Chris Hall
Forum Replies Created
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well, remember, you can assign the “mids” wherever you want in log mode using the high/low settings, so if you want to make a swath from about 5ire-20ire using the mids you can (will keep your darkest blacks unaffected this way). If you use a grayscale ramp you can see the effect pretty clearly. But yes, curves does it well, and HSL does it to. So many ways.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
stig a small note on the teal/cyan shadows look. You are right on where they fall (not deep blacks but roughly 5-20 ire on the waveform, typically, not a hard/fast rule). I find that HSL qualifiers (using all values, hue, luminance, and sat) usually give me the most precise control of throwing shadow tints to specific areas. Using luma only is a bit broad sometimes. I’ll usually pick a tonal range (say green-blue) and throw my tints in there only in the shadows. Give it a try and you might get some more refined strokes in those “dark parts”.
As with anything, there’s a million ways to skin a cat, so there’s no right answer here.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
hmm, seems like a different. I’m not seeing it on render, render is fine. I just have to reset all my scaling presets when I reload the project… not fine.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Rob, shoot me an email at chris@basherfilms.com. I have a wave
Chris Hall
Colorist – Basher Films
Pasadena, CA -
It appears tracker keyboard shortcuts are gone (option-T for track forward, etc). Had these programmed into my g13 for easy access. Gone now. Not a fan of that. Do we have a keyboard shortcuts doc yet?
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Yeah I can confirm this is happening to me to (no real time playback on epic files with audio chase track enabled). Sending a support request to BM.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
yeah, could be the rocket, need to yank it and give it a whirl. And yes, I also always divide into reels as well. this was on a project with 5 22min reels (1 reel per resolve project), although 22min of action footage can sometimes mean 500+ shots for “edit-happy” directors… a little foresight on my part could’ve headed that off with shorter reels). But I’ve had the problem on 3 Red features since with average 300 shots per reel per project. Most likely the rocket. Not the end of the world to batch each reel manually, just annoying.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
yeah it is, like Sascha said you’ll find the instructions in the manual on how to do that. Only problem is that I’ve found it to be quite buggy when it needs to load one large project after another this way and render them out. Often times I’ll get a crash on one reel(mainly on RED features using a Rocket) and I’ll have to just re-render reel by reel the next morning regardless. Test it out, see how your system responds (could just be my particular set up, who knows, but this happened to me on v8 as well with Red projects). I’ve noticed smaller projects with ProRes4444 or DPX material don’t seem to give me this issue when batching a bunch of them.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I’ve run into this as well. Solution for me was to back up the old 8.2 database and save it somewhere safe, then upgrade my old database to 9 with the offending project. Seemed to work ok from the upgraded database. But yes, not sure why some projects import badly.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I second the suggestion for the red bar again on linked shots. I’m having to really examine the thumbnails critically to see linked grades. A bit too subtle for my taste
Chris Hall
Colorist – Basher Films
Pasadena, CA