Chris Hall
Forum Replies Created
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Gotta chime in with another vote for the Flanders, its just spot on compared to everything else in the sub $10K price range that I’ve seen. I have a panny plasma set up as a client monitor (calibrated to match the fsi by a local calibrator here in LA), and they are super close, but ultimately the Flanders is something I can “TRUST” when getting in to discussions with clients regarding particular shades of skin tones, and hue values in the deep shadows (the plasmas just can’t get perfect grayscale tracking in the deep shadows… yet…).
Chris Hall
Colorist – Basher Films
Pasadena, CA -
yep, I would REALLY second this request. Having an “S Curve” tool with definable points would be the next step for most advanced workflows using LOG materials (kind of need this). To make do, I use an “S-Curve” LUT in a node that I’ve brought in to resolve and then grade before and after the LUT depending on what I’m trying to do and what I’m grading for.
You can generate on of these very basically by using ARRIs LUT generator.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Yes, yes, and yes no this suggestion. Would be extremely useful.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
yeah I’ve tried both of those ideas as well, no luck.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Just sent a report request in to blackmagic and linked to our thread. Hoping that they might have a solution.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Mark, I’ve been experiencing this quite a bit with resolve 8. If I bring in any additional media to a project (after having graded for a while) and there is identical timecode with the new media and existing media on the timeline, Resolve will default to the new media and replace it in the timeline (losing your grade in the process). Of course you can, as you know, go back and identify the conflicting clip (marked with a C on the timeline) and “Resolve” the conflict by selecting the previous clip again (or using force conform to selected clip in media pool), BUT you lose your grade as you’ve alluded to, which is EXTREMELY frustrating.
I’m not sure if Resolve 7 did this, but I’m pretty sure it did not (7 would default to the original clip in a timeline instead of automatically replacing it with the newly added media pool clip with identical timecode, I believe).
I’m really hoping that there’s a fix for this, as I’m always adding last minute VFX additions and other shots and its been a time-killer for me and a bit embarrassing with clients in the room having to go back and re-insert and regrade a bunch of shots at the end of a session. Anyone have a fix?
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Yeah ditto on the playback performance problems with DNXHD MXF’s (and quite a bummer that it costs $500 for the privilege). I’ve been pretty frustrated with the decrease in performance (as compared to prores or DPX files). On projects that haven’t had to go back to AVID, I’ve actually taken the DNXHD based project from AVID, imported into resolve, converted the whole thing to a flattened DPX sequence (chopped it up again, using and EDL) and graded that. Its better to have consistent performance (and rendering speeds) when clients are in the room, that’s my 2 cents anyway. Obviously if you’re roundtripping or need handles, this isn’t the best option.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Gabriele, I actually checked this by sending a 0-255 grayscale “stepped chart” with gray bars at increasing RGB levels from 0, 16, 35, etc. all the way to 255 (these were true numeric RGB levels). When outputting quicktimes or DNXHD’s the grayscale bars clipped at 16 and 235 every time, making the bars to the left or right solid black and or solid white with no differentiation left between the bars (whereas before there was an obvious difference in brightness).It was the only way I could think of to do a true “check” of the scaling.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Well I can honestly say I’ve output every flavor of prores from Resolve (from Proxy, to LT, to HQ, to 4444) and every version of prores renders out scaled (as in 64-940, or 16-235 in 8 bit, and yes this includes ProRes4444), and the the DNXHD MXF renders for AVID I’ve done always scale as well on render. It would be GREAT, to have an option to render “FULL RANGE” (maybe this is an 8.1 option I’m hoping?), but currently you have to render DPX’s to get full range and then convert them in something like After Effects or Cineform or whatever to get a Full Range quicktime or something else if you need it. As always, someone please correct me if I’m wrong on this, but alas, I’m pretty sure I’m not.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
Yeah had the same thing happen at another house I was working in a few days ago (got the expired license watermark). The tech was pretty sure the license was current and valid as well. We switched over and rendered DPX because we were under a deadline. Don’t have any other info other than than that though.
Chris Hall
Colorist – Basher Films
Pasadena, CA