WEBVTT

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Welcome to the Colour Timer Podcast. I am your host

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Vincent Taylor. This is the

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podcast where we speak to professionals who work

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with colour and today I am

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speaking to Tom Huczek. He is the founder of

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Time In Pixels, the creator of

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Nobe OmniScope. I am very much looking forward

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to this conversation because I'm

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a big fan of this product. I've been using

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OmniScope for about six months

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and I just adore it. It's amazing. But Timing

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Pixels also has some other

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products as well which I'm going to speak about. So

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let's go. 

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Take your seats

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because the hourglass is about to turn. We are

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entering the world of the

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micro podcast. Explore the craft,

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creativity and science of professionals

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who use colour to tell stories. Welcome to the

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Colour Timer with Vincent Taylor.

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Hey Tom, thanks for joining me. Thanks for having

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me. How are you doing? Yeah, not too

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bad. Not too bad. I'm dealing with

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cold LA which of course is not cold

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anywhere else in the world but it's cold for me. So

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I've got a little remember to

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start the sand timer note down

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here because sometimes I'll start the

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interview and then I forget to do it. So before we

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go any further we can start

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go any further we can start

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the game show and away we go. Perfect. You have

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the game show and away we go. Perfect. You have

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done a lot of interviews. I was doing

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some research and you know you've done a fair few

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number of interviews and it's

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not surprising because Time In Pixels

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has brought this incredible product

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has brought this incredible product

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You know, Nobe OmniScope

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but I kind of want to go way back first to find out

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who you are and how on earth

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you got into this world. Yeah, so the journey was

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you got into this world. Yeah, so the journey was

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kind of long actually. I'm a

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software developer by profession and I have been

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doing it for many many years

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now. I started a completely different field in

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banking sector initially and

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telecommunications but my programming hobby

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projects always related one way or

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the other to some visual things. So early on I

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looked into game development, some

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graphics programming. So I always liked something

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visual that I could impact

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myself that I could code some

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interesting things into the visual

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things on screen. So this was like my hobby early

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on and then at some point I

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picked up photography and I think this was a

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turning point in my career because

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I became really passionate about

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photography. So I spent every minute

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every hour that I could on

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getting out with my camera or working in

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Photoshop trying to post-process my pictures then

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learning about gear, about

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lenses, about the cameras, about all the gear. So

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down the rabbit hole. Yeah, this

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became like really really big passion of mine and I

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spent probably a couple of

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years really getting into all the details,

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everything I could basically.

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Some of this transitioned slowly into motion

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picture. At some point I started

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taking time lapses then I started using DaVinci

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Resolve to color grade time

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lapses and then I become interested how to

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post-process motion picture not only

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the still pictures but videos. So this turned into

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us because I learned that you're doing

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something a little different here.

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It's not like applying 20 layers in

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Photoshop to make the picture look

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really good but you had to approach it

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differently. So that's on its own became

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interesting to me. Oh this is

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different. So I need to learn why it's different

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and how to achieve something

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good-looking but another way. So I

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learned DaVinci Resolve, I started

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watching all those tutorials, how to use it, how

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color is basically approach color

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in videos and so on. And at some point my

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profession somewhat merged with my

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passion of photography and this video related

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things and I found myself a

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small project to start on and this

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first small project was basically a

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false color plugin. I heard somewhere, I think it

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was a DP saying that he relies

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on false color on set a lot and he

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would like to have false color in post

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production as well to see the false color overlay

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in the grading suite with

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his colorist because he speaks

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false color language on set that the

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contrast ratios, the exposure levels between the

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frames and he was lacking

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the false color on screen in grading suite and I

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the false color on screen in grading suite and I

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thought to myself okay that

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sounds like fairly easy thing to

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sounds like fairly easy thing to

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implement and this is the point when I

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started actually using my software

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development skills in the filmmaking

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world and this is how basically the

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first product of Time in Pixels got

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creatived. That's amazing I love that you say it

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seemed fairly easy I'm just

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going yeah not to my brain. Yeah you said like

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first product tell me tell me

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about the products that Time in pixels makes. So on

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our website you will see four

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products basically at the current moment and the

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main one is Nobe OmniScope and

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which is probably yeah it's the only standalone

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application and the rest false

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color, nobe display and nobe color map are plugins.

