Vashi Nedomansky has edited 11 feature films including “6 BELOW: Miracle on the Mountain,” the global phenomenon “Sharknado 2,” the comedy “An American Carol” for director David Zucker (Airplane, Scary Movie) & PTSD documentary “That Which I Love Destroys Me” for director Ric Roman Waugh (Snitch, Felon).
Vashi has cut over 50 national commercials for numerous brands including Nike, Volkswagen, Ford, NHL, EA Sports, Adobe, Medal of Honor, US Army, US Navy, US Marines, US Reserve & the US Air Force.
His company VashiVisuals has provided post production workflow and consulting services for numerous films including “Gone Girl” directed by David Fincher and “Deadpool” directed by Tim Miller. Vashi has also trained fellow film editors: Kirk Baxter, Angus Wall, Don Zimmerman, Julian Clarke, Nicolas De Toth & Jon Corn.
Vashi has collaborated on projects with: Jerry Bruckheimer, Michel Gondry, John Landis, Dennis Hopper, 20th Century Fox, Universal Studios, Warner Bros. & Disney Studios.
Hi Vashi, thanx for your content! In the case of calibration a quenstion came to mi mind and didnt found an answer yet, maybe you can help? As far as i know there are several places to define profiles for displaying content from the comupter on the screen. 01. Profile in the OS (mac/win), 02. Profile in the monitor (Rec.709 or even „movie“) and 3. the colorspace i want to calibrate to with te colorimeter (like DCI-P3). As far as i know the OS always uses a profile to display content on the monitor, so the monitor also always uses one and they both couldn’t be turned off. So here comes my question 😊: Will 01 and 02 not affect the display of the colourcharts for the colorimeter to calculate 03? 01. sRGB/ 02. movie / 03. DCI-P3 will not lead to an ICC Profile in DCI-P3, i think or only in this configuration, or am i wrong? What will happen when i use 01. REC.709/ 02. Rec.709/ 03. REC.709? Is this the right chain? Wich chain did you use to get to a good result, like for DCI-P3? Sorry for my long writing and greetings from germany….
I keep coming back to this for various reasons. lol. Any idea on how this effects system performance? In other words, is it hard on system resources? Trying to diagnose an issue
One aspect to the movie which made it looked "dated" were the used of CRT screens or monitors throughtout. The original movie used simulated flat screens which looked more old fashioned than the first movie. Even when I saw 2010 in the eighties, it looked dated in that regard and just so or worse in in 2020 or later.
You mentioned that you color calibrate your monitors every month. I was under the impression that this only needs to be done once. Does a monitor loose its color calibration over time?
In my experience, monitors can get 'color drift' and shift hues over time. The brightness baseline can also change over time and burn in on the screen can affect the overall performance. I have personally seen these changes occur, especially if I don't calibrate for several months. For me, to ensure professional results, I like to take the 5 or 10 minutes every month to recalibrate and ensure the colors and brightness I see, will be the same for my clients, no matter the final delivery platform or device. Hope that helps!
Using DisplayCal and i1Display Pro, it's now a pain in the..with OSx, the trick is to have secutiy settings open, and one must manually authorize the system every few steps of the process in the beginning.
Mr. Vashi...thank you for this tutorial on monitor calibration, which is very important in the video creation process...I would like to ask you one question, as an editor, which OS do you use, win10 or win11, that is, which is better for you when working with Premiere pro... it would mean a lot to me if you could give me an answer to that question, thank you very much, I am yours fan... a big greeting from Serbia..
Thank you for the kind words and great question! I prefer to use Windows 10 as it is more stable and more compatible, in my opinion, with Premiere Pro and all my plug-ins. My assistant editors and tech advisors recommend Windows 10 as well. Hope that helps and good luck with your projects!
I need that self-calibrating dell monitor! So cool! Love my macbook pro's retina display but I need a big monitor so I don't have to sit 1 feet from the display to see the details lol.
@@robflores5172 its an ad masquerading as a lesson in monitor calibration. I expect more from Vashi. Vashi is making a few bucks at the expense of his credibility. I guess that's not so bad but how about the rest of the sections? 6 months to find out how to calibrate a monitor his way? Still only part 1 as far as I can see.
@@robflores5172 no it's a monitor ad with the chance to enrich Vashi by pressing the link in the description. Vashi please just post the final movies about monitor calibration.
Dear sir Greetings. This is Lokesh from India. Your articles on post production workflow of 6 below is like God sent to us aspiring filmmakers . Would appreciate if you can help me with the following doubt of mine even though this is not a correct workflow. If I colour grade slogfilm r3d files in a normal pc monitor (no display calibration) with the gamma space of r3d master files set to rec709 in premiere pro and then import the project into after effects via adobe dynamic link (reason being premiere pro washed out colours problem even after gamma compensation lut and considering the fact that colours I am getting in after effects are exactly same to what I saw in my normal monitor when I graded them in premiere pro) and then create master prores 444files from after effects in after effects default colour settings i. e not changine any things related to colour and then change the colour space of above prores444 file into cie xyz in dcpomatic software then will it appear correct in a theatre or not. If not then what adjustements needed to be done My premiere pro colour management is also default. Not changed. And also I am happy with the colours I got in above process while colour grading even though rec709 is narrow than dcip3. Would like to hear from you. Thanks in advance lokesh sahoo,India
There are a lot of factors to consider, as you probably have experienced, but the short answer is...your ProRes 444 files dropped into DCPomatic converted into xyz should be fine and I have done that in the past with great results. There is always a chance of gamma shift (2.2 monitor vs 2.4 file vs 2.6 DCI cinema) so that is the most important factor to compare when you make the final DCP. 2.2 gamma is brighter than 2.4 or 2.6 gamma. Best advice is to test and compare on a calibrated monitor vs the DCP in a theater. You can always export several DCPs with different gammas to see which version 'feels' the best in the room. Like you mentioned at the start, your workflow is not optimized for a perfect, guaranteed result, but you can create those different versions to compensate. I hope that helps and good luck with your projects!
I expect more Vashi. Please post all the videos from this series rather than drips and drabs. Some of us want to calibrate our monitors and move on. I’ll watch all the ads etc. just get to the point. Love your premiere pro videos. Please release whole series at once. You’re not Taylor Swift. Bring it.
Of course because ol' Uncle Walt was a #MasterofCinema that's how most others became a #MasterofCinema such as George Lucas, Steven Spielberg, Stanley Kubrick and others.
It's good to see that you are still learning new technologies and expanding your knowledge. I started learning about virtual production and unreal engine about a year and a half ago. And honestly it's so fun. To be able to build and mimic sets that would usually require an army of people using just a green screen, an iphone and a PC while sitting comfortably in my bedroom is just unreal (pun intended). I absolutely appreciate you taking us through the entire process. I learned a lot about how it works on a larger scale from this. Thank you sir.
He talks about all the technical stuff, not much of the story, acting, scene design… so this not as interesting to me. I adore this movie, though. Okay, he talks a bit more about the acting later, cool. I refer to the ex-husband as ‘bloody pulp in a chair’ lol
But wait....it inserts/overwrites as a nest, though. Nests cause so many issues we don't use them. Is there a way to do this without it nesting clips in your master sequence?
Absolutely. There is a button on the top of the timeline, next to the SNAP button that let's you pick nest or individual clips for the insert/overwrite function.
I was in communication with Stanley and it was in fact it was George Pal who had an impact and influence on him more than Walt Disney. In fact it was George Pal who also influenced Walt Disney and Ward Kimball who made the space series. I was friends with Ward and interviewed him
