David Roth weiss
Forum Replies Created
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Even a broken clock is right twice a day… 🙂
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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YouTube can sense your internet connection speed and may be limiting you to 720p accordingly. Am I 100% certain that is what you’re experiencing? No!
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Have you updated to the latest version of both the Nvidia drivers and Cuda?
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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And the reason you’re not using Adobe Media Encoder is???
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Jon Collins] “Unfortunately I’ve found that there’s just not enough colour information there an I’m really struggling to put a decent grade on it. Skin tones just become over saturated, purple and not particularly warm. I’m not by any means a grader so I just wondered if anyones got any tips for me? I’m using the built in Lumetri tool.”
Jon,
There’s a boatload of information about this image that’s available to you from analyzing your scopes, but you need to know what to look at and how to interpret what you’re looking at, which is too much for a post.
However, a quick glance instantly tells me the following:
1) Blacks are well above 0 IRE – this is very typical of all modern cameras, which are typically setup to record flat, for providing maximum latitude in post. Properly crushing the blacks is typically the first step in primary color correction.
2) The flat tops on both the waveform and the parade indicate that you’re clipping the highlights of the window in-camera, and that a setting in the camera is also “hard clamping” those highlights that exceed 100 IRE – if it were not clamping, you would simply see the values that exceed 100 IRE above the 100 line, and the heavy flat lines you see now, sitting on top at 100 IRE, would not exist.
3) The vectorscope shows that your skin tones are off, well towards the magenta side of the spectrum, and need to be corrected in the opposite direction, toward the green part of the spectrum.
If you’d like to spend an hour working with me (at $100/hr), I can remote into your system, and I can teach you how to interpret your scopes, and the how to’s of basic color correction. If that appeals to you, email me at drw at drwfilms dot com.
Meanwhile, here’s an example of a very quick primary color correction on your still that I can show you how to do…
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Your issue is more than likely the speed of your Internet connection rather than anything else, as most, if not all, screen sharing apps play havoc with realtime video streaming and thus screen recording.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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Check to make certain your media files have a reel # – many cameras do not put a reel # in the metadata field, so even if the reel name and timecode are identical relinking becomes problematic.
[Doug Plumer] “I am adding new 4K footage from my Sony FS7 in XAVCi format and hope to scale the whole project into a 4K timeline-eventually”
Adobe has not yet optimized the XAVCi codec yet, so you will encounter some BIG issues editing with it in Premiere at this time – I would advise transcoding that material to one of the Pro Res codecs, either LT or Proxy if you are going to use an offline>online workflow, or transcode to Pro Res HQ if you want to simply go online all the way.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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It’s certainly a whole lot easier to collaborate and to share projects with users if you have the same versions of CC running.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Neil Orman] “I suspect it would be easier for him to start from scratch right?”
Easier even then that would be for the one of you using CC 2014 to upgrade to CC 2015.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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I discussed issues working with XAVCi in Premiere with Adobe’s Al Mooney – it’s definitely not working as it should, and Al and his team are looking into it. How long before it’s fixed is anyone’s guess, but Adobe has been pretty good at these things once they know lots of users are having issues.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
