[John Tissavary]

This brings up what I believe to be a serious shortcoming in Resolve’s implementation of the postgres database.

Southpaw Software’s Tactic (asset management software) also uses postgres and works extremely well in multi-platform environments. Specifically, it has a configuration file that allows the adminstrator to set the OS specific paths in an XML file that postgres subesquently uses to point to appropriate mount points/directories in each OS. That way it is not necessary to try and bend one OS mounting convention to another. I set up such a postgres database that ran flawlessly (in that respect anyway) on Linux, OSX, and Windows, even though each OS was administered to adhere to it’s mount conventions.

I implore Blackmagic Design to adopt a similar system. That would end this problem once and for all.

thanks,

John T.

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

You’re on the right track. There are a whole lot of considerations for color and monitoring management.

Choosing the right probe is important, and getting the displays to match as closely as possible without the use of LUTs is the best 1st step, imho.

I use a Klein K-10 colorimeter with the Klein measuring application for this purpose. I put up a couple of patches that I created for this purpose, then get the hardware to match white-points and luminance as best as possible.

I don’t go to LUTs until I’m either unable to get a satisfactory result from the display’s hardware controls, or I am conforming a display to a non-native color space (i.e. getting a Plasma to match a DCI projector in P3 color space).

Both Cinespace and Light Illusion will do the latter, but I only have experience with Cinespace, never personally used Light Illusion. Cinespace is flexible in that you can either run the profiling locally on the workstation via its own profiler application, which will display the color patches with correct timing for your given probe (and supports a LOT of probes), or by Output Independent Profiling, where patches are run on the workstation via Resolve or whatever, and a separate computer (laptop with probe attached) is running the Cinespace profiling software taking measurements. This is useful if you have a single license, as Cinespace costs more in a site-wide sever-based licensing scheme.

hope that gets you somewhere…

John T.

John Tissavary | colorist | owner
The Post Collective

[John Tissavary]

Thanks Chris & Peter, very welcome info. I figured codec support would be the big difference, just like it always has been on Linux.

regards,

John T.
colorist | the post collective

[John Tissavary]

Yes, all clips tested have 2 audio channels embedded.

John Tissavary
President
Maxsar Digital Studios

[John Tissavary]

Thanks so much Steve & Todd, I really appreciate the pointers. I’m sure more questions will pop up on this project, as I’m using AE more than I ever have before. I do miss the node approach from Shake & Nuke, but I’m so thrilled at being able to shuttle projects back & forth between Premiere Pro CS3 and AE (7 & CS3).

cheers,

john t.

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john tissavary
luna cie, inc.
digital film
hollwyood
http://www.lunacie.com
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[John Tissavary]

The after effects version is far better, but your best bet is to run your footage through after effects and use its native grain/noise removal tool (used to be Grain Surgery until it was bought by AE). Works great, but render times can be a bit long depending on what exactly you’re doing in noise removal.

Magic Bullet does have a ‘deartifacter’ plug in, but noise removal in AE is king. Also, I think you can use noise ninja in AE, but I’ve never used it.

cheers,

jt

————————–
john tissavary
luna cie, inc.
digital film
hollwyood
http://www.lunacie.com
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