Jake Blackstone
Forum Replies Created
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Same here…
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No, you’re wrong again.
Both Baselight and FilmMaster have a full Spirit protocol out of the box, so they both can control it, and color grade it, while the material is being ingested.
May be your “cheap grading room”, that you’re promoting so much on can do that for you. And let’s hope the film is shot perfectly and there are no scratches and dirt on that film or otherwise, adios amigos, we don’t fix anything in post:-) -
You don’t need a license to be able to read and write DNxHD, only for MXF.
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That would be awesome! And then may be client can pay directly to the Resolve. Who needs the colorist:-)
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Just do a new conform, but add the new directory to the pool instead of the old directory and Resolve will conform using the new material and color trace the grades for you.
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[Arthur Puig] “After spending sometime at the Autodesk booth, I have to admit Smoke is looking really good, I had situations where I was asked to do some quick compositing/VFX in a color session, and going to AE was a pain. I was able to see a color timing demonstration and I was impressed, the color tools looks like they’re getting closer to Lustre with every release, and now they even support control panels.
“I don’t want to highjack the discussion, but how are Smoke’s color tools “getting closer to Lustre with every release”? They had never changed color tools in Smoke, since Smoke came out on a Mac. CC is as useless as ever and CW is as basic as it ever was…
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Must be nice being you, where you only work with perfectly shot material. I, on the other hand, have to deal with issues every day. Those stupid producers always asking me to fix things. Next time I’ll just tell them to shoot better;-)
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Anyone, that wants to join a professional level should forget the word “No”. The answer to all producer’s requests should always be “Yes”. For example:
Can you remove the error in cadence?
Can you retime the shot and does your system uses motion estimation?
Can you remove an errant subject in the shot?
Can you add some grain, dirt, scratches?
Can you, yes, noise reduce, remove dirt and scratches?
Can you import AAF and grade a full Avid project, with all layers intact, while preserving transfer modes and then do a proper roundtrip back to Avid?
Can your system access Avid’s Unity and concurrently grade the project with an Avid?
Can you composite a green screen or use material with an external matte?
Can you add a lens flare or edge light leak or simulate and end of film roll?
Can you play side by side or do a split screen of multiple versions or with grades or effects applied and with grades or effects removed?
Can you hide all shots, except the ones selected in the grading group?
Can you choose multiple shots, display them on one screen and grade them all at the same time? No, I don’t mean to paste grade to multiple shots?
Can you have multiple deliverable formats of the project and switch between them on the same timeline?
This list can go on for a loooong time. But you get the idea… Jumping back and forth between different pieces of software to accomplish simple requests is not productive and not very professional. Resolve is color grading system and so is, Baselight, FilmMaster and others .But one can easily see, that BL, FM and others are much more, because today’s producers expecting and demanding more…
Company 3 example is getting old. Just because they use, seemingly, the same software, doesn’t mean, that anyone with Resolve can do the same. It’s a huge company with huge resources, with many talented people contributing to the finished product… -
It may come as a surprise to a few users, but Cinespace support was and, I believe, still is part of Linux Resolve. It was taken out for the Mac version, which makes sense, if you consider it’s price-$7k or something like that. Nevertheless, Cinespace can create a compatible LUT, that can be used by the Resolve on a Mac. So, there really is no need for Cinespace plugin…
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Providing support in-house for third parties panels is a mistake, which continues to be propagated. Providing SDK to third parties manufacturers is the only way it should had been done. I understand, that original Wave support was done in-house for the NAB demo, but now, a year later nothing had changed. Any time there is an issue with the panel support it can only be resolved by BM, pun intended:-) There is practically no way for any kind of customization. Muscle memory is an important aspect of efficient color grading process. Forcing users into predetermined mold is not helpful and can be counterproductive. I’m happy to see an expended panel support, but, personally, instead of more panels, I’d prefer to see the release of SDK, so there would be an even wider manufacturer support and more important, an actual support from those manufacturers. I’m pretty sure, if SDK would have been out by now, there already would have been the support for CP-200. I had been told this by Tangent a year ago…