Top – RGB Parade, Vectorscope (set to Alexis Van Hurkman’s excellent graticule), and Channel Plot G x Bīottom – Luma Waveform, HML Balance, and Channel Plot G x RĬhannel plots are indispensable for broadcast RGB gamut monitoring and they work (with two of them) much like a Tek Double Diamond. I’m fairly traditional with my layout – I usually run a 6 palette layout with 3 x 3 on a 1080p monitor. What is your default ScopeBox palette layout and why? I also occasionally use ScopeBox with Adobe software and Scopelink and that works great! On my setup at home I use a mini-recorder from BMD. On the Mac Mini’s we go out of the color systems into either UltraStudio 4k or UltraStudio Express – as we need the loop out. Mac Mini’s for the most part serve the basis for our ScopeBox setups with exception of our main suite which is running a 12-Core Mac (old style Mac Pro) with a GTX 980 (mainly for UHD+). How are you running ScopeBox? How are you getting the signal into the software? We also have a few iMacs that serve as assist stations for things like conforming and encoding.įor monitoring we use FSI DM250 and CM250 OLEDs and we recently leased a Sony X300 4k HDR OLED as we’re starting to do quite a bit of HDR work for installations. I work from home a lot and with two small kids this setup lets me get a lot done and via VPN and Bit Torrent Sync I bring the office home easily. I also have a system at home from ADK that’s a single 12-core Xeon, 128GB Ram and 2x Titan X with a Tangent Element Panel. We also use SSD RAIDs locally – for high bandwidth stuff like EXRs, stereo etc. I was originally trained on a DaVinci 8:8:8 so Resolve feels like home! Our two main color systems are dual boot Windows/Linux HPz840s with the big Resolve control panels, 2×12 Core Xeon, 256GB Ram, 4x Titan X in Cubix Expansion Boxes and we use a Small-Tree San with a Resolve database server (a Mac mini) for the facility. My facility is built around DaVinci Resolve. MixingLight focuses on color grading technique, workflow, and the business side of running a color focused business. In addition to his facility and speaking work, he’s the co-founder of the color grading training website with fellow colorists Patrick Inhofer and Dan Moran. He was the top speaker at the prestigious Adobe Max conference in 2016. Robbie has presented at NAB, IBC, Interbee, CabSat, Editors Retreat, Adobe Max and others about color, workflow and postproduction. They also color political and advocacy projects. He runs a small boutique grading facility, DC Color, which focuses on broadcast, docs, indie shorts and features. Robbie Carman is a colorist, speaker and trainer based in the Washington D.C area.
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