![]() ![]() I would expect to see an increase in the range of color & brightness palettes used over the next 5 years, but nothing extraordinary as we we can easily be overstimulated to the point of discomfort. I’m excited to see HDR and similar technologies become more mainstream and widely accepted. What challenges do you see coming up more in the future / how do you think scopes and color correction will change in the next 5 years? I use the HML Balance to do a black balance pass on almost every program for consistency sake. ![]() Balancing a very colorful scene is when I use scopes frequently as our eyes can easily trick our brain. I also use scopes to ensure the image is clearly within any technical standard I’m delivering for, as I don’t like to make assumptions. I use scopes often during color correction (as opposed to grading), as I always like to confirm what I’m seeing using something measurable. How do you like to use scopes in coloring? What problems do you find yourself turning to your scopes for most? I use that specific layout as it allows me to quickly identify any problems with the image and confirm using a variety of tools. I use a custom layout that consists of an RGB Parade, a Y-Only Waveform, two channels plots, a vectorscope set to Hue Vectors, and the awesome HML Balance. What is your default ScopeBox palette layout and why? Scopebox is the primary reason why we still have Macs in the studio, aside from ProRes transcoding. We run Scopebox on either MacBook Pros or Mac Minis, relying on a variety of Blackmagic TB I/O cards to capture the signal from our PC workstations. How are you running ScopeBox? How are you getting the signal into the software? We use Lightspace for our calibration needs. For software, we primarily use Blackmagic DaVinci Resolve Studio but also the Adobe CC suite of tools. We currently use Eizo reference displays, powered by Blackmagic Decklink 4K cards. We use full Tangent Element control panels for precision and speed. We use our Macs to power our video scopes and for network transcoding. All media is stored on several RAID arrays built on Hitachi helium-filled 8TB HDDs and Samsung 850 Pro SSDs. Our main color workstations are Windows-based Xeon machines with Dual Nvidia Titan X GPUs. We use a hybrid of Mac and PC systems in our studio, for both application and compatibility reasons. They provide post production consultation and services ranging from color grading, texture management, visual effects, and finishing. He started the post production facility, Cinetic Studios, which focuses on end-to-end color & finishing for feature film, television, and web video. Today we get a tour of the finishing suite of Jason Bowdach, a colorist and finishing artist based in Los Angeles, CA. ![]()
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