colorist tips

Netflix color pipeline

NETFLIX Color Pipeline

Color Pipeline Requirements

It is important to ensure that images are stored in the widest possible color space until the very final stages of the color pipeline. This is easily achieved by using ACES, which keeps images in a high dynamic range, wide color gamut space, and allows the user to simply select the Output Transform for the target viewing display. This can also be achieved while working in the dominant camera color space with careful, pro-active color management and the use of conversion and viewing LUTs. Both methods are outlined below.

Color pipeline documentation must be shared with production and post-production ahead of the first day of photography. 

Non-ACES Pipelines (Camera Native + Show LUT)

  • Working Color Space ust be defined and communicated to all departments.
    • Examples: Sony SLog3-SGamut3.CINE, REDLogFilm-DragonColor, Panasonic V-Log-V-Gamut, CanonLog3-CinemaGamut
  • Output / Show LU must be defined and shared between all departments.

ACES Pipelines

  • ACES Versio (i.e. v1.0.2) should be defined and shared between all departments. 

On-Set & Dailies Colo

  • CDLs only
    • No secondaries, keys, or power windows to ensure compatibility in post.
  • Order of operations is critical
    • CDLs must be applied before Output Transform.
    • See diagram below.
  • On-set and dailies monitors must be calibrated to the Rec.709 / BT.1886 standard, or equivalent HDR standard (i.e. PQ / SMPTE ST.2084)
Color_Pipeline_v2.1_onset.png
Color_Pipeline_v2.1_SDR.png
Color_Pipeline_v2.1_HDR.png

Best lut for vlogs - DSLR

Click on image to download the luts.

Click on image to download the luts.

These luts for vlogger are perfect to make your footage more cinematic.

This LUT pack will be some base luts to get you a finished look or to a good starting point. It works with  Adobe Premiere Pro CC, Final Cut XDavinci Resolve and Assimilate Scratch.

Disclaimer

  • We have designed a creative lut.
  • It is calibrated for properly exposed and white balanced image in standard camera settings.
  • You will have to manually adjust temperature, tint and exposure if encountered unexpected results.
  • For any DSLR clips shot in Neutral picture settings.
  • Developed using 3dlutcreator.

Best windows laptop for Davinci Resolve 14

Best laptop for color grading in Davinci Resolve 14

Blackmagic design recommended laptops for color grading in Davinci Resolve 14.

Dell Precision 7720

Approx US$ 3200.00

Approx US$ 3200.00

Intel Core™ i5 or i7 processors
32GB minimum system RAM
NVIDIA Quadro P4000; 8GB GDDR5 GPU
512GB SSD minimum system hard drive
http://www.dell.com/en-us/work/shop/productdetails/precision-17-7720-laptop

HP ZBook 17 G4 Customised Mobile Workstation

Approx US$4500.00

Approx US$4500.00

intel Core i7 processor
16GB minimum system RAM
Quadro P5000 with Dreamcolor display
1TB System drive
http://store.hp.com/us/en/ConfigureView?catalogld=10051&urlLangId=&langId=-1&storeId=10151
&catEntryId=1661652&quqntity=1

Davinci Resolve 14 for mac system shopping guide

imac.jpg

COMPUTER

Apple MacPro
Late 2013 model,
12 Core Dual D700 GPU 2.7GHz
Intel Xeon E5 12 Core processor 32GB system RAM recommended
1TB PCIe-based internal flash storage Dual AMD FirePro D700 GPUs

Apple iMac with Retina Display
Mid 2017 27”Retina 5K model, quad-core i7 4.2GHz Intel Core i7 processor
32GB system RAM recommended
TB Internal SSD storage
Radeon Pro 580 with 8GB of VRAM

Apple MacBook Pro with Retina Display
id 2017 15” model, quad-core i7
3.1GHz Intel Core i7 processor
16GB system RAM
512GB PCIe-based SSD
Radeon Pro 560 with 4GB VRAM

