[Dermot Shane]

you can chose to use LUTs or not use it, and it converts RGB/444 to YUV/422 if you feed RGB into the BMD

[Dermot Shane]

Your DreamColor does have a sRGB preset, just above 709… it’s set at 250cdm tho.. bring sunglasses

[Dermot Shane]

smack is missing;

1) a real world color toolset whole and complete…. there’s nothing to come close to SpeedGrade
2) 3D trackers, making it’s 3D comp tools more a talking point than a real tool

[Dermot Shane]

well let’s see..

paint system is gone?
No 3D tracker, No planner tracker… only the point tracker? So why have a 3D comp? What can you do with it? Replace a sky? Nope…. not without round tripping to say AE…
CC still sucks, and to add insult to injury, it’s not RT so you have to render the suckage…

yea, brilliant…

How’s the kool-aide?

[Dermot Shane]

For me?

Yes, i find the color tools head & shoulders above MC/Symp… DS has nodes in the CC UI with masks/tracks/paint/plug-ins.. all while in the CC UI.. very much like Resolve, but with more tools.. plugs like Furnace Core for noise reduction, OGI smoother for digital make-up for example…

And the granularity of the tools is much more precise than MC/Symp, no jumps in values, no stepping, just fast, precice & interactive responce

DS has decent edit tools, more than enough to deal with producer notes, and has audio cutting to a sample, loads of folks cut commericals to to tail in DS.

Avid bins come in via “send to Avid|DS” from MC/Symp, it’s not as good as MC to Symp, but it is mile and miles ahead of AAF to Resolve.

So yea, we finish & grade an MOW in DS as fast as we do it Resolve, and the DP/Director’s love the flexibality of DS in dealing with things like sky replacements, fast and easy in DS, really not possiable in Resolve or Symp for example.

It’s worth a look for gradeing, even more in an Avid centric workflow, but certianly not the only option, just one more option.
d

[Dermot Shane]

[Peter Berg] “So I think it comes down to what you value most. Deep color grading tools that let you do anything you want color grading wise (Davinci Resolve) or a more painless workflow that will allow you to do nice primary color grading work quickly right in your timeline. Symphony is great to allow you to finish your entire project right inside one application. “

Or get a DS and have both?

[Dermot Shane]

they will merge Edit and Cyborg2K….

[Dermot Shane]

It’s yet to be seen if the baselight plug in MC is as slooowww as it in in FCP.. remember FCP host is locked to a single proc inside a 32bit OS with no cuda… and MC is 64bit/ mutli threads/cuda aware…

We may be surprised by it, we may not… but i would not extrapolate a MC host’s performance based on FCP host’s…

Just say’n…

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[Dermot Shane]

Fusion will run in DS now too, as an AVX2 effect inside a tree, or a clip/timeline effect, or even a source effect

[Dermot Shane]

here’s the SLog viewing LUT i used in my mon;
3959_slogvers.blackmagic.cube.zip

Not even sure where i got it from anymore, might have been Sony… and i didn’t use it, it’s Slog to 709, and i was working in P3 anyway

But it is what the off-line folks were using, so i could play the conform for the Dir & DP with the mon in 709, and have it look like what they were used to seeing… then i ignored it and went to work with the flat images and the mon in P3 😉

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