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Nicholas Lorini

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    Jacksonville, FL

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  1. Here's a piece I shot and edited. Looking for some feedback on ways to improve.
  2. I'm sure many of you are aware of Yedlin's progress with image processing in the post pipeline. His latest video, released a couple weeks ago, dives further into the concepts with more explanation of the technical aspects of this process. I'm still wrapping my head around things and there doesn't seem to be anyone else but Yedlin talking about it at this level. I'm wondering if we can start a conversation here to further demystify what he is up to. Sorry if this seems vague but I really don't know where to start. It's all very interesting and appears to be important to the future of the craft and this forum is packed with wisdom and experience. Here's a link to the Follow Up: http://www.yedlin.net/DisplayPrepDemo/DispPrepDemoFollowup.html Thanks, Nick
  3. I'm shooting a short soon and the director and I have agreed to obscure the time and place of the events happening. The whole story occurs in a very dark room until the last shot, the lead exits through a doorway which is to be blown out completely so as to show him exiting in to nothingness. My thoughts are to put up a large silk outside the doorway and hit it with a lot of light and also black out the interior of the room. Either that or try to green screen it. What would some of you do (or have done) in a situation like this? Also, I don't have much of a budget to work with so for lights we're talking like a 1k and some impact octacools and maybe a 750w Lowell. Thanks! Nick
  4. That's interesting. Grading is the last thing I do, though it does make more sense to grade on the file with the most information. And I take it .R3D files won't hold audio syncs. I gotta say I kinda prefer Cine-X to Premiere for sound sync.
  5. Hmm, I wasn't planning to make any grading changes in cine-x but I did just sync an entire folder of clips with its corresponding audio. Now I'm exporting those syncs to ProRes. You think it would be easier to just import the RAW .R3D files into Premiere, sync audio and take it all down to 1080 after coloring in the export?
  6. I've learned quite a bit since this posting. My question now is whether to compress to ProRes 422 1080p before I send it to Premiere or leave in .R3D format
  7. This is my first time editing a project shot on RED. I'm looking to get some insight on the workflow associated. I know there's a transcoding and debayering process that I do not completely understand, do I even need to do it? Should I apply any grades in Cine-X Pro or change any of the gamma curve or colorspace settings or just wait until I'm finished cutting and send it to DaVinci? Can I use my usual Premiere workflow for AVCHD files as far as cutting and syncing sound? We shot on RED Dragon at 5k Red gamma3 Red color4 Thanks, Nick!
  8. The budget is not including the monitor. After having done some research I'm actually leaning toward the 6-core Mac Pro and stocking it with 64GB RAM. It seems to be more than adequate for just about any project. My only hold out is the possibility of a cheap yet comparable PC option but I am partial to the Apple interface. I also don't have the time to build my own machine or else I would.
  9. I've just been hired to edit and color an 18 page short that will be shot on a RED. I am not sure which model the DP is bringing to set but I know the director will want him recording the in highest possible quality. I've been running tests on my current machine with some RED footage and it is not adequate for the job, so I'll need a new machine. I plan to cut in Premiere and round trip through DaVinci for color. I will also be using this machine to cut and color a feature in August (also shot on RED) and another in November. Basically, I'll need something powerful. Having never dealt with RED footage I'm not totally clear on how much horsepower is necessary. Put in my position, with a $4000 budget, what sort of machine would you guys invest in? Also, while I'm at it I'd like to get a calibrated monitor for the grading. If anyone has opinions in this field as well, please share! Thanks! Nick P.S. Any books, articles or websites you guys could recommend for RED workflow would be much appreciated as well.
  10. MacBook Pro DaVinci Resolve Samsung And I may be willing to invest some personal capital. Although I'm primarily a DP I think I'll be wearing this hat in the future so it may be worth the investment
  11. Thank you for your input! Only problem here is that I'm working on a no budget film so I'm not sure "several hundred dollars" for probes is in the cards. Is there any way of getting reasonably close on my own? The film will screen in a theater for its premiere but unlikely ever after that. Though, I guess since it's been brought up, I'm not totally clear on LUTs either. I understand that they can be a reference but also a sort of preset grade as they seem to be applied to my image when I use them. They're also terribly dramatic oftentimes and I find more subtle tinkering in the curves and wheels and such to do the trick. It also may be worth noting most of the footage I'm working with is shot on a C100 without any external recording device.
  12. I have a 43' plasma screen I am using to correct and grade for a feature film. I'm a bit confused about Rec 709. What I think I understand is that it is a standard color gamut used across many displays, including my plasma screen. I've gone in to the color settings under display on my computer and found that I can change the display profile of my plasma screen. The display was set to HD-709-A by default it seems. Is this safe or should I choose another option like HDR HDTV Display (Rec 709) - EOTF SMPTE 2084 or HDTV Display (Rec 709) - EOTF Rec. 1886 (Gamma 2.4) OR should I calibrate the display? If so, under what parameters (white point, gamma, etc.)? Another issue I have is that I don't know if I should grade on a Rec 709 display if the film will be largely distributed over streaming services to be viewed on home computers. Or if I should make two separate grades, one that is sRGB friendly and the other Rec 709. Any advice on this matter is welcome and much appreciated! Thanks, Nick
  13. I'll be working on picture starting up in March and I've just been informed they already purchased the Ursa Mini 4.6k. I usually shoot on a Canon C100. I understand there are some differences between the two systems and I've done some research of my own (I'm aware of the necessity for expensive CFast cards and an OLPF) but I'd like to put the question to the community here: As an Ursa Mini user what are the advantages and disadvantages? Are there any peculiar nuances I should be privy to? How much of a learning curve do you think it will be moving from the C100 to the Ursa Mini? Thanks, Nick
  14. So long story short, a director I work with now has been hired to produce another film in the area. He is pulling for me to DP the picture but the director is concerned about my experience. This producer has arranged a sort of trial by fire for me in which I will DP a few pages from two different scenes in the feature script as if we were in production (cast, crew) but not exactly on location. Though I don't have the full script, the producer has informed me that the story is essentially a robbery gone wrong sort of who-dun-it, told in the vein of Rashomon but contemporary and involving more interrogations than courtroom scenes. This director has listed Basic Instinct and Prisoners as references for the "look" he'd like to achieve. In that he is looking for something that is both stylized and realistic, simultaneously. My own personal instinct is guiding me toward noir realism (if such a term even exists). The Bad Lieutenant: Port Call New Orleans seemed to have something close to what I mean by that. Possibly No Country For Old Men but its been some time since I've seen it. I guess I'm wondering what any of you would do in this situation or if you have any advice for me to build on what I've got so far. Available equipment: some sort of 1k (haven't found out what kind yet), dolly, jib and steadicam and think some other lighting but nothing too substantial Thanks, Nick
  15. I've been noodling around comments sections on different sites and I've stumbled upon an argument regarding the uncompressed output from the Canon C100 to the Atomos Ninja Blade. Some folks are claiming that the C100 uncompressed output is actually an 8-bit signal and the recorder then converts it to a 10-bit. Is this true? And if so should I even bother with an external recorder or just shoot the native AVCHD codec?
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