Chris Hall
Forum Replies Created
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you could just use track marks, I’ve done this is in the past. Add a few nodes (to make changes later if you want) Mark the beginning of the scene, mark the end, then apply your desat. Done. Won’t affect anything before or after the marks.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I did have a wave panel go funny on me after about 6 months of use (onboard LED’s flashed and unit lost connection to computer intermittently). Changed cables, computers, etc., no dice. I called Tangent and they OVERNIGHTED a new panel from the UK to me! FANTASTIC Customer Service (ask for Fiona in customer support, she is great). New Panel is up and working well, no issues. My guess is that it was a crappy USB extender that could’ve caused the initial problem. Regardless I bought an expensive USB cable that’s extra long and all is well.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Ola, good question, I’ve found that the more experienced colorists I talk with on this subject are all over the map in their responses, every job is so different for people its hard to quantify averages. Here’s my experience though: and take my answer with a grain of salt as the 6 features I’ve done have all been low budget/indie films, no studio releases or super tight deadlines here but, I’ve always used 40 hours as a minimum for films that need just a basic color correction (such as docs and features that pretty much have the “look” already baked in). I can get through a decently thorough first pass of a 90 minutes film in about 3 days (24-30 hours of work), and then have about 10-16 hours to go back through the film and start adding more power windows and fine tune grades on a 2nd and 3rd pass etc.
The two projects that I did “longer” grades on were actually 2 week grades with 80 hours worth of work total roughly. The films required heavy “looks” that differed greatly from the raw materials and involved a lot of “supervised” work in the 2nd week with the DP/Director to fine tune things. (they also involved R3D conforms which are truly a pain in the @55 if there’s tons of VFX work, the conforming process is definately a concern for time management when bidding out these jobs)
Ultimately (and I know these are obvious), it depends on the system you’re using (obvioulsy apple color is a killer on time), how familiar you are with it, whether the session is supervised, how many cuts/shots, format, etc.
Would love to hear other’s experience on this!
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Joakim, might I ask what probe/lut generator combination you used to generate your luts (ie hubble/lightspace, cinetal davio, etc?), or did it gent sent to the lab for lut generation?
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Great feedback on this everyone, really appreciate your responses here. I’m going to contact another house and use them to generate some “test” DCP Packages from my Rec709 grades and give them a look in their P3 calibrated theater. Sounds like things should look pretty on par with this workflow judging from the feedback.
So has anyone had any experience with monitors that claim to be able to display P3 inherently. Flanders 2470 (which they don’t sell anymore) claimed it could do 98% of P3, the Dreamcolor… well the dreamcolor claims alot of things of which I’m skeptical but it says it can emulate a P3 color space? I’ve seen the Sony BVM-L231 in its supposed “p3” mode (which actually looked fantastic) but that’s a $20,000 monitor. Anyone have any experience here? My guess is that monitors like the flanders and the dreamcolor can change their gamma response to that of P3, but cannot handle the gamut (range of color) of P3. I would assume the Sony BVM series could actually do this?
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I always just have editorial export a new DPX sequence and/or uncompressed quicktime file (depending on the project) for that shot only. It must have the correct timecode for the shot it is replacing in the EDL (you can change this in Resolve in the media pool if they don’t give it to you correctly). Once I have the new file(s) in DaVinci I usually force the reel assignment for them by selecting (assist using reel numbers from media pool folder name) in project settings, and then as long as the timecode and shot length are the same (and you have the correct reel assignment for the footage, in this case by making a new folder in the media pool with the correct reel name from the EDL and placing your new shot in that folder) Resolve will give you a “C” conflict icon on the shot in the conform page and you can select the new replacement shot, thereby “Resolving” the conflict and getting a nice green “R” icon on the shot in the timeline. Shot is replaced and you can re-color the shot at that point. Hope that wasn’t too wordy an explanation. That’s how I have done it on both feature and commercial work, but somebody might have a better way, Resolve gives you lots of options at fixing problems.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Generic edits has always worked best for me.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I just finished an SD 480i 29.97 NTSC (anamorphic digibeta) project myself and had to re-render everything with the field rendering turned off as well due to the same issues you are describing. Turning them off eliminated a lot of the field issues I was getting very similar to your picture. Can this be right?
(fyi I tested multiple shots with field rendering turned on and off and they always turned out much cleaner with field rendering left off)
Chris Hall
Colorist – Basher Films
Pasadena, CA -
No need to split clip. in the color window just right click any thumbnail in the timeline and select batch unlink. Done.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I just output 5 reels for a feature over the weekend and ran into the quicktime render timecode issue as well. Told it to start each reel with a specific timecode (that was built into the edl as well), and it was off every time(ex Reel 01 was to start at 00:59:52:00, but instead started at 00:59:57:22 no matter what I did).
I reassmbled the film in fcp anyway for titles etc, and wrote new timecode anyway, but this must be a fixable bug.
Chris Hall
Colorist – Basher Films
Pasadena, CA