[David Smith]

[Michael Gissing] “Actually when your film was projected it ran approximately at 24 fps”

That’s what I meant. It’s just during that 1/24th of a second for each frame, part of that time period the frame is not moving and part of the time it is moving. When it’s moving the screen is dark. One fact I always found interesting is when you are in a theater and watching a 2 hour movie, you are actually end up watching a dark screen for 1 hour of that time.

What I don’t understand with video is how the hertz ties in with the speed the images are showing. I think it got more complicated after NTSC with digital.

I understand now it has to play at fractions to fit in with all media, but I’d like to understand what is actually going on.

Maybe I’m thinking it’s more complicated than it is. I can visualize analog audio being slowed down .01 percent but digital audio being slowed down confuses me.

If analog is slowed. The machine just spins slower. But with digital doesn’t it have do somehow fit into 60 hertz in some way? This is what I really don’t understand.

[David Smith]

[John Heagy] “No, it’s just slowed down”

Thanks for clearing that up.

I still can’t get my head around how it’s slowing it down. I shot film for so long that digital and video are still baffling to me.

If I have film that was shot 24fps. The frame was exposed to light for 1/48th of a second and the rotating shutter blocked the film for another 1/48th of a second. And it was projected the same way.

I understood NTSC 27.27 a little bit with fields and interlaced, etc.

But I’m having a hard time understanding how 24fps is actually “projected” from a computer to a screen (is it on the screen for 1/48th of a second?

Does 60 hertz mean 1/60 of a second? I’ve read up on this a bit but it just all goes over my head.

[David Smith]

I have a few questions about these panels too:

1. Which is “less trouble”, meaning which is more plug and play? Less crashing, less banging your head against the desk to get up and running and keep running?

2. How do they compare in the dark? Is one better self illuminated than the other? The MC color seems to have a red light inside the track ball which would be nice I would think.

3. Under control panel preferences in Resolve; is “Avid Artist Color” the same thing and MC Color?

4. If in the future I decide to grade on a PC… will either or both of these panels work with the future PC based Resolve?

Thanks!!!!!!!!!!

[David Smith]

Thanks for the replies and the info!

I did a test and was able to change the TC and renumber the files. I’m preparing to do the large folder of DPX now after making a backup copy.

Thanks again!

[David Smith]

Thanks for your reply Chris. I figured it out a few minutes later and forgot I had posted here.

It turns out that I had set my 2nd monitor “above” my Resolve interface monitor in my monitor configuration in System Preferences in my Mac.

For some reason Resolve did not like that. When I set the 2nd monitor to the side (even though the physical monitor is above my main monitor) it stopped snapping back.

I will what you suggested though… I’m just curious to see if that fixes how I originally had it.

[David Smith]

Wow! Those are some nice files to work with I’m sure!

I’m still learning this, but I think if you converted them to 16 bit linear, you would actually be downgrading them. I think you would have to convert them to something like 24 bit linear to not lose information. Again, I’m just learning and only guessing.

And I think I’ve gone off on a tangent away from your original question…

[David Smith]

Ok, I thought I had it figured out. By using the split function I did get rid of the red bar at the top of each clip in the timeline. But when I grade one clip, it still affects them all.

There does seem to be a thin rainbow bar at the bottom of each clip now.

Basically, I had 5 minutes of footage that I split into unique clips in the timeline (in the color grading window). But when I grade one clip it affects them all.

Is there an “ungang all clips” box I’m supposed to check or something like that?

[David Smith]

Thanks,

I used the split function I see now that is the way to do it. It saves a step too!

[David Smith]

“I have some scans on a restoration project and I need to maintain a 16-bit workflow”

Just curious… If your files are 16 bit Linear and Revival can handle 10 bit LOG, could you not do conversions and end up with 16 bit Linear files all the while maintaining the high level of color information in your workflow?

[David Smith]

I played with the R8 NR a little more. The Power windows is a plus since you can be more aggressive in areas where it’s a bigger problem but the blurring wont show as much – like a wall. Then do it a bit less where the blurring is more noticeable.

I’d be curious also to know if anyone has used Neat Video with After Effects. I’m going to be using 10 bit LOG DPX files. Would Neat Video work better in After Effects for me since I could export at 16 bit Linear – DPX?

I’d also be curious to know if anyone has used Resolve8 NR and Revival NR…. is there a big difference?