into the Analogue to Digital converter. The aliasing distortion would be audible on high frequency sounds otherwise. You could probably get away without a low pass filter on a 96Khz audio system as few mics can record audio frequencies above 25-30khz they would act as natural low pass filters
  25. @Todd Pinder Seandean in London would do it, but it's not going to be cheap. A
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