Graham Fisher
Forum Replies Created
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Thank you, Dave and Shane, these answers are spot on.
I get where you are coming from, Shane. First time I saw take numbers on footage was just recently, burned in on a big budget film. Not everyone might see the use of having take numbers included, but personally, I liked the idea. I find take selection to be a really big part of editing scripted film, and would prefer watching the monitor to recall take numbers rather than having to look at my timeline, or worse, the bin! But this is definitely an approach that can bite back if you’ve got a problematic producer on the team.
Thanks again!
Graham -
“what’s the reading on your vectorscope? Is it legal? You can’t just use any red.”
It is legal.
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“If you don’t like the look of reduced chroma, drop the luminance and boost the saturation back up… but not all the way up. You’ll get a deep red”
This got a decent result. Eased things back, but preserved most of what we were going for. Thank you for the extra idea!
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Yes, the timeline is set to render 10-bit material in high-precision YUV.
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Happily, the sequence is in HD ProRes 422, which is partly why I was surprised. If this were DV, yes, nastiness like this would be the rule.
Thank you guys, you’ve been a lot of help.
Graham
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Awesome, good to know the reason at least.
“Monitoring” on LCD. Less than desirable, but that’s what is in my bay. Glad it might look a little better in finishing. Interestingly, I did try a 10 bit sequence and that still didn’t look good.
Graham
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Thank you, Dave. I fiddled w/ the red, and the closer I pull it to a sort of mauve color, the less the pixelation.
Ideally though, it’d be best to stick w/ the deep red. The piece is about vampires, and needs to be extreme.
If there is another way to reach a happy ending, I’d love to hear it.
Thanks again.