Aindreas Gallagher
Forum Replies Created
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Bravo. Recognising you have a problem is the first step to a cure Steve.
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[Charlie Austin] “tabs”
they’re nice you know. have you tried the speedgrade link thing in cc? seriously.
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[Steve Connor] “it’s not a bad basic editor and I found it has an Audio Mixer as well”
that gets a bit weird for my little head, and i think its cart before horse in a way.
The thing that struck me noodling with it was that, if you could get get competence and acceptable results in SG, the entire issue of the master edit being adrift and unlocked is moot. At least for some kinds of things? The entire final grade operation ties directly back into the live edit master as applied per shot lumtri engine effects. I know that’s all totally duh, but I never worked it through for smaller mid projects. any last minute editorial changes post grade master are ludicrously trivial because premiere is itself always the live master. you never really went anywhere. You could even alt drag replace in ppro same setup alternate shots say, while retaining the applied colour grade master lumetri effect. jump into SG again for last tweaks, jump back to premiere for last frame finess. repeat.
the idea that there is another somewhat manipulatable edit version sitting off away in davinci is a completely different thing. attempting to shove the master edit last minute revise capability into the colour correction suite is a lot different to the edit master always remaining in the edit system continuous with and after final colour grading.
*edit* thinking about it – just to go fully retard on this – what I mean say is that if it’s the davinci timeline: then you’ve now got a second edit instance going with new edit decisions being generated, possibly on a money clock, and you’re still left doing a final print in the room? for the reasons people go to resolve or baselight for certain kinds of high order corporate shot material – and where its not, say, a loopers *track mattes everywhere for cc* resolve thunderdome commercial situation – given they could get into roughly the same necessary cc territory with luts tracker masks and colour space while keeping local edit control with SG, doesn’t SG look kind of sensible?
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[Bret Williams] “You can’t monitor on the canvas and to the grading monitor at the same time. Seems kinda important to me. And you can’t monitor with BMD devices.”
yeah, I read about that, from an ill-informed distance. not exactly ideal alright, but mind you at the rate they’re putting it together…
Also, I’m not sure I wouldn’t just be a knacker for low to mid projects going online/presentations and work the whole thing off the 27″ imac. it seems muckily doable?
I mostly want SG for the toolset and speed, that insane round tripping and – ideally – the three magic balls for a grand.those three balls used to be up on mount olympus quite recently like.
has anyone used the tangent wave? scott simmons did a pretty positive review I think. bit plastic overall but the balls were solid apparently?https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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Yep. I know in my head its no resolve, not that I know resolve at all – but for my own purposes I really prefer the layering metaphor? its what my mammy raised me on. node trees have a tendency to bring me out in boils.
moviola had a really good run through of SG with robbie carman last year – most of it stuck with me. SG is definitely way less arcane than davinci and you can get some fairly serious stuff done. I really want the guy to pick up the tangent wave just so I can mess with it. SG would definitely stop me staggering off with the timeline to AE layers madness and colour finesse.
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minted. thanks.
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anecdotal – but I just showed the direct timeline link to speedgrade to a small production house that got CC in recently. they’re in the process of transitioning to premiere. When he saw the grading pass round trip back into the premiere master timeline the owners eyes popped out of his head. He didn’t even know that was in CC.
They spend quite a lot of money on a weekly basis sending corporate film edits to baselight in soho for half day grades. I pointed out a place a few miles from him that would sell him a tangent wave for around a grand. He’s used to looking at the three balls in expensive suites in the middle of town.
The idea that they could pretty cheaply and more or less instantly whip up a perfectly fine grading suite out of their own kit – for low to mid projects – interested him quite a lot.
It’ll be interesting to see how many editors get into SG the way many got into colour back in the day.Have you (anyone) tried speedgrade much? I just started getting into it – it might be no davinci resolve, but then again I haven’t a raging clue how to run davinci. You can get fairly competent in SG in a couple of days for primary, secondary and cc masks i found. then bang a look on top on an adjustment layer to taste. there’s a trick to the order of primary operations going from offset and that – the guy who worked on 18:20 has a really nice run through.
I’m still slightly mind boggled that we actually have the thing we used to dream about with FCP – an extremely advanced colour room you can just send the entire live timeline to in seconds and back again. Adobe really have done more on the active link in 12 months with SG than apple did with colour for the years they had it.
oh CC. sigh.
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for the love of god that was for fun.
I was playmaking. last I heard Ireland was financially quite reliant on Belgian good wishes.
I’m not directing a political tract at belgian acceptance of FCPX. Or the Flemish component.Christ almighty. Will you not tell me you didn’t actually take that seriously.
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damn straight.
Also it should be noted that ronny courtens operates in belgium, a country that according to recent science does not actually exist, a country indeed, that hasn’t had an acting government since mid 2003.
It can be little surprise that the remaining, existentially confused belgians have opted for FCPX. Adobe has entered into quiet discussions with the hard working flemish however. They apparently enjoy its brutalist, sleek interface.
** – shots fired – **
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wait – er, steve connor is bullying me with that comment? I’m offended at the very notion. Offended I say.
Christ – people would want to recall the daily rabid fireball diatribes thrown around here back in the day. I stick around prodding X out of sheer habit. This place is camomile tea these days.
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