Great show! I always wondered about this. I have worked on a few animated shorts, and given budget constraints, I knew why I was there. But I was always curious: Don't these big-budget animations have particular HEX colors or similar? Why are we needed? Thanks for clarifying:)

Been on Resolve for a while. Looking to improve and expand my knowledge. Good to be here. Thanks for doing this.

Thank you for another amazing podcast, enjoyable 💚

It was great , thanks 🌳

It was so fantastic for me, thanks a lot 🙏🙏🙏

As an aspiring Colourist, I'm very appreciative to have access to discussions like these. Thank you ML, Kali and Daniel

I do not miss the those days of redcineX pre Flame ingest 😂

🙌

Thanks for putting this together! It's unbelievably helpful and inspiring!

Am I the only one who thought he was related to Jill? Showing my Nana-ism. Great talk. I enjoyed it:) as someone who has non technicaly reversed engineered LUTS because I hate the corner they backed me into, I appreciate the work:)

good interview

I think baselight best color grading

🙌👍10/10

Thanks for this.

Please give me part 19, 20!!! this course is awesome for me

Thank you. What is your workflow to create different timelines? Your duplicate the scene / job? Then if u use the group function to apply a grade to all shoots trough filtering tape method, your replace all layers that are already existing but how you do if you like lets say to apply on all shoots on layer 1 a basegrade and keep all existing layers moving those up? Again thanks, exceptional tutorials and even more great that you pipette all shortcuts

Cool interview!

Love this episode, so good!

Great Series. Is there a way to Export / save all settings in Preferences etc so we can transfer to an other Baselight Look ? And is there a way to have a template we predefined stacks and workspaces that we can use as the start or a new project?

Love OmniScope. Thanks for sharing.

are you hire assistant video editor in your team bro

Wow, I loved this!

But the thing is . . . why is it $20,000 ??? It's not like it's special panel made out of unobtaintium. And why can't they make a panel without all extras that we'll never need in the color suite to bring the cost down??? It absolutely does not need to sell for $20,000.

Great interview :)

That is pretty great. I am on the fence between using Resolve, or Avid + Baselight plugin, but it's substanially more expensive and I am trying to be a one man show.

Keep up the great work, Subbed and Notification one. Thanks.

Part 19 & 20 Not Available

That was a fun watch. Would be great to collaborate with either of you. Any tips on becoming a finals colourist 😊

16:28 an HDR doc on volcanoes would be fucking amazing!

Do these have a glossy or matte finish?

Can someone explain the bizarre inexplicable insistance on not releasing a full, software-only version for Windows???

Is there an Possibility to recreate a film emulation. With Kodak, Halation etc. in Baselight?

Great episode, thanks for doing it!

OMG! I never knew the person I was e-mailing to get a free 'Colour space ZRO' licence back in the day is actually the CEO/founder of the company. Loved the podcast ❤

Is it posible to use powergrades?

Why does setup look completly different. Also i just have a few options in "View".

Seems the replies I've tried to add regarding the Image Sequence Probe and Remote Control are being in some way blocked - if they all turn-up at once, sorry about that - I have reported the censorship as being inaccurate, so you may now get multiple posts with the same basic info... Sorry!

So great to hear that they're addressing the color matching needs for virtual production.🏆 Great episode! Thanks!

Loved this episode, I started sending Spider X2's to clients a little bit ago but I didn't know about the remote features of colorspace, going to have to pick that up now.

This is amazing.. really goo dinformation. Thanks a lot

Que desperdiço fazer um podcast com uma lenda dessa por 15 minutos … ❤obrigada

You are all talking about topics I have been maneuvering through silently. Many late nights in my office studio trying to make scientific sense of HDR and encountering bumps along the way. Currently I came to realization that my ASUS ProArt PA32UCRK only gives me a Color Space of Rec.2020 at 87%. No wonder I have to make micro adjustments for the final image.

Tangent Elements - VS as a touch surface for color grading works very well as long as you stay inside the limits of the interface. 3 balls and wheels of the primary interface works well. As a full interface not so well. You can spin 2 balls/2 wheels against each other intuitively. But that is the limits. It is vastly more feel orientated compared to a mouse for iPad users. I use the micro panel in the grading suite, the ipad app / mouse/keyboard elsewhere (and do not look down at the iPad when I pick it up.) my thumbs land where they need to to drive lift and gain and gamma is just a different iPad grip. The iPad app knobs (kb) are ghastly. But for $8 what do you expect? It’s not a $1000 panel. It’s a $1000 iPad with an $8 app. (Or a 10 year old iPad with an $8 app. (My iPad 3 is better than my iPad Pro). The app is just a tool.

Can't wait for part 2 with Matt!✌🏻🙌🏻

Amazing thoughts & insights by Peter! Thanks😊

Absolutely fantastic, thank you for the great insights.

the website is leading to 404 error page when i try to join or anything except from the mainpage

Wow being short is kinda sad but it's really nice to meet with Matt.

Fantastic Interview. As always. Thank you.

What kind of gears would Matt like to purchase?