John Pilgrim
Forum Replies Created
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The ASUS Rampage IV Extreme LGA 2011 looks to be the same price if not more expensive than a ASUS P9X79 PRO, so there’s not much savings there.
I just built a ASUS P9X79 PRO system for R9, since I wanted to keep my 2009 Mac Pro for existing R8 projects.
Considering the total system cost and what my time is worth, I don’t see any point straying from the “approved” Asus P9X79 PRO board.One thing to note is that each Sandy Bridge CPU (either an i7-3930K like I used or a single beefy E5-2687W) only provides 40 PCIe lanes.
40 lanes
A GUI card takes 16 lanes.
A GPU card takes 16 lanes.
A Decklink card takes 4 lanes.
A RAID card will usually take 4 lanes.So all 40 lanes are used at that point.
To add a second GPU and/or a Red Rocket, one would need to switch to a dual CPU board to increase the number of PCIe lanes.
Something to think about.
Hope this is helpful,
John—–
MacPro Early 2009 (“MacPro4,1”)
OS X 10.6.8
dual 2.93GHz quad-core Xeon (Nehalem) CPU
24GB RAM
nVidia Quadro 4000 for GUI
nVidia Quadro 4000 for GPU
Decklink HD Extreme 3D+Asus P9X79 Pro motherboard
Windows 7 64-bit & Ubuntu Linux 12.04 64-bit (dual boot)
single 3.2GHz Intel i7 3930K 6-core CPU
64GB RAM
nVidia Quadro 4000 for GUI
nVidia GTX580 3GB for GPU
(TBD: Ultrastudio SDI or Decklink HD Extreme 3D+) -
Anyone have issues with R8 and R9 coexisting on the same Snow Leopard machine?
I don’t want to bogart my production machine. -
DaVinci Resolve is a color grading tool, not a compositing app.
Resolve’s HSL and RGB qualifiers are there to isolate secondary color corrections, not to perform chroma keying for compositing.
You’re right that AFX, Nuke, Flame, etc can pull better keys, as well they should since they’re compositing apps.
If Resolve’s qualifiers aren’t working for you, I wonder if your workflow is such that you’re asking your grading app to do your VFX tasks for you. -
[Rick Turners] “Would the best way around this be to grade the raw R3Ds (like dailies?) and then have them relink to that in the edit?”
Yes, for the project workflow you describe, I would agree that the best approach will be to grade the footage upstream of twixtor. The challenge will be ensuring that there is sufficient handles for any clips that are sped up. It might even be a useful approach to have Resolve render the entire source clips, to guarantee that twixtor won’t run out of footage.
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You’re preaching to the choir Sascha.
Sometimes one doesn’t have control over — or even full accurate knowledge of — what a client has done upstream of the conform/grading process.
John -
Some of the camera ftg is having compositing done, hence the rendering from Nuke.
If some ftg is coming straight from RCX, and other is getting comped and coming from Nuke, for the best grading workflow, should the Nuke write node render to RedColor or to Rec709?
And if Nuke is rendering to RedColor, do i need a LUT in Resolve?
John
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+1 for Neat Video.
I run it in After Effects, sometimes before and sometimes after Resolve, depending on what makes sense for the specific project.
John -
Andy, those images are 3840×2160. If your browser is scaling them down, they do look quite similar. If you view them pixel-for-pixel, there is a several pixel softening.
Sasha, your workflow works fine for me when my output resolution is equal or less than my monitor resolution. But this 3840×2160 project isnt behaving like it seems it should. I’ve made multiple new projects, multiple conforms, and dozens of renders, and it still is giving the results I’ve descrbed.
John
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Along these same lines, I’ve been meaning to poll the forum members here:
How are you calibrating your monitors, specifically those connected by SDI?
What software, probes, boxes, schedules are you using?
John
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Ronen’s is better but I give this to the editors I work with:
https://www.johnpilgrim.net/client/reference/color/PrepForColor.html