Carl Skaff
Forum Replies Created
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Changes in color correction do to apply as an offset to those values in the EDL. Although planned, it is not on an engineering roadmap at this time.
What does that mean?
Do you mean that the CDL is ONLY to take the onelight-grade-settings from the first telecine-x’fer and apply that to the DI (final grade)?
But if we are shooting on Sony F23 and does the offline from camera original tapes (un graded) and the offline editor creates a look in offline… shouldn’t that be able to be exported as a CDL and have that as a starting point in the DI?
If its not, its a bit weird. Cus most onelights are done in a “cheap” telecine and there is no way to take the settings from a Spirit Classic together with a daVinci 2K+ and copy that settings accros to a ArriScan-scanned DPX graded in a Resolve.
(Unless you would to calibrate and “lock” the telecine to a setting and then create a LUT that makes the ArriScaner look like the Spirit output. )/carl
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hey guys
If any of you are currently using RGB (QT) material in FCP… how did you get it in?
The Presets that came with FCP / Kona3 didn’t include a 10bit RGB-setting.
What I did was: I took the “uncompressed 10bit 4:2:2” and duplicated it, changed the
codec to “AJA 10 RGB”… is that they way to do it?/carl
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well, since I’m deliverign to other posthouses in town I would like to use a “standard” codec that works in FCP without the need to buy extra stuff.
Actualy, I’m not converting YUV > RGB.
i’m ingesting RGB from a HDSR into FCP and would like to save it in a QuickTime with a RGB-codec./carl
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Gary: When Rafaela says:
[Rafael Amador] “RGB is always 444.”I gues he means that RGB is always 444, and can’t be 422.
Not that 444 is always RGB.
From what I know RGB has to be sampled equal for R,G & B otherwise the image will look weird.So, no other ideas how or why my 444-QT looks so diferent then my 422-QT?
I aware that RGB & YUV is diferent colorspaces. But the diference between those is not what I’m seeing. My 444-QT is a lot brighter, more then 5%./carl
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Hmm, that didn’t change it.
It’s still not looking the same as the 422.But when you say that I’ll always see a diference between YUV and RGB…
You can’t mean that in the end a YUV and RGB should look diferent?
It shouldn’t matter in the end wether i’m working in one or the other.
Or are do you mean that FinalCut will always Display the two files different but when I lay of to tape it is actualy the same…/carl
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Does that mean that the file is actualy OK, I’m just viewing it wrong?
Although, when I checked the two file to eachother I did that in both QuickTime Player, by double clicking on the clip in the bin to see it in the left player-window & dropping it downon the timeline and making a split.
I’ll try to change that tomorrow.
Let you know if its that./carl
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I’ve got a Kona3 running OSX and Bootcamp XP.
Works well except for Machina, I have weird problems with video-playback on the GUI during Record and Play.Otherwise OK
/carl
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Cool.
Thats interesting.
Although that brings som folow-up questions:If the ‘v210’ is in fact 10bit, I gues that one is better then ‘2vuy’?
(if my source is an uncompressed 4:2:2 SDI signal from a Telecine)Whats the diference betwen ‘R10k’ and ‘r10k’
I gues that if I’m creating a QT from a DualLink RGB 4:4:4 SDI signal then I should select ‘R10k’ / ‘r10k’
And if I have the source as YUV 4:2:2 SDI then I should select ‘v210’Am I thinking correct?
/carl
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Thanks Jeff. Thats the info I’ve been looking for.
Now its just al the QT flavours to figuer out…Ramona…
Dude, I know if anyone that DPX is “da shit”.
Im a colorist working on Resolve and daVinci 2K+.
Resolve work nativly in dpx and thats all we use if we are doing anything between systems like our Smoke, Flint…But its kind of hard to say to a Client that needs his 2hrs of onelight deliverd on a FireWire drive as uncompressed QT. And then try to convince his that dpx is better. It might be, but his workflow and understanding is for shure not supporting dpx.
All I need from a DDR is, not even remote, to crash record while capturing ext LTC. It must be able to record native dpx, tiff, QT, AVI etc etc.
And to my big surprise Machine (together with a LTC>RS422 from Adrienne Electronics Corporation called AEC-mBOX-2, only $395) was able to do it.
It also need to run on my WindowsXP/OSX dualboot MacPro conected to my BrightSAN. Cus we also use that box to copy stuff to and from the san over USB/FW400/FW800/ESATA.Although I haven’t got my cheep-ass-DDR setup fully working yet (since I’m bissy Grading) but if I run into problems I might look into your product. Feel free to email me som info and list-priceing. (no internal storage needed, we connect to our SAN)
So if anyone knows of the diferent QT-flavours please let me know what ther mean.
I’m planing to do one of each and compare them in FCP and Premiere (thats mostly what my clients will use) and compare them to the same material ingested on that workstation./carl
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Yes DPX is for shure the way to go.
But our plan is to start delivering dailies/onelights as QT to clients for offline. And FCP doesn’t do to well with dpx if an non-experiesed client is running it. (as a lot of client are)But even for DPX it has a lot of choises: like BE / LE / B2T / T2B???
Whats what I need to find out. And the weird codecs for QT’s.But thanks anyway for the quick answer.
I have been looking into a more expencive DDR appl for this; QuickClipPro from Drastic. Its a bit better then Machina cus you can controll it from the daVinci 2K+. But for my use Machine should do just fine. No need to go big if I don’t use the fancy tools./carl