Category: Theory

Generations, a problem or not?

When grading I sometimes get the whole film as one clip which I then split up in pieces, but I always ask my clients if they can provide me with the original files so I can conform from them. The

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DCP explained

If you want to display your film in a digital cinema at highest possible quality, equivalent to a 35mm film print, DCP is the way to go. DCP (Digital Cinema Package) is a world wide standard ‘file format’, playable in

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EDL trouble – hidden characters

A few days ago I saw a tweet from someone who needed help with a corrupted EDL. Since I like challenges and to help out I contacted him and he sent me the EDL. The original EDL was 70 events

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ACES – Academy Color Encoding Specification

The ACES system has been created by the Academy of Motion Picture Arts & Science technology committee in order to achieve a more accurate color pipeline, regardless which camera you are using. The idea is that this pipeline will be

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How to read an EDL

If you are working in video you will at some point find yourself using an EDL. I have found that many people barely can read an EDL so here is an explanation about what all the numbers and letters mean.

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Color Decision List – introduction

Have you ever wanted to move a primary grade from one system to another one. For example you are on set and do a basic grade on the footage using “Iridas Speedgrade On Set” just to get a look for

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Color Decision List – using EDL and CCC files

For this Tutorial I will be using Colorista Free from Red Giant Software together with Apple Final Cut Pro to create the CDL values and DaVinci Resolve from Black Magic Design to use as the final grade system. This tutorial

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Math behind colorspace conversions, RGB-HSL

In this article I will try to explain the math behind converting RGB values to HSL and back. RGB is a way to describe a color in a cube, where Red, Green and Blue are on the different axis. HSL

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Balance using Parade and Vectorscope

This tutorial is about using your Vectorscope and Waveform monitor to balance a shot with a cast, like this image which comes from a Viper camera. In order to see each color channel (R, G and B) set your waveform

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Why chroma sub-sampling is important

Most people know that 4:4:4 is better then 4:2:0, but what is the difference? Have a look at the following image which is a part of Kodaks Marcie LAD. The image color sampling is  below is 4:4:4 When comparing it

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