Apple MacBook Pro with Retina Display
End 2016 15”model, quad-core i7
2.6GHz Intel Core i7 processor
16GB system RAM recommended
512GB PCIe internal flash storage
Radeon 450 with 2GB VRAM

laptop-xl.jpg


Apple MacBook Pro with Retina Display
Early 2015 13”model, dual-core i5
2.9GHz Intel Core i5 processor
16GB system RAM recommended
512GB PCIe internal flash storage
Intel Iris Graphics 6100 

Apple MacBook
Limited performance for more than HD ProRes Mid 2107 12”, dual-core i5
1.3GHz Intel Core i5 processor
8GB system RAM
512GB PCIe internal SSD storage
Intel HD Graphics 615

Apple Mac Mini
Optional Central Database Server
Late 2014 model, dual-core i7
3.0GHz Intel Core i7 processor
16GB system RAM
512GB PCIe internal flash storage
Intel Iris Graphics 5100 

Blackmagic Design Capture and Playback Card

  • UltraStudio 4K Extreme 3
  • UltraStudio 4K
  • UltraStudio Express
  • Mini Monitor
  • Mini Recorder

UI Monitor

  • LG Ultrafine 27” 5K Display 
  • Dell UltraSharp 27” Ultra HD 5K monitor 
color panel-xl.jpg

Color Grading panels

  • DaVinci Resolve Advanced Panel
  • DaVinci Resolve Micro Panel
  • DaVinci Resolve Micro Panel
  • Avid Artist Color
  • JLCooper’s Eclipse CX
  • OxygenTec ProPanel
  • Tangent Devices Element Bundle
  • Tangent Devices WAVE
  • Tangent Devices Ripple

 

 

BEST COLORIST FOR MUSIC VIDEO NOMINEE - AICE2017 TEAL & ORANGE MADNESS

AICE is the marketing communications trade association whose members are independent creative editorial, design, visual effects, color grading and audio post production companies. It is dedicated to the advancement and promotion of these companies and the essential role their services play in the media creation process.

2017 - BEST COLORIST FOR MUSIC VIDEO NOMINEES

Colorist: Josh Bohoskey 
LEAF- NADA
The Mill

Colorist: Jaime O'Bradovich 
Beyonce - HOLD UP
Company 3

Colorist: Adrian Seery
Sia - The Greatest
MPC

TEAL & ORANGE MADNESS CONTINUES

Color Grading Monitor in budget - HP Z31x DreamColor Studio Display

HP Z31X Dreamcolor Studio Display - US $3999.00

HP Z31X Dreamcolor Studio Display - US $3999.00

HP has now unveiled its latest additions to the DreamColor lineup, targeted at the professional colorist and editors.

The DreamColor Z31x features support for multiple working color spaces, and the display's color gamut covers 100% of sRGB, 100% of Adobe RGB, 99% of DCI-P3, and 80% of BT.2020. It can also handle multiple frame rates, including native support of 60 Hz, 50 Hz, and 48 Hz (which would be exactly double the 24fps frame rate of film).

The HP Z31x is designed with the features demanded by industry-leading digital creators: an integrated KVM (keyboard/video/mouse) switch, True 2K viewing, markers and masks, and much more. The built-in KVM of the HP Z31x can switch between two computers with a quick keyboard shortcut, allowing the user to share one display, keyboard and mouse between two computers. Many artists have two computers, a Linux® box with their animation/compositing app and a Windows® box with Adobe® Photoshop or internet access.

 

 

SONY BVM-X300 V 2.0 - De Facto Standard Monitor for Colorist

“This monitor has become the de facto “standard reference monitor” for mastering HDR content, primarily due to its stability, uniformity, and fabulous contrast ratio,” - Josh Pines, Vice President of Imaging Research and Development for Digital Intermediates at Technicolor.

BVM-X300 V 2.0

The New Sony BVM-X300 30-inch* 4K OLED master monitor is the flagship model in Sony’s professional monitor line-up. This high performance TRIMASTER EL™ OLED monitor includes unparalleled black performance, colour reproduction, quick pixel response, and industry-leading wide viewing angles. In addition, the BVM-X300 has enhanced interface and features for High Dynamic Range (HDR) live production, as well as a wide colour gamut conforming to DCI-P3 and most of the ITU-R BT.2020 standard*. By unleashing these superb features and qualities, this master monitor makes an ideal tool for a wide range of applications such as colour grading and QC (quality control) in the 4K production workflow.

Key Specs -

Colour space - (colour gamut) ITU-R BT.2020*2, ITU-R BT.709, EBU, SMPTE-C, DCI-P3, BVM-X300 Native*3, S-Gamut/S-Gamut3*2, S-Gamut3.cine*2

EOTF - 2.2, 2.4, 2.6, CRT, 2.4(HDR), S-Log3(HDR), S-Log 3(Live HDR), S-Log2(HDR), SMPTE ST 2084(HDR) , HLG SG1.2(HDR), HLG SG Variable(HDR)

PRICE - Approx US $17,995.00

MediaLight - for professional color grading suite

The MediaLight 6500K Bias Lighting System was developed to provide an accurate dim surround bias light solution for the most demanding home theatre and professional video applications. Proper bias lighting reduces eye strain and is a critical component of a color-critical viewing environment.

The MediaLight 6500K is the solution to this problem with a CRI greater than 90 and color temperature accuracy previously only found in fluorescent based bias lights.


The MediaLight 6500K is USB powered, comes with a PWM dimmer and remote control, and has an easy to use peel and stick adhesive backing that makes installation fast and easy. MediaLight strips can also be easily cut to size making them perfect for any size monitor.

The MediaLight 6500K can be powered directly from the USB port on DM series FSI monitors as well as most consumer televisions. It is also equipped with an AC power adapter for displays or applications where USB power is not available.

For more info :- MEDIALIGHT
 

How to create professional Color Grading Environment?

SOLUTION

Colour of the wall - 18% GREY / SP50

Professional color grading rooms require careful attention in order to ensure colors are perceived accurately. SP-50 paint is carefully formulated to match modern color grading monitor performance and, therefore, optimize viewing conditions.

A typical setup will consist of painting the wall behind the monitors with SP-50. An ideal configuration will have all walls painted with calibrated paint. The ceiling can be non-reflective black or SP-50.

Why should you use it?

  • Achieve an accurate color grading environment
  • Calibrated monitors match from room to room
  • Clients value a room built around SP-50
  • Turns a normal room into a professional grading environment
  • A small investment with great results
  • Top facilities around the world build rooms this way
  • Increase the value of your services
  • Create a better working environment
     

Here are three options for building your room:

Good

  • Wall behind monitors is painted with SP-50
  • Ceiling is painted black or a really dark gray
  • Other walls are painted white
  • One SLS-01 light installed close to the ground and washing softly on the wall
  • No other light sources, internal or external (windows)

Better

  • Wall behind monitors is painted with SP-50
  • Walls to the left and right of the console are painted with SP-50
  • Back wall painted white
  • Ceiling is painted black or a really dark gray
  • Two SLS-01 lights installed approximately two meters apart, close to the ground and washing softly on the wall
  • No other light sources, internal or external (windows)

Best

  • All walls painted with SP-50
  • Ceiling is painted black
  • Two SLS-01 lights installed approximately two meters apart, close to the ground and washing softly on the wall
  • No other light sources, internal or external (windows)

Matching Cameras - Before you begin shoot

When shooting with multiple cameras, how can footage be matched between them?

Whether we know it or not, properly matched capture from each of our cameras is not only the right thing to do, it is a professional expectation. When camera teams are hired to cover an event or shoot a corporate video and three cameras are to be used, there is an unspoken understanding that the footage from each device will match.

Even seemingly simple footage is actually quite complex. There is a blend of elements, from grain and noise, to exposure and white balance.

If it’s impossible to bring matching equipment, choosing all of the camera settings prior to the shoot and then monitoring and adjusting prior to shooting will make the difference.

