Joakim Ziegler
Forum Replies Created
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Generally I agree with the sentiment of “if it works, it works”, but I’d be wary about “if the transform in your DCP software didn’t work, they wouldn’t offer it”.
DoReMi CineAsset, for instance, ships with a Rec.709 to XYZ transform which is definitely and empathically wrong, and has been wrong for ages (they use a Rec.709 encoding curve to decode, instead of a Gamma 2.2-2.6 curve). I’m not sure why it hasn’t been fixed, but it’s a pretty basic thing.
I wouldn’t trust anything or take anything for granted, but in general if it looks good, it’s good.
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Joakim Ziegler – Postproduction Supervisor -
It’s funny, I wasn’t aware of any proprietary software for tar. POSIX tar is an open standard, free and open source tools are included in all Unix variants (including MacOS). I personally use gnutar, as it’s a bit more featureful, but the file format is standard and works across all of them.
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Joakim Ziegler – Postproduction Supervisor -
Here too.
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Joakim Ziegler – Postproduction Supervisor -
While I’m uncertain what’s causing your colorspace issue, the visual problems you’re seeing don’t sound like they have anything to do with colorspace. Contrast and so on should look basically the same, the main diffenc you’ll be able to see between 601 and 709 will be small hue/sat differences, mostly in blue-green tones.
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Joakim Ziegler – Postproduction Supervisor -
That’s actually a truth with some modifications. While most DCP software does include a Rec709 to P3/XYZ LUT, it’s not always clear what it does, and how it does it. There’s the issue of what gamma to use for the Rec709 (2.2, 2.35 or 2.4), and some DCP software (CineAsset, I’m looking at you) even uses the Rec.709 encoding curve to decode, which is just plain wrong.
And then there’s the problem of white point. Rec.709 uses D65, while the DCP white point is around 5800K. You can convert the white point (if you don’t, Rec.709 material will look sort of magenta in the DCP), but that affects other colors, often in slightly unpredictable ways.
So it’s not really a completely lossless and perfect conversion, although you can get quite close. I’d recommend testing different LUT options and variables.
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Joakim Ziegler – Postproduction Supervisor -
I guess we might be lucky in some senses, our stuff is mostly played in Mexico, where the digital change is relatively recent, so there’s not too much very old equipment, in Europe, where I get some of the same impression, and at festivals, where they tend to have more modern/better equipment in general.
I do want to look at the new EasyDCP Player, although I still think it’s a good idea to review in a larger theater with a different playback system, etc.
And I think the change to digital is definitely a good thing. But then again, as a post supervisor, I’ve spent way too much time and energy carrying stacks of 35mm material around, so I might just be biased towards convenience.
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Joakim Ziegler – Postproduction Supervisor -
Never mind SMPTE, just make Interop. We use DoReMi CineAsset, and we’ve distributed fairly widely and played back on a fairly wide variety of servers, supplemental packages, subtitles, etc., not had any trouble yet.
It might just be lucky, or it might be that DoReMi’s software is better at avoiding problems than others, but still, there it is.
We do rent a larger theater for review before shipping off, though, but that’s mostly to see that things look and sound good in a more subjective sense.
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Joakim Ziegler – Postproduction Supervisor -
Yeah, I think Juan is right, they’re talking about finishing and delivery, not editing in the sense of FCP/Avid.
It could still be really nice, though, if we get better titling/text generation, better (at least faster) layers and blending/basic compositing, more sound tools, and so on.
I’ve been telling everyone who will listen at BMD for a couple of years that lots of people would be willing to pay extra for some more DCP-oriented output. I don’t think they need full DCP authoring in Resolve, but being able to output 250Mbit/sec JPEG2000 sequences directly would be very nice. As it is, we can’t even make 12-bit TIFF sequences, which is a bit of a waste.
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Joakim Ziegler – Postproduction Supervisor -
Minor point, ProRes 4444 is about 42MB/sec in 30 fps (or 60i). Since he’s talking about a feature film, he’s likely in 24fps, and bitrate will be around 33MB/sec.
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Joakim Ziegler – Postproduction Supervisor -
“Online editing” is a really vague phrase. As far as I can tell, it’s used for anything from basically a DI conform (which Resolve already does, of course) to full-on finishing a la Smoke. I’m guessing that’s more the direction they’re going in.
That’s not the same as an NLE like Final Cut, though, those are still two different things.
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Joakim Ziegler – Postproduction Supervisor