OmniScope Featured Artist: Igor Riđanović

August 22, 2023

OmniScope Featured Artist:

Igor Riđanović

DI Colorist & Technology Consultant


You may recognize Igor Riđanović from his Resolve apps and tutorials or his helpful presence in various color grading and post-production forums. Originally from Bosnia-Herzegovina, Igor is a Los Angeles-based finishing artist and technology consultant with 30+ years of experience in film and television. In our new customer profile, we learn about Igor’s career journey, equipment of choice, and recent explorations into AI technology.

Thanks for joining us Igor! How did you get started in this industry?

I always wanted to work in post-production and got my start in the early '90s at Fotokem, a well-known film lab in Burbank, CA. My first position was to label videotapes on the night shift using an in-house Unix-based label printing system. We did a large volume of tape mastering and dubbing during the night. For example, all the dailies from film productions had to be transferred from film to tape overnight and delivered to the crew and the studio executives on 3/4” and VHS tapes in the morning.

I soon moved up from the labeling department to tape operations where I learned a great deal about analog and digital video. Fotokem had an amazing in-house training program led by Gary Pavlak. I have threaded 1” VTRs so many times that I can still feel the tai chi like motion in my arms!

Working at night left me with a bit of time to pursue freelance work at other companies during the daytime hours. In college I had learned an old, esoteric AT&T paint and 3D animation system that few people knew how to run. That allowed me to put a foot in the door and I started doing a fair amount of motion graphics in the ‘90s. My experiences in graphics and compositing helped inform my skills as a picture finishing artist.

What types of projects do you currently work on?

I’m the Senior Colorist/DI Editor at Stampede Post. We are a full service finishing company – mostly working on trailers and marketing spots for major studios and streaming networks. Occasionally I’ll also work on a longform project or feature film. This type of work is always fresh and unpredictable – we never know what a client may throw at us, and this suits my skills. It’s a bit like being an emergency room physician. I often bounce from color grading to intricate clean up on a variety of projects, sometimes on the same day. For example, I may be tasked to remove blood or cigarettes from a trailer so it can pass the MPA approval.

What equipment is in your current color grading setup?

My main tool is DaVinci Resolve Studio. Our workstations are centrally located in the machine room and accessible in any of the bays via a KVM switcher. They are a mixture of macOS and Windows machines.

The DI bay from which I primarily work from has a brand new 4K Christie cinema laser projector, Sony X310 display for HDR work, and an LG 9 as a client HDR display.

Our picture bays have various color panels. I prefer using a Tangent Element surface because it’s shallow enough to fit a full size Wacom tablet in front of it. Nobe OmniScope is installed in most of our bays, each with its own dedicated computer display.

How did you hear about Nobe OmniScope?

I read about OmniScope on several online social sites frequented by post production professionals. It happened at the right time because we were looking to add HDR measuring capability to at least one of the bays. It took our head engineer and me some time to come up with the best way to integrate OmniScope. We were replacing a 1RU sized hardware scope and didn’t want to build a whole new computer. Instead we installed OmniScope on the Resolve workstation and set up the SDI signal from the video board to loop into itself. It’s an unorthodox setup, but OmniScope supports it. It ended up being a very cost effective solution and we replicated it on the other Resolve machines.

Which scopes do you use most in OmniScope?

I’m kind of traditional in my approach. I use the YRGB parade and vectorscope most of the time.

The OmniScope layout I most often use consists of a YRGB parade with HDR graticule, vectorscope, YRGB parade with SDR graticule, gamut display, and audio meters. I sometimes replace that layout with the one that has an audio phase meter in place of the gamut display.


The flexibility of building our own layouts and a variety of available instruments are great features of OmniScope. Time in Pixels is a very agile software company when it comes to adding requested features from the user base!


Igor, you also work as a technology consultant, can you let us know about your explorations with AI and GPT for Resolve and Fusion?

Third party large language and generative models present an interesting opportunity for integration with NLEs. I've recently released a series of YouTube videos demonstrating proof of concept AI integrations with DaVinci Resolve. Particularly interesting use cases in this short series are prompt driven Fusion comp creation and voiceover generation based on the timeline content.

Thanks for sharing your story! We know a lot of colorists will appreciate the apps you have created. Where can people find your work?

Please visit my YouTube channel for most recent AI explorations and tutorials related to Resolve and post-production.

You can also find the apps that I have personally developed for Resolve at MetaFide.com.


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