The best bet is to try to make enough time to test and work with the cameras prior to a shoot starting to at least get them close. Usually the larger the budget, the more setup and testing time there will be, but even with no lead time, a basic knowledge of how to set up cameras is important.

Checklist – Frame settings

Choose the frame size and rate that the project is to be delivered in and set each of the cameras to exactly those settings.

Shutter Speed/Angle

Ensure the shutter speed, also refered to as shutter angle, of each of the cameras is set the same. Shutter speed has a huge impact on the appearance of finished footage. Action sequences can benefit from overly quick shutter speeds, but a good starting place is generally around double the framerate of the camera.

White Balance

Each camera is different, but there should be tools for white balance on board. Most have a number of presets, and the more professional models will allow for custom white balancing, where a white card is held in front of the camera and set as the white that is recognized by the camera.

The key is to set the cameras to a similar setting to ensure that they’re close. If they all offer custom white balancing, that is obviously the best option.

ISO

Start with each camera set to the same ISO level and adjust. Many cameras have a default ISO, but the environment, lens characteristics, sensor characteristics or other factors can determine whether the level needs adjusting to more closely match other cameras.

While some high-end cameras that shoot RAW footage can have exposure tweaked a bit in post production, setting ISO properly in-camera is essential.

Adjusting the camera’s ISO to be as low as possible while delivering a nice, balanced image is key.

It’s going to be very difficult to get cameras exactly identical from simply adjusting settings and comparing monitors, but these basics will help get the process started. It’s all about getting them as close as possible to minimize the work that will need doing in post-production.

 

Automatic Colorizing ALGORITHMIA

Result of using ALGORITHMIA to colorize black and white image.

Result of using ALGORITHMIA to colorize black and white image.

Yes. Its time for automatic colorizing black and white photos to color. 

Automatic Colorize by ALGORITHMIA

The research has long way to go before we see content aware colorize in photoshop, davinci or assimilate scratch, but proof of the concept is there exists. 

You can try automatic coloring your b/w images now. Click Here

BIG UPGRADE - DAVINCI RESOLVE 12.5.1

General Improvements

  • Alpha-numerical listing of codecs and format in the Deliver and Media Management pulldowns
  • When running DaVinci Resolve in window mode, the macOS dock is now visible
  • Improved latency for remote grading (Studio version)
  • Improved handling of dissolves and overlapping clips in DolbyVision metadata export (Studio version)
  • Improved behavior when creating render jobs on locations without write permissions
  • General performance and stability improvements

Edit Improvements

  • Improved 2-up and 4-up, multicam and playback performance when using QuickTime ProRes on Windows
  • Added menu items to allow selection of clips based on Flag, Marker and Clip colors on the edit timeline
  • Added ability to import and export duration markers using EDL
  • Added the ability for clips to snap to their own markers when adjusting In and Out points
  • Improved consistency of edit functions when Timeline is in full-screen mode
  • Added support for box wipe mode for offline reference wipe
  • Added ability to extract AAF import log information as timeline markers

Color Improvements

  • Improved performance for Spatial Noise reduction in Better mode
  • Improved listing of attached and timeline mattes in the node graph with support for alphabetical listing
  • Added ability to apply grades from a reference wipe using the viewer context menu
  • Added ability to align keyframe timelines of color grades using playhead position and wiped still frame
  • Next node and previous node operations now loop around the node graph
  • The ‘displayed’ node graph now automatically updates when the current still is changed
  • Swapping nodes now also swaps the node labels
  • Rippling grades now also copies node labels, Power Window labels and node cache settings
  • Shift Up + Next Still will now append grade from the current still on the advanced control panel (Studio version)
  • Added support for left eye and right eye grades for the timeline node graph (Studio version)
  • Added ability to convert a mono timeline into stereoscopic 3D (Studio version)
  • Added ability to convert a mono clip into stereoscopic 3D (Studio version)
  • Added support for sequence and node render caching for stereoscopic clips and timelines (Studio version)
  • Added compensation for stereoscopic slip when exporting timecodes in ALE (Studio version)
  • Added support copying DolbyVision grades using stills and middle click (Studio version)
  • Improved 3D and Qualifier panel layout in dual screen mode
  • Improved behavior to stay in the same frame when joining two clips

