[Drew Lahat]

Thanks Brandon, I’ll give it a shot tomorrow.

Found this article that discusses a very similar issue and solution:
https://vanhurkman.com/wordpress/?p=1086

[Drew Lahat]

Except that ColorTrace, too, works only with version 1…

(I haven’t tried ColorTrace in person yet, but page 265 of the manual promises “During ColorTrace operations, only the default grade is copied from one timeline to another. All other grade versions are ignored.”)

[Drew Lahat]

Hi Walter, glad I got the chance to meet you at NAB – and glad I ran into Flavoursys (completely by chance).

I looked into Strawberry in the past for both Avid and Premiere. The main hinderance was the initial $15K cost to implement – out of my budget for this feature set. Mint is very interesting, it seems that other potential users voiced the same concerns, wanting a lighter cheaper solution that focuses on the project/media sharing capability.

However I guess this is so new, there’s nothing on it online (including on their website)… I hope to find out more. I wonder if Premiere’s new feature to browse into other .prproj files will render Flavoursys less necessary.

[Drew Lahat]

Bump

[Drew Lahat]

After saying out loud that there is no real, reliable easy to use DCP creation solution, I had my mouth shut yesterday on CML. Check this out:

https://www.magnamana.com/products/finaldcp/

$650, and there’s a fully-functional free version with a watermark (one that you might be able to project with, not the super-obstructive kind we’re used to with plug-ins).

[Drew Lahat]

[Ross Haines] Is it possible to “daisy chain” everybody via Thunderbolt to a Promise RAID drive?

Not at all. I need to find some good links to a primer on shared workflows in some magazine, because it’s a topic that gets asked about thousands of times on CreativeCow (and elsewhere) and a full answer does not, ever, fit in a single post response. It also makes steam shoot out of Bob Zelin’s ears, and I’m starting to see why.

It begins with details, many of them, none of which you’ve supplied. How many editors? Using what computers? How close or far away are they from each other (same room? same building?)? How much media, and what codec(s)?

The basic approach would be sharing the media with a NAS or a SAN, and ensuring read-only access to the media. The solution can cost between $10 and several million dollars, depending on your answers to the questions above (I’m not kidding).

[Drew Lahat]

Mark, check out these threads:
https://forums.creativecow.net/thread/124/881182
https://forums.creativecow.net/thread/124/881728

See if they’re of any help. BM has acknowledged those issues and shown some willingness to help.

[Drew Lahat]

I don’t understand. Unity is known for being expensive, but not for problems. Avid has always had outstanding support, and I see no reason why a modern Unity that’s under support should have any unsolvable problems (Media Composer is a different story 🙂 .

It seems like the main problem is the owner’s focus on spending lots of money on boxes, instead of maintenance and support.

Was it a smart decision to spend that extra $20K? Probably not. Will it make business sense to sell it now while it still has some value? Perhaps. Sure Unity is EOL, but it doesn’t mean it can’t work extremely well for at least a couple more years.

PS Running Unity without workspace mirroring is just like any other storage in RAID0. You don’t do it, or you do it with a backup and the knowledge that you’re very likely to lose your data at some point.

[Drew Lahat]

Robert, is it just me or are your diagrams in xy space while Bram’s recent diagrams are in u’v’ space?

[Drew Lahat]

Steve, can you post a chromaticity diagram of yours that shows the FSI red to be off-axis and under gamut?

Bram, can you clarify the diagram you posted? Does the diagram describe the CIE xy space or Rec.709? (I see the x and y values don’t go near 0.8 and 0.9 as I’m familiar with in CIE diagrams.) If it is CIE, do we see just one triangle because of the close overlap between the FSI and Rec.709?

So far it seems to me that the different opinions arise from different approaches to measurement.

Color is probably where the interaction between science and video production is the closest. If anyone wants to resolve these debates (which exist online by the thousands), there’s no feasible way but the scientific method, no matter how boring or daunting it is to us production folks.