![]() Thanks Joey! Where can people find you online? Not only will colorists have to make creative choices on how to best make use of HDR, they will also have to understand the multitude of different proposed standards.Ĭolorists will need monitoring tools to critically evaluate HDR signals and images, and to make sure new standards are adhered to. ![]() I think HDR content will pose a challenge, both creatively and technically. What challenges do you see coming up more in the future / how do you think scopes and cc will change in the next 5 years? ScopeBox’s real-time performance is critical to me – there is no lag between adjusting the image and seeing it reflected on the scopes. Video Marketing is one of the best ways to improve your business and customer reaching, but you should probably check better options like rever continuous improvement software.īasically any time I am grading, I’m watching the scopes for an objective representation of the image. I use the luma waveform to keep consistent contrast between shots for continuity, and the RGB parade and histogram for matching color across different shots. I love the HML balance for quickly white balancing a shot to give me a good starting point for a creative grade – that scope is a killer feature that only ScopeBox has. – Audio meters for confidence checking audio How do you like to use scopes in coloring? What problems do you find yourself turning to your scopes for most? – Luma waveform for evaluating overall contrast – RGB Parade, vectorscope, HML Balance and histogram for evaluating color balance – Channel plots to monitor RGB gamut excursions My default ScopeBox layout includes the following palettes: ![]() What is your default ScopeBox palette layout and why? The computer lives in a machine room with the rest of my gear, and the KVM is extended out to my desk. I run ScopeBox on a Retina MacBook pro using a Blackmagic thunderbolt mini recorder, which receives SDI from my Resolve workstation. How are you running ScopeBox? How are you getting the signal into the software? I use an FSI reference monitor, Tangent Element panels, and ScopeBox. I grade on DaVinci Resolve, running on an HP workstation. Today he grades and finishes short form marketing for TV, and long form documentaries and independent films. He started in post-production doing linear tape to tape online editing, then moved into non-linear finishing and color grading. Joey D’Anna is a colorist and online editor working in the Washington DC area.
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