![]() They are sort of like chemical equivalent of Lomo's quirky color films, for folks who want the "film look". I do not view these kits as a fit for those who care about image quality. When I tried this kit, I managed to wrestle the colors post-scanning, but it took a lot of effort and the contrast was always too high (probably because blix leaves some silver in the emulsion). In other words, it's kind of pointless to troubleshoot when you're starting with a bunch of compromised fundamentals. To recap what Cinestill sells: the fixer and bleach are mixed together, chemistry capacity is overstated and the temperature recommendation is too high. The temperature is also supposed to be 100F, and not 102F. BTW Kodak, who invented the C41 process, claims that 1L of a developer is good only for 4 rolls. You can't expect perfect results from a blix-based kit. They also cover major trends affecting both production and post, from new ProRes support on Windows for Assimilate Scratch and Quantel Pablo RIO, and on Linux for Resolve, along with the continued push toward the Cloud with Media Composer|Cloud, Adobe CC, and Scratch 8, and subscriptions with Media Composer and Smoke 2015.Trying to be helpful: try to lower the temperature.īut to be honest. ![]() In this Episode of the ColorCast, the Coloristos discuss a number of major announcements live from the show floor at NAB 2014, including Resolve 11, the Blackmagic URSA camera, Cintel Film Scanner, AJA CION camera, Flame/ Flame Assist 2015, Baselight Dailies, and new pricing for Digital Vision Nucoda and Nucoda Look. They talk about the challenges of working in person, as well as remotely, and also go over tips for reading body language, arranging your suite, and developing a grading vocabulary, that will help you guide your clients toward their creative goals, while minimizing revisions, and staying on budget. They cover important points on client interaction and time management, as well as learning who your key decision-makers are, and how to keep them confident in your abilities and grading workflow. In this Episode of the ColorCast, the Coloristos discuss client supervised grading sessions and how to make the most of them. Finally, they discuss the age-old question of whether or not technology has finally opened the door to more affordable color-accurate options, and what the minimum requirements should be for any display used in color critical work. ![]() They touch on several different models that are making headway as the new standards in post-production, and how emerging requirements like UHD, 4K, and HDR will likely affect your next major monitor purchase. ![]() They talk about the rapid evolution of the display market over the past two years, and how technologies like OLED and LCD have finally taken over from long-time standards like Plasma and CRT. In this Episode of the ColorCast, the Coloristos discuss the current state of professional and consumer displays for grading and finishing. They also take a "one year later" look at the AJA Cion and Blackmagic URSA cameras, as well as how systems like Assimilate Scratch, Digital Vision Nucoda, and Filmlight Baselight, are continuing to evolve their feature set and pricing to accommodate the current climate in post-production. In this Episode of the ColorCast, the Coloristos discuss their predictions for NAB 2015, and what they think will be big topics at the show, including the continuing transition to UHD/4K, the rise of HDR, the impact of the Alexa MINI, along with the possibility of Davinci Resolve 12, and the viability of a mid-range control surface. ![]() Jason Myres, a colorist and post-production engineer in Los Angeles. Juan Salvo, a colorist and online editor for films and commercials in New York. Josh Petok, a colorist working on reality and episodic television in Los Angeles. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. Thoughout the discussion they also consider how all of these new tools will be impacting post-production, as many tools evolve more and more into self-contained "super-apps", and as automated color tools and shot matching technologies allow artists of all experience levels to do more work, faster, and with less effort. They also discuss the new color tools and improvements in Adobe Premiere, Digital Vision Nucoda, Baselight Editions for Nuke, and Autodesk Flame & Lustre. They cover many of the new features in Davinci Resolve 12 including the re-designed interface, 3D keyer, 3D tracker, discrete alpha output, revised timeline, VST/AU plugin support, and Resolve Color Management. In this Episode of the ColorCast, the Coloristos take you though part 1 in a 2-part series on this year's announcements at NAB 2015. ![]()
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