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Ryan Emanuel

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  1. Theres a few things going on here. First off any node based visual FX software works the same way. Each node is a math expression applied to the footage. In a two node system the first is nested inside the second. So whether or not the order of operations matters, is dependent on whether or not the order of operations matters for the math. If the first node is gain, then you are simply multiplying each pixel by a number. If the gain is set to 1.3 then if x stands for each pixel value, then the expression is 1.3 * x. The software stores that output in another variable like y and input t
  2. This is one of those use the variable issues. Saturation from the HSL color space is the traditional variable people change for saturation on digital, but if you want digital to function like film, its the wrong variable for perceptible saturation. Film saturation is dependent on luminance and hue changes, so anybody adding HSL saturation to the shadows of digital won't get the right results. The tools in color grading applications aren't built for that. Its one of the biggest reasons why the common looks of digital are different than film, its the digital video engineers deciding the s
  3. This is what a lut actually is, sorry for the low res. Its a vector field, each arrow represents the transform for a coordinate in the color space volume. The lut is the arri rec709 33x lut subsampled down by a factor of 50 so you can actually see the different vectors. It would be hard to imagine that a colorist could capture all those vectors directions with color grading tools even subsampled for the entire space. I just don't know why there really isn't post software that helps you visualize the luts to see where the color is "flowing" in different segmentations of the lut. Visualizatio
  4. I would say there's literally zero places whether online or in film schools(other than AFI) that teach filmmakers what a look up table actually is. A lut stores 6 columns of tens or hundreds of thousands of coordinate data in a 2d list (hence the taxes). There are three inputs columns hidden in the indices, and three outputs that are the 2d list. 3 ins and 3 outs is basically a vector field. So any algorithms that apply to vector fields can be used for LUTs and color spaces. Most of the tools in davinci are linear operations, color matches are non linear functions. Usually color match col
  5. His old algorithms are on github. Davinci in its newest iteration copied some of the idea.
  6. It depends, if you can't do your taxes in the software, its not the ideal place to make a look up table.
  7. I guess my question is why are people saying it can't be done, wouldn't it benefit everybody if it could. Like I was saying we should bring the problem to the people who can solve it. If you want unique spatial fidelity responses at different levels of detail for different texture patterns, that question sounds like a convolutional neural network problem, a deep learning data scientist can probably solve it. The hard part is matching pixel response for sample images, if you could match the pixels even for a small region of the chip on the two formats, a well constructed CNN would do the res
  8. A lot of issues get conflated, there is color reproduction, noise structure, halation artifacts, and a few other pertinent classifications for a look match. They all need to be discussed separately since the challenges are very different, when they get muddied together, its hard to make sense out of anything. It sounds like what you are talking about is noise structure and not color reproduction. Having one noise structure and layering another on top won't make a match. You need to take one noise structure and transform it to approximate another. Noise is basically errors. The distribution
  9. Some art forms embrace technology others don't. It's tricky cuz aesthetically we plateaued decades ago as far as the most aesthetically pleasing color spaces for cinema. Most people would agree that film stocks have those color spaces, so many just shoot on film, it is the path of least resistance to the look. Nontheless, technology is allowing further and further transformation of color spaces, but DP's in general are not spearheading that endeavor. The issue for the future is the DP's primary collaborator for color is the colorist, who is an artist as well. They aren't an image processi
  10. 1. yes that was the original question. 2. 20A double pole, 30A breaker 3. Just one neutral for the coffee maker, it said in the manual that it only uses the 120v power for the clock, for the HMI both on the neutral. 4. You have to put the ground and neutral together, cuz the hmi will send more back on the neutral. 5. No, and don't know. 6. No it wasn't, for the light you would need a gfci 7. Its single phase so we were getting 245v from the two lines, if it was three phases we would get 208v, and that would raise the amp draw of the ballasts and potentially imp
  11. L14-30 is what I was talking about for changing the receptacle.
  12. The same way you would run 240 lights off a dryer outlet. All I'm saying is convert a double duplex with two 120 lines to one 240 receptacle. I'm not saying keep the panel cover off and leave energized wires connected to the buses exposed, just use the duplexes already run in the house. The only rewiring you have to do is swap the receptacle and the wire a new 240 breaker breaker, so on the panel side you are disconnecting two wires and placing them right back in the same spot, the neutral and ground don't need to be touched cuz they are already connected to the bus.
  13. I was referring to subpanels, so you don't have to tie in, you can just turn of the breaker for the sub panel.
  14. Is this ever done to get 4k-6ks running off of house power? My sister in law is starting a cafe and all their coffee appliances are 220v, but all their breakers are 120v. An electrician quoted them for 1000$. I did some research and figured out I could re-wire two 20amp 120 circuits to a double breaker and swap the receptacle for a 220 one. It worked and only cost $20. Do electricians on productions ever just add breakers to panels and grab higher wattage power that way instead of generators at least for some 4ks and 6ks?
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