Erik Eliason
Forum Replies Created
-
I bought an Eizo Coloredge CG 247X for the same range as your budget and I’m happy with it grading in Davinci Resolve. I’m on a GTX 1070 and Blackmagic.
https://www.eizoglobal.com/products/coloredge/cg247x/index.html
-
Looking at my attached link in my original post, the scopes indicates that something is done to the footage via dynamic link.
Anyone, try it for yourself and tell me if you don’t have the same issue. I’ve tried this on other systems than my own and with different sources of footage. -
But no matter what my monitor is calibrated to, I see a difference stacking two of the same clip on top of each other in premiere. Only for comparishon I send the upper clip to AE via dynamic link, doing nothing to it in AE. Now back in Pr, disabeling and enabeling the upper track which is the AE comp, there’s a slight gamma and temperature shift between the two clips.
Above those two tracks on v3 I have an adjustment layer with a lut for correct display, but that shouldn’t matter to this issue.Thanks //Erik
-
When you say calibrated do you refere to my monitor? It’s calibrated and set to Rec. 709.
What would you suggest I do, step by step, editing in premiere let’s say with random media, using dynamic link to treat a clip in AE? Without having gamma nor temperature change to that clip.
Thanks for takkng time with me Chris //Erik
-
Yes I was using a S-Log 3 to rec. 709 LUT on an adjustment layer in Pr, to see it correctly.
Duplicating and stacking my footage on top of each other on tracks underneath the adjustment layer, I use dynamic link for AE.
Using any LUT in AE, it would now give me a differentiation of the two clips underneath my LUT adjustment layer in Pr, a double LUT impact, wouldn’t it?
That’s at least what happens.I’ve tried this with TV show master renders in mxf, dynamic link between Pr and AE and get the same gamma jump and temperature shift back in Pr, which tells me that this isn’t a LUT issue.
Are the whole video world happily using dynamic link without caring about the small change it does to the footage, or do they know a trick I don’t? Because no one I’ve talked to have seen this issue before I show it to them.
-
Hi Chris,
After you enlightened me about the Color Profile Converter effect I’ve been reading the texts I could find about it, without getting any wiser.
1. I know my footage is shot on Slog3, on my private project. But freelancing and at my new job I’m with mixed and some unknown source of footage. If I don’t know the source of footage, there’s now way to work non-destructively between PR – AE with dynamic link?
2. I’ve been testing multiple variations in the CPC effect settings, of input and output, between Project Working Space, Rec 709 gamma 2.4, sRGB, S-Log3 but the closest I get to a good image still has the notch towards magenta and gamma jump.
3. I apply the CPC effect on an adjustment layer, what are my next steps?
Sincerely grateful for a dummy explanation //Erik
-
Hi James, thanks for input.
I just tried that but the destructiveness remains. Footage moves a notch towards magenta.
-
Wow Yves, that was a lot of explaining to do for your simple question 😉
I am too in pre-production of the same task, shooting water in slo-mo with green screen. I normally work in post so using Key Light in AE is what I have good experience of.
Will use the Sony fs700 at 240fps and eventually some Twixtor on top of that.I will color the water red so I imagine it to be easier to pull the key than with just plain water but I’m still curios of your experience and final solutions. Did you get all details of the water highlights and shadows? Did you go with black BG or green screen in the end?
Do you have a link to what you shot?
Any thoughts on illumination design?Best //Erik
-
Thanks Dan, that makes very much sense to me now.
I was thinking inside the box of writing a command but yeah, math huh 🙂 -
I’ve got the same issue, doing a quick job for a client who bought a template. Did you make any conclusions?
Best //Erik