[Joseph Owens]

[Laco Gaal] “export full sequence in full resolution DPX with redlogfilm -> import the DPX sequence in Davinci, cut it up, and grade it.”

You could always simply export the portions of the sequence that have ramps and re-imbed those, instead of the entