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money no object….
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[gary adcock] “Sorry No Software only process can do as good a job in the same amount of time as hardware “
I’ve miss explained my self. I completely agree that a KONA of similar is the best option. If you can not access that, try to use the software wisely.
rafael -
[Rafael Amador] ” I completely agree that a KONA of similar is the best option. If you can not access that, try to use the software wisely.”
My point thought is software does not always come through in the way you think it does, and while it is an option for some, it is wise to note that the Quality of software transcode is often dependent on the host machine for quality.
Often quality does suffer when it is not taken into account that lesser machines often decode and encode images only at a quality THAT machine can handle and no more, so the user does not ever realize that the encoded files are garbage because they do not realize the quality is scaling based on the machines power.
ProRes is one such format allowing for playback on a G5 computer while not being truly able to encode to ProRes on those machines, but does allow for full screen review of that 1/4 res ProRes playback of the content.
gary adcock
Studio37
HD & Film Consultation
Post and Production WorkflowsInside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php -
[Nick Price] “f we had proper feature film funding, i am talking unlimited here, what processes you guys would recommend for strong correction/grading,”
Nick,
As they say, everything is relative…
If you truly had unlimited funding, you would be cutting for story, period, and delegating all the bigger technical considerations, including format conversions and color grading to the very best professional facilities and personal that money can buy. End of story.
I assure you, no one with truly unlimited funds is thinking about grading their project in their own facility. They’re going to head to the best place in their town, region, country, or continent where the very finest colorist hangs his hat, and they’re gonna let him ply whatever tools of the trade he deems best for the job. If he/she has now mastered Color, then great, it’ll be Color. If they are masters of DaVinci, then it’ll be DaVinci.
And, when that company with unlimited funds receives formats that don’t match, they’re going to send them out to the best facility around that has the top of line Teranex and the most highly trained and skilled operators. All the editor’s team will have to think about is whether the transcoding is perfect or if it needs additional processing.
So, I guess my point is, when you say “unlimited,” there are those who are unfunded, those who are somewhat funded, those who are well-funded, and then there are those who have really do have unlimited funding, and there is a very, very wide gulf that exists between those worlds.
More importantly, I assure you, in the hands of a truly exceptional colorist, which doesn’t actually require unlimited funding, tu**ds can actually be polished beyond your wildest dreams.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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[David Roth Weiss] “More importantly, I assure you, in the hands of a truly exceptional colorist, which doesn’t actually require unlimited funding, tu**ds can actually be polished beyond your wildest dreams.”
I might phrase that a bit differently. If you dip a turd in bronze, there’s still a turd inside, but you can polish the exterior. So, you can’t really get under or overexposed DV to look like perfectly exposed 35mm, but in the right hands it can be stylized in a way that makes everyone think that it was deliberately created that way by some mad genius.
Other than that, I agree with David. If you truly had unlimited funds, you’d go to someplace like Technicolor, eFilm or Fotokem. If you had good, but limited funding, you’d still go to a post house with a dedicated colorist working in a dedicated color suite- just like you’d have your mix done by a dedicated mixer in a dedicated room, maybe in the same facility for a package rate. If you had funding, you’d shop around for a deal by someone who can at least handle the multiple formats.
The biggest benefit comes from finding a lab or post house that will have hardware & operators who can convert everything to a single frame rate & size with the best possible quality, and then pass it along to a specialist who can take what you have & find a way to make it look its best.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Arnie Schlissel] “If you dip a turd in bronze, there’s still a turd inside, but you can polish the exterior.”
I think that more important is that a really good colorist knows how to create the illusion that the gold plated t**d was never a t**d at all. After all, it’s all an illusion… Right?
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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[David Roth Weiss] “I think that more important is that a really good colorist knows how to create the illusion that the gold plated t**d was never a t**d at all. After all, it’s all an illusion… Right?”
Bingo! We’re in perfect agreement.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/
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