Glenn Sakatch
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Forum Replies Created
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How are you bringing this into the HD project…just file open Bin?
What kind of deck was the footage digitized from? (any deck or interface that was doing any kind of flagging?)
Glenn
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Its been awhile, but I think the switching of 16 x 9 and 4:3 projects was simply a monitoring function in Avid. I don’t know if it actually did anything under the hood. If you go back to your SD timeline, can you not just switch it back and forth from 16×9 to 4×3?
Like I said, its been a while, but I thought that was all we did…right click on the monitor window and select either 16×9 or 4×3
The footage came in however it was shot over the SDI line.
Glenn
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I think you are still confusing the use of the dynamic range from the camera. It is not something you would look at your monitor and say “wow…look at the dynamic range on this footage…its beautiful”
The Dynamic range is simply expressing how much information you have to work with during your colour process. It might allow you to take that over exposed sky, and bring it back into a more pleasant sky, because what appeared to be clipped whites (or blacks) can be unclipped, or brought back from the dead. It doesn’t mean you don’t need to be aware of your exposure during the shoot, because the colourist can fix it all, because I have so much dynamic range, but it does give you some options.
As David said, this has no bearing on how it is viewed on YouTube.
Another simple answer to your question would be “As soon as you compress anything to H264 and upload to Youtube, you are losing all sorts of information. Youtube is not known for its high quality, lossless compression standards.
As for LUTs, you are basically correct. They are tools that can be used to help convert the color space from 1 thing to another. (Slog to Rec 709 for example) You ask why people recommend using them…many people don’t recommend using them. If you are doing a conversion for a specific type of playback, for a projection system perhaps, a LUT might be used to help keep the look consistant.
Many people feel they can shoot their footage, apply a lut, and bam..colour is done, but it doesn’t work that way. LUTs might get you to a good starting point, or they might get you to an awkward starting point that you may have to colour before or after it to get the picture to look how you want it to look. It is all up to you.
Personally, I don’t typically start with a LUT.
Others will always start with a LUT and tweak from there. Personal choice. I don’t think anyone is going to look at your final project and say “i’ll bet you didn’t use a LUT did you?”Glenn
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by crashing do you mean you think your reds are crushed?
The above scopes don’t show anything being crushed.Glenn
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It’s true, you can edit in Resolve…It’s also true you can colour in Media Composer, but there is a reason resolve is described as colour correction software, and Media Composer is described as editing software.
Resolve is great for tweaks, but personally, the zooming in and out on the timeline drives me crazy. I find it very clunky at best. I also find the snapping to edit points not very good. I am constantly finding black holes, where i thought edits matched up.
The timeramps are quite basic. (although their optical flow is very good) Try building any kind of curve in a time effect, or worse yet, modifying one that came from another program.
I haven’t used it for editing audio, but have heard some horror stories. (can’t hear audio unless you are in full playback mode??? is that still correct?)The only way you are going to know, is to start in on a project and decided for yourself. If you have experience with other NLE’s than you may make up your mind pretty fast. If not, you may be perfectly happy.
Glenn
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In your delivery tab, you should see a setting for Video Data Level
Auto/Video/Data.
Leaving this in auto might not give you proper results, and I’m not sure Premiere is the best a color management, so between the two, you might be getting elevated or crushed levels, depending on the situation.
Glenn
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are your settings set to Auto in Resolve? Try setting it to Video.
Glenn
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I still separate all my media. Takes some effort to keep it organized, especially if you switch projects a lot, but makes archiving much easier.
Glenn
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Haven’t seen it in action, but was at an Avid Symposium a couple of weeks back where the demo artist, who I’ve seen demo Avid for at least 14 years, says he uses it on many of his demo trips, rather than using local storage. I asked about download and upload speed etc, and he said right now there isn’t any downloading…you are basically on a vpn service, using low res proxys from the source to edit with. He said it works quite well.
Of course he is a salesman as well, but his one story was interesting.
He said he likes to shoot him entering the building (POV style) and then email that clip to “everywhere” main station, where it gets loaded into a watch folder for transcoding. He then goes into the presentation, opens his laptop, plugs into the internet, and launches avid. Opens the project, and plays them a clip of him walking into their building. Pretty cool.
Glenn
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Might be easier to ask what you are wanting it to do.
Its not After effects or Nuke or Fusion by any stretch of the imagination, but it can do some stuff if needed.
You can certainly key two shots over each other, and play with transfer modes.
There are some work arounds for simple cloning, but that’s not what the program is designed to do.
It’s kinda like the editor…yes it has edit functions, but I’d much rather be sitting on an Avid if I had to cut a show together.
Glenn