Resolve FX Improvements

  • Added ResolveFX Generate Color (GPU accelerated)
  • Added ResolveFX Tilt-shift Blur
  • Added support for anamorphism in ResolveFX Lens Blur (Studio version)
  • GPU acceleration support for ResolveFX Lens Flare (Studio version)
  • Ability to adjust Shadows/Midtones/Highlights in ResolveFX Film Grain in all compositing modes (Studio version)
  • GPU acceleration support for ResolveFX Emboss, Waviness, Vortex, Ripples, Dent, Mirror
  • Improved ResolveFX Scanlines and added various composite modes
  • Ability to view the ResolveFX Scanline layer without the background
  • Improved border behavior for ResolveFX Gaussian Blur, Directional Blur, Mosaic Blur, Radial Blur and Zoom Blur
  • Added support for horizontal/vertical ratio in ResolveFX Glow
  • Added support for pan and tilt on ResolveFX Prism Blur
  • Improved performance for ResolveFX Light Rays
  • Improved performance for ResolveFX JPEG Damage

Media Improvements

  • Added new Import Media options to File menu and Media Pool context menu
  • Added support for stereoscopic 3D clips in Media Management (Studio version)
  • Added support for display drive names in Media Storage on Windows
  • Addressed issues with open file location from Media Pool on Linux
  • Added Source Name tag support for filename without extension
  • Added support for automatically setting pixel aspect ratio for anamorphic ARRIRAW MXF clips

Codec & Format Improvements

  • Added support for ProRes decoding on Windows
  • Improved QuickTime decode and encode performance on Windows
  • Support for UHD H.264 renders on Windows
  • Improved QuickTime decoding and encoding performance on Linux
  • Added support for HEVC (H.265) decoding on Linux
  • Added support for alpha channel in DNxHR 444
  • Added support for the Sony X-OCN format
  • Added support for various AAC encode parameters on macOS
  • Added support for QuickTime AAC audio encoding on Windows
  • Added support for encoding QuickTime Photo JPEG files
  • Added support for decoding AVCHD files from the Sony NEX-FS700 camera
  • Added support for V-Gamut in RCM for improved Panasonic camera image handling
  • Added ARRI LogC to Linear and Linear to ARRI LogC LUTs in VFX I/O
  • Addressed decoding of last frame in some Panasonic AVCHD clips
  • Improved handling of AVCHD .MTS clips
  • Added support for RED SDK v6.2.1

DOWNLOAD FREE DAVINCI RESOLVE HERE.

Color in Motion

An Interactive Experience of Color Communication and Color Symbolism.

www.mariaclaudiacortes.com

Maria Claudia Cortes '03 (M.F.A., computer graphics design) has been receiving widespread praise for her RIT thesis project, an animated Web site titled Color in Motion. The project received Best of Category honors in the I.D. Magazine 2004 Student Design Review competition, it was featured by Communication Arts Magazine in the 2004 Interactive Design Annual, and also made the pages of the December 2004 issue of Proyecto Diseno, the leading design magazine in Cortes' home country, Colombia.

Cortes joined Eastman Kodak Company in 2003, working first in Rochester and now in Bogota, Colombia, for the Technical Knowledge Management Department. She is a multimedia developer and graphic designer.

Color Grading in Davinci Resolve 12.5 - Dubai

Hollywood's most powerful color corrector!

DaVinci Resolve 12.5 combines professional non-linear video editing with the world’s most advanced color corrector so now you can edit, color correct, finish and deliver all from one system! DaVinci Resolve is completely scalable and resolution independent so it can be used on set, in a small studio or integrated into the largest Hollywood production pipeline! From creative editing and multi camera television production to high end finishing and color correction, only DaVinci Resolve features the creative tools, compatibility, speed and legendary image quality you need to manage your entire workflow, which is why it is the number one solution used on Hollywood feature films.

