![]() ![]() ![]() I’ve also been using the Channel Plots to assist in seeing RGB Gamut excursion – which I’ve had some success with. I also like seeing the audio meters since it helps me diagnose if there’s problems feeding audio to the speakers, although I do have a set of stereo Dorrough meters for my more critical peak and average evaluations. I’ve been playing with using Histograms during image evaluation… and I think I’m starting to understand how to use them more effectively while grading – but it’s still a work in progress for me. On the left side are my more experimental palletes that I’ll change at a whim. I also use the more traditional vectorscope, below that for overall saturation evaluation. It helps me make quick work of black and highlight balancing. I’m a HUGE fan of the HML Balance vectorscopes, since they give direct insights into the color balance of the shadows and highlights, independent of the midtones. In the middle third are the two Vectorscopes. I love this grouping since a quick glance tells me the relative weighings of the RGB signals and the Luma Waveform lets me know the final brightness values when they’re summed together. On the right third are my Waveforms… I group together the RGB Parade, RGB Overlay and a Luma-Filtered Waveform. My current configuration (version 14 in my saved Custom Layouts) breaks Scopebox into thirds. ![]() I’ve gone through many many versions of the ScopeBox palette, as my tastes change and new features are introduced. What is your default ScopeBox palette layout and why? To convert the SDI signal into a Thunderbolt input I feed the it into the Mac Mini using a Decklink Mini Recorder. I like this setup since it lets me confirm the integrity of the SDI signal coming out of the computer and feeding the two displays. The D/A feeds the FSI CM250, the LG B6 and Scopebox. The SDI out of the Resolve rig hits an SDI Distribution Amplifier. My philosophy is to always run my scopes outboard of my computer. I have ScopeBox running on a Late 2014 Mac Mini. How are you running ScopeBox? How are you getting the signal into the software? When doing ‘spot checks’ to make sure the calibrations are holding, I use an X-Rite i1 Pro OEM since it’s super-quick to set up. When doing full calibrations I use a CR-100 colorimeter and CR-250 spectrometer. The FSI CM250 is calibrated using LightSpace. The LG is calibrated using an FSI BoxIO with 1D+3D LUTs generated from CalMan (using a perceptual match workflow to the CM250), with an AJA SDI to HDMI box (which can insert the HDR ‘flag’ into the HDMI stream to force the LG into HDR mode). Both OLEDs are being fed SDI outputs from a Decklink card. After 25+ years of having only a single color display in my edit and grading suites, I’ve just installed a 55″ LG B6 OLED as a client display. My main reference display is a Flanders Scientific CM250 OLED. My grading suite is based around DaVinci Resolve, which I’ve just upgraded to a Windows-based dual-GPU Pascal Titan X workstation (it’s about to be installed and the 2010 MacPro tower I’m currently using will be retired as a render station in a week or so). Patrick is currently under contract, writing his first book ‘The Color Correction Coach’ to be published later in 2018. In 2010 Patrick founded the software agnostic color grading website and recently published the 300th edition of his free weekly email newsletter ‘The Tao Colorist’ which focuses on the Art, Craft and Business of professional color grading. He began teaching color correction at the New York Final Cut Pro Users Group in 2005 (where he subsequently became its Treasurer and, later, President). Other clients include: HBO, NBC, ABC, Showtime, ESPN, Oxygen, AMC, Lifetime, TNT, TBS, National Geographic Channel, Starwood Hotels & Resorts, AOL, TV One, Virgin Records, Hasbro, Brighthouse… and many more. He’s worked with directors Barry Levinson and Bruce Sinofsky. Patrick has worked on films, documentaries, television series, corporate videos, promos, and ID packages for a range of clients ranging from broadcast / cable networks, to indie films making the festival circuit, to corporate giants. Patrick takes his experience working at high-end full-service New York City post houses and delivers those same services to low- and mid- budget productions, bringing them high-quality workflows at competitive prices. He’s a 25+ year veteran of the digital post-production community. ![]() Patrick Inhofer, CSI is a professional colorist and owner of the Florida-based boutique Tao Of Color, Inc. ![]()
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