[Eric Santiago]

I got a hold of a LG 31MU97 and hooked it up via HDMI.
The OSEE 10bit shows no banding and has similar luminance.
The LG, however, is showing some banding not sure if that’s an HDMI cable issue.
Using a 2160p 10bit HEVC gradient test pattern.

[Eric Santiago]

[Glenn Sakatch] “Did you try bars or a simply black to white ramp to see how they look?”

I have to find time for that.

This was a rush job that will need to be revisited once I get all my displays in.

Ive already warned the producers that this was a dumb workflow.

[Eric Santiago]

If its a transform to the layer then a precomp is best.
At times parenting works too.
If its actual keyframes applied to the text using Text Presets then no you cant apply that to a different layer.

[Eric Santiago]

I watched the two versions on a Sony XBR 4K LCD.

The original darker version seemed closer to the tone the movie was shot in.

The brighter one was okay and looked way better than my home Plasma but still a little washed.

This was on a BluRay HD burn.

I know this isn’t the most optimum workflow but it’s all I got at the moment.

Time to put that Panasonic 720P to rest (2006).

[Eric Santiago]

[Michael Gissing] “It also begs the question of how accurate your grade monitor is.”

Currently using an OSEE 10bit display.

I was hoping it wasn’t but Ill know soon enough.

Still waiting on my Eizo CG247X to drop.

I will be taking the project over to a studio (Flanders) this weekend.

In the interim, I pushed the gamma up to the point that it looks blown up on the GUI.

Looks great on the OSEE but would have to test that theory with a BD burn tonight.

[Eric Santiago]

A colleague of mine applied keyframes under track keyframes.
He then wants to move the group including the audio clip to a diff point in time.
He can do this but the track keyframes don’t follow.
Not sure how he got to this point I avoid using audio keyframing in most NLE.
I use ProTools for things like that.

[Eric Santiago]

[Noah Kadner] “Yup you could greatly streamline your workflow-

https://www.atomos.com/cameras/canon-eos-c300-mark-ii“

I use my Shogun off my RED Scarlet for long format shooting.

Even better with a GH4/DSLR since its small form factor.

Love the DNxHD/ProRes options 🙂

[Eric Santiago]

There is no slip and slide option similar to NLEs but you can do this by hand.
Place your current time indicator on inpoint and press Option + [.
Then move your current time indicator to where you want it to start and press [.

[Eric Santiago]

Thanks Glenn for the quick response ☺

I’ll answer as best I can (not at the studio today).
AAF from Avid so it’s reading straight from the Avid MediaFiles folders.
I didn’t check the output options but rendered to ProRes 422 and used Adobe Encore for authoring.
The blacks are mostly hitting zero on the waveform but I do recall that most of the meat is between 0 and 700.
I have my Panny set to Standard and did a few tests using Netflix, Apple TV, cable and a different BD disc (theatrical).

[Eric Santiago]

I would get projects where Im told to use a LUT.
Boy there are times when your just fighting with that NODE.
I use it at the start when asked.
I will one day try Patricks way ☺
I learned a lot from him years ago.