What’s New in DaVinci Resolve 12.5

DaVinci Resolve 12.5 is a massive update with over 1,000 enhancements and 250 new features that give editors and colorists dozens of new editing and trimming tools, incredible new media management and organization functions, new retiming effects, enhanced keyframe controls, on-screen text editing, new ResolveFX plug-ins and much more! The re-designed node editor is easier and more intuitive to use, there are new HDR grading tools, vastly improved noise reduction, lens distortion correction, a completely redesigned Deliver page for outputting projects and a new Fusion Connect command for round tripping visual effects shots between DaVinci Resolve and Fusion!

The world’s most advanced color grading tools.

DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci Resolve features unlimited grading with the creative tools colorists need and incredible multi GPU real time performance. That’s why DaVinci is the name behind more feature films, commercials, television productions, documentaries and music videos than any other grading system!

Contact Us to visit our Color Grading Suite in Dubai, UAE.

 

PRELIGHT - Free on set color grading tool from Filmlight

FilmLight introduces Prelight, a freely licensed Mac OS X application designed to help DoPs and other professional creatives to author and review looks in pre-production and on-set.

Prelight’s simple-to-operate interface makes it a breeze to check how shots appear with looks or LUTs applied, and to import or add grading decisions that can be passed downstream. Images can be imported from almost any camera, and graded references exported in almost any format.

“What makes Prelight special is that it incorporates the full Truelight Colour Space technology you find in other FilmLight products,” said Peter Postma, Managing Director, FilmLight Americas. “So regardless of the camera, whether RAW or monitoring output, whether HDR or laptop screen, looks are applied consistently and grading decisions remain relevant even for final delivery.”

Prelight complements the FilmLight products FLIP and Daylight, which already provide full on-set and near-set grading capabilities. Many directors, working with a colourist early on or not, would just like more control over how the shot is going to look, and to be able to communicate that easily and visually to post-production.

The creative team can enhance the grade with simple but familiar tools, to create new reference stills as well as 3D LUTs or BLG (Baselight Linked Grade) files. With the render-free BLG workflow, the grades are non-destructive too: additional BLG metadata is created and attached to the stills. And the free licence for Baselight for Avid or NUKE, which makes it free to read and render BLG files, makes this workflow available to productions on any budget.

An extended licence can be purchased so that when these files arrive in the Baselight post house, or on a Daylight system for near-set dailies, the metadata is attached automatically and the BLG file becomes the basis of the grade, which can then be refined right up to the moment the deliverables are created. The additional licence also includes enhanced logging and monitoring capabilities.

As well as fitting in naturally with the BLG workflow, Prelight can fit into any post-production workflow because of the ability to export standard ASC CDL lists and third-party formatted 3D LUTs.

Integration with cameras, such as the ARRI Alexa SXT, means that Prelight can simplify the colour workflow dramatically by enabling fully automated metadata support all the way from the start of the production chain. Prelight can also interface to the majority of professional LUT boxes or monitors for real-time viewing.

“The production and post-production community is looking for ways to customise their workflows to guarantee the best scope for creativity,” Postma added. “Prelight is another exciting option to give simple but direct and reliable control. We are happy to offer the core features of Prelight, including the full grading and LUT toolkit, free, with very low cost options for connectivity and advanced metadata export.”

The invention of color -Philip Ball

How did art get its colour?

Today, the artist's palette is arguably taken for granted, with more than a rainbow of colours available to the painter. And yet were it not for chemistry and the inventions enabled by the evolution of industry and technology, many of the colours that we know today may not have emerged.

In this lecture, one of a series hosted by the University of Bristol exploring some of the cornerstone ideas across the sciences, writer and Bristol Physics graduate Philip Ball talks about the intersection of art, science and creativity. 

He shows how in order to truly understand the history of art, one must appreciate the origins of the artist's palette and the process followed by such greats as Van Gogh and Picasso in creating their masterpieces.

Philip Ball, Big Ideas in Science lecture, University of Bristol: The Invention of Colour – lecture on how chemistry created new colours for artists throughout the ages and what effect that had on their art.

Scratch VR - with Scratch pad

Gesture-based grading panel of Assimilate

In addition to the already known support for all relevant panels Assimiliate is now bringing out a separate panel. Instead only illuminated buttons, the first version of the scratchpad (tentative name) will be provided with holographic buttons that könnnen show a continuation of the LED button 3D graphics. So Grading of Stereo3D content is more intuitive.

Encoders are recognized by Mocap-Camera, and so to a not depreciable (no moving parts), on the other hand for hand size, attitude and My personal and cultural preferences individually customized. There is the price any information, a first model will be on display at NAB.

Kinect compositing

The compositing features from scratch now work with the Microsoft Kinect together - so can be placed in the room via gesture control each element, and my posture arerelighting and DOF adjusted. S. Urkel, Head of Development, continued: "One problem with the Colorists is that the attitude of the panel can be harmful in the long term - that's why we are of assimilates with the new Kinect interface the only software provider for fit, movable Grader!"

Instagrading

Since many Grader anyway only use three different looks, features Assimilate now From web photo sharing app known "Instagram filter" to which the kit allows in cooperation with the LUTs a potty Grading - and so also error by the appointed makes interns impossible.

Support for LDR

Unique in Coloristenwelt is the support for LDR grading which, in view of current developments in the broadcasting sector "practically transmission standard was" so Urkle.The saving useless dynamic stages saves link bandwidth and prevents compression artifacts, particularly in H264 and WebM videos. A low-dynamic-range Legalizer, automated LUTs and practical converter nodes are available in the screen that appears to NAB version each user.

2-bit Mode

In order to leverage particular the contrast range of the monitors in the grading suite, Scratch is also an alternative interface with a matching codec available - in the 2: 0: 0 color space can be reduced all the videos on the essentials.

Chrome & consorts

"With the election of ChromeOS we ensure that the users of tomorrow can take full advantage of the power of Scratch. By connecting to mobile operating systems we open the door to new forms of creative work! "Says Product Manager S. Urkel. Furthermore, the new features are adapted to the needs of users - in order to create space for creative ideas in modern pipelines.

At NAB should at Assimilate booth Grading-enabled Chromebooks be seen with Scratch, and demo models further scratch ports. eS, BSD, Be / OS and Plan9 to the users are in the course of the second quarter are available, with the aim to develop the full force even in network environments - the link between the systems provides Scratch Web forth.Assimilate told that this choice of operating system found long-term market research - the systems with the best chance to still be relevant in 15 years.

Scratch VR

There was a whole bunch of new VR headsets to the updated Gear- and Oculus Rift versions to newly published Google Cardboard Plastic , thus already assisted in its development Assimilate was involved early on and the device to release.

Scratch Full - On Mobile

Another supported operating system for the full version of Scratch is Android (from version 6.1). According Assimilate as graders and finishers are on the move have access to all features, so far a hardware calibratable phone (list of available models) possess.

Scratch OS

Online color test challenge -Xrite

How well do you see color?

FACT: 1 out of 255 women and 1 out of 12 men have some form of color vision deficiency. Take the online color challenge, based on the Farnsworth Munsell 100 Hue .

Regardless of your color vision score, your ability to see color accurately depends on many factors.

  • Lighting: Light plays a significant role in color perception. It's actually the color of the light that determines the color your brain will perceive. Examine samples side-by-side when comparing colors, preferably under controlled lighting conditions.
  • Backgrounds Effects: A phenomenon called simultaneous contrast means that the background upon which we’re evaluating color strongly affects our eye's ability to correctly perceive the color.
  • Retinal Fatigue: Our eyes get tired very easily. When we stare at an object for longer than a few seconds, chemicals in our eyes start to deplete and begin sending incorrect information to our brains.
  • Poor Color Memory: Our brains find it extremely difficult to remember the specifics of any given color. Even looking at two colors across the room from each other to see if they match is a challenge.
  • Age: As we get older, color perception starts to fade. However, color perception isn’t just innate; it's also a learned skill.
  • Accept the color test challenge. Click Here.