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Primarily for DaVinci Resolve

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but most of them work also with Premiere Pro, Final

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Cut Pro, also for Photoshop

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and some other platforms that support OpenFX

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plugins. So the false color

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that I already mentioned was the first one which is

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basically a tool known from

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cameras that DP uses. I think

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recently started appearing in software in

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various tools now we already have built in false

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color in DaVinci Resolve but

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when I created false color plugin it was not there

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it was probably the first

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software version of the false color that you could

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use on a computer but it's

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yeah fairly simple it turns luminosity into some

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predefined ranges of color

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and so the idea at least was

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pretty easy and pretty simple and then

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there was little enhancement to the false color

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that a lot of people asked

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me to do to create like separate view

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of the false color so you can work in

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DevInch Resolve and without the

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abstracted view in your viewer so you

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could see the original image in the

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viewer but you could also see the false

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color as a scope on your separate screen so I

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implemented that and then I got a

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lot of questions can you can you make this preview

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of just the image without

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the false color so basically creating

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external view external preview of your

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image so that was basically removing the false

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color from the application and

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this is how Nobe Display got

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created with some extra features and

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enhancements down the line and after that I created

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Nobe Color Remap which was

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slightly more complicated and more

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advanced plugin for DaVinci Resolve

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where you have this hue circle and you can remap

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various hues and saturation on

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the grid. Right now you have this color warper in

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DaVinci Resolve which which is

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pretty much what it was back then when it wasn't

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available in DaVinci Resolve

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but yeah it was it was a really nice

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project for me to to dive into color

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models transitions between different hue

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saturations in different color models so

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it was a lot of color theory and an

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experimentation that gave me some solid

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base for for the future projects

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after that which was that a was that a

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coincidence then that the very similar thing now

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appears in Resolve or or or you

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know I don't know I don't really know I can only

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say that's fair but it got

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pretty popular and a lot of colorists were saying

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that it's a great tool but

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it's too slow for them because they use grading

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panel and they don't want to use

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mouse to track the points to open effects plugins

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so so the native version will

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will win always so yeah yeah it just

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became reality unfortunately for me but

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what to do. This is a kind of a you know basic 101

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question but it's I think it's

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really important because you know we

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we use scopes in in our industry as

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colorists or as editors so here's the question why

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are scopes important?

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Scopes are basically

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measurement tool and they give you

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completely objective technical view.

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You might have very pricey

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reference monitor and it's very accurate

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but your brain can play a lot of tricks on you and

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having scopes give you like

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not color by perception you or your mood so it's

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sort of like absolute values of

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sort of like absolute values of

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the image that you're working on so I would say

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that's that's the main reason

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for using scopes if you spend hours grading the

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footage your eyes won't give

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you objective view on the image so you can always

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rely on your scopes to check

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the levels to check and the saturation the

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highlights in the shadows so yeah I

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think it's indispensable tool in the colorist 100%

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I remember oh my gosh years

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ago I think I don't know I don't know be grading

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maybe three or four years and I

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went to a it was just little tiny post house and

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they didn't have any scopes

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and this was before resolve had scopes built into

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it I think it must have been

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and I remember going that's okay I'm not sure how

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much I actually use my scopes

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anyway and I didn't realize how much

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you know I'm glancing at them all the

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time you know subconsciously you're just kind of

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glancing at them all the time

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just check and it was really hard to grade without

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just check and it was really hard to grade without

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them you know yeah to kind

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of just trust your eyes I you know

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speaking of the past you know so back in

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the day I had my little Tektronics scopes in my

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suite in my next my little pogol

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and 20 years ago I guess it was and and now we've

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and 20 years ago I guess it was and and now we've

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got Nobe OmniScope and

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here's a real nasty question 

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What makes Nobe OmniScope, like better

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I would say that OmniScope shares some of the

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benefits of the hardware scope one

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would be to offload your main station so you're not

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running software scopes on

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the same machine that you're grading and scopes

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usually take some of your GPU

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processing power so it's good to have them

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separately on a separate machine

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yeah and also you're monitoring external signal

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you're monitoring the same signal

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that goes to your reference

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monitor so there is no room for error for

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misconfiguration within DaVinci Resolve or

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differently like log color

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space that you're monitoring or some I don't know

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layer that is not visible on

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your reference screen but somehow gets into into

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the scope preview on in the

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software so it's more like

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independent from from your workstation and the

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benefits that hardware scopes don't have is

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basically constant improvement

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constant updates the hardware scopes they are not

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constant updates the hardware scopes they are not

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so that different from the

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scopes five years ago 10 years ago 15

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years ago the majority of the changes

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are like new video standards high

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resolution probably some of the HDR

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features and and that's it and with Nobe OmniScope

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we can implement any customer

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feedback feature request and have new version

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within a week or two weeks or

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a couple of months if the feature is

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really big so Nobe OmniScope reacts to

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really big so Nobe OmniScope reacts to

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the environment to the changing situation to

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basically any idea that's

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interesting and it's worth looking and I would say

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that's probably 80% of the

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features in OmniScope are coming from from the

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customers from the community

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feels like you know every other week I check and

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feels like you know every other week I check and

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there's something new that's

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come with with OmniScope which which is amazing

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is there I don't know if you

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can talk about this but is there anything kind of

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in the pipeline that's coming up

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well there's there's our To-Do list is huge so

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it's a matter of what's the most

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interesting and most most valuable we've got some

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really interesting features

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ready but we cannot release them due to some

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licensing things not resolved yet so

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hopefully we'll be able to announce

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some some of that but I think a very

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interesting feature that should be available very

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soon is SDI out support so

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you'll be able to to use your deck link monitor

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card to output the signal out of

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Omniscope so you can chain and

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the signal out of Omniscope or you can

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basically send out the scope preview

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Right. That's cool.

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other way to you know recently very recently

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there's been the selection of

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tutorial videos that Daria has done that have come

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out which are really great

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like they they just very really nicely paced and

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just kind of really spelled

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spell it out and I love that I love

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that you guys have gone to the trouble

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of just making these accessible for everyone so

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everyone understands what's

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going on it's really tremendous yeah I think it was

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really necessary and what

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Daria is doing is really great and I think she's

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she's like ideal person for

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for this task yeah she's really really good and she

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for this task yeah she's really really good and she

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and she just said today do

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you work with her to do those or is that something

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she's doing on it kind of

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on her own? We work on it together yeah more of the

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on her own? We work on it together yeah more of the

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work is probably on her side

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but but we talk about this and we shape each each

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video together yeah I started

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video together yeah I started

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off once again my my time has run out the 15

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minutes goes so quickly and I've

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got a whole lot more questions but

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two other things I just really quickly

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wanted to squeeze in at the end I

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started off the interview by saying you

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know you've done a lot of interviews and I'm

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curious are there any questions you

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wish someone would ask you yeah for

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wish someone would ask you yeah for

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example very interesting one would be

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the future in our field what's what's coming to our

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field and I would say that

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that VR technology as well as AI in

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every corner I think it will have a big

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impact on post-production tools and as well as the

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hardware that we're using

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for basically working with video I think it will

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even change all the things in

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the post-production pipeline yeah I am and this is

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this the last thing I want to

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finish off with I'm really impressed with the

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support that comes from your

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company can you tell me what kind of you know

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someone was going to jump into

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OmniScope what kind of support they they can get?

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I think the best place for that

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person would be to go to our Discord 

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channel it's where everything

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happens the bug reports the

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idea request the feature requests or

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basically you can ask any question there so if if

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I'm not there there are many

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many people involved in the project that might

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answer the question or suggest a

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solution so it's it's probably the best place to

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start yeah that's great yeah

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um thank you so much thanks for I know it's like

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it's this tiny little amount

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of time to talk about so much but it's a it's a

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great to get an overview and and

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I mean I'm a little bit biased because I think that

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Omniscope is amazing and it's

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just kind of I was I was off and on

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wether I  should get it and then a

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couple of colorist friends of mine who I really

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respect they said mate once you

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get it you won't go back and there and it's

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absolutely true I mean it's a

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fantastic product so well done thank

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you all right thanks mate thanks for

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chatting thanks for having me.

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Tom, thank you so much for taking time out to come

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on the color time of podcast it was really really

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great to speak with you if

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folks want to know more about

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Omniscope or any of the other products from

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Time In Pixels, you can check out the

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show notes thank you for listening or

398
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watching and like and subscribe and all that kind

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of stuff it does help thank

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you to my executive producer MixingLight.com if

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you're looking at this or

402
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listening to this on their website you

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00:19:37.500 --> 00:19:39.083
already know what they do but if not

404
00:19:39.083 --> 00:19:41.125
check out MixingLight.com they can help you with

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all things color a really

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wonderful asset thanks for listening and see you

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next time. The color timer a

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micro podcast experience