[Joakim Ziegler]

If your primary delivery is digital, just grade in P3, it’s way easier and looks better. You can always make a reverse LUT for 35mm later if you really need it, and that’ll get you 95% of the way to a decent 35mm output with no hassle. You might want to do a quick CC pass to fix smaller details, but you’ll be quite close.

Also, if you know your projector is actually calibrated correctly for P3 (this can be a pretty big if), you don’t need to profile the projector, strictly speaking, you can just make the film emulation LUT to P3.

For the positive, scan log or lin, if it’s actually a positive it won’t matter too much, prints don’t have much range. If it’s an interpositive, I would maybe scan log if your scan provider can do it. If you can scan log, in general, do it, you’ll be sure to get everything you need.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

You won’t have overlapping timecode problems. The file name is unique, and the reel number should be if you’re doing things properly. The file name contains the shooting date. Just make sure your camera has the correct time and date set, and use time of day as timecode. This is the most convenient way to deal with material from larger shoots (like feature films).

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

While in general you’re right, you don’t really need 2 RedRockets for 5k. It’s a bit marginal to decode 5k RedCode with just 1, but if his renders are “painfully slow”, the RedRocket is probably not the problem, and adding one more won’t do much.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

What kind of connection are you on?

Just a month or two ago, EFilm in Los Angeles sent me a master in ProRes 4444, it was about 150 GB, and I downloaded it from their Aspera server to my office in Mexico City in about 8 hours or so. We have a 50Mbit symmetrical fiber connection at the office, it costs us something like 150 dollars per month.

I don’t see FedEx being faster or cheaper at all.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Yeah, write one generation back, read two generations back is correct. This is less of a problem than it seems, since you can still buy older generations of tape drives, and they’re cheap.

If you’re using an LTO-5 drive today, you’ll probably not be writing anything older than LTO-4 anyway, and you can read LTO-3 on that same drive. If you have LTO-2 tapes or older you need to read, you get an LTO-3 drive, which can read LTO-2 and LTO-1 as well, and will run you around 1000 dollars.

That’s a lot of backward compatibility for very little money compared to video tape. I see a Digital Betacam deck will still run you around 50000 dollars new…

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Kind of like vinegar, yeah.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Does this actually extract just the portions of each clip that are in use (optionally with handles), or does it always copy the whole clip?

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

I agree, a GUI LUT would be useful. For everyone saying you shouldn’t care about how the GUI looks and not use it, no, it can be useful some times. And it’s completely possible to get a GUI monitor calibrated decently close enough to rec.709 primaries and a Gamma 2.2 curve to be useful to grade on, for stuff like quick on-set dailies and such. You need to profile and build LUTs, sure, but it’s doable.

While we’re at it, I’d love to see the ability to have different LUTs on the different outputs on the DeckLink card, that’d be extremely useful if you’ve connected one to a video monitor and the other to a projector, for instance.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

Steve, ok, I’ll bite, give me your sales pitch for LightSpace (in a private message if you like, this is getting a bit off topic).

Otherwise, the main problem I see with the eeColor is the 10-bit processing. That’s fine for video space stuff, but not enough for wider gamuts like P3. Which is why I do love the Davio, price notwithstanding.

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Joakim Ziegler – Postproduction Supervisor

[Joakim Ziegler]

The raw settings saturation adjustment is separate from Resolve’s color correction saturation adjustment. They are two different things. This is also the case with several other adjustments that do roughly the same thing in the raw settings and in the Resolve interface.

However, you often get better results adjusting the raw settings, for instance, the exposure control is often nicer looking than adjusting gain in Resolve. I’d recommend using raw settings to get your clip roughly where you want it, and then do the finer adjustments, secondaries, and so on with the Resolve controls.

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Joakim Ziegler – Postproduction Supervisor