Darren Mostyn
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We have 2 fully equipped Davinci Resolve suite’s – one is purely for dry hire – we are in central Brighton (1 hr on train). Client friendly room, grade 1 Sony BVM monitor, Apple 30″ GUI, Tangent Wave or full panels, avid, fcp, premiere,
Let us know if this is of any use to you.
Darren.Post Production in Brighton
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Looking forward to seeing it Pete! Sounds like you’ve been busier than ever!
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select the ‘white’ area with your cursor and then press auto-colour. If you dont select anything with your cursor it balances the whole picture, if you select a highlight it balances the whites.
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Just got my first C300 test shots this afternoon for a BBC documentary we are grading later in the year. Viewing on a BVM-D CRT the footage looked fantastic. None of the luts I have really worked for me, the footage was LogC, I graded manually from LogC (using joyball offset instead of gain) Noise artefacts were not present until pushed very hard. Keying was easy to achieve on skin and sky. Skin tones look different in a good way! The clips were not recognised natively (I am on version 8.1.2) but if I put them through FCP 7.0.3 log and transfer (with settings set to native) they were seen as XDCAM 422 HD files, 50Mb.Im on another job so cant do anymore for a few weeks but will keep you updated. You have to download the Canon driver for XF, there isn’t a dedicated C300 driver yet for FCP.
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Presume you’ve been sorted by now, but just in case –
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We are based in Brighton, DaVinci Resolve, Film Master and Apple Color. Also Avid and FCP.Post Production in Brighton
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If you de-interlace in fcp prior to resolve and send this footage to media pooka does it help? No good if you need interlaced output of course but just curious?
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Unbelievable what the guys at BlackMagic have done in such a short space of time. It was only just out of Beta when I got my system in November and now all the things I wished it did having come from Film Master are in. Free upgrade too! I wanted a Film Master originally but couldn’t afford it, Resolve became affordable and I loved it straight away – Now, I wouldn’t even think about using anything else (if it works!!). I was blown away by what they have put in for Resolve 8 – I would have expected a 2 year roadmap for this amount of new functionality! I can’t wait to get started. As for the free version, I was still charging full rate to grade on Color (free software). Remember there’s a £17k monitor hanging off the back!!
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Not sure how to measure it really as I only have the 4800. I have just graded a 90 minute HD (ProRes and DVCProHD, over 700 scenes for a BBC documentary. At least 3 nodes on each scene and up to 7, 8, 9 at times, including blur, sharpen etc but no more nodes than 9. I didn’t get real time throughout but most of the time it was real time and certainly the Director and I were very impressed with the performance!
However, Stability was the real surprise. The system was ROCK SOLID! V7.1,
Can’t compare to the others, but glad I bought the 4800!Post Production in Brighton
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I took a look at QTchange and I couldn’t see how that will give a unique reel ID to the clips so that the conform is smooth. I conformed 90 minutes of material from 30 reels yesterday (over 700 clips), didn’t use QTchange but manually edited reel names (took less than half an hour), and only had 1 conflict, actually caused by the consolidate in FCP! Fixed the conflict in minutes. Let me know how well it works if you use it.
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Im using Ultrascopes, running on a separate PC (HPXW4800 – a bit overkill, but had it anyway!!). Grading in Resolve for a 90min BBC HD documentary at the moment and the ultrascopes are fantastic value for money and accurate. Only downside is that if you want all the scopes on then you need a 24″ monitor which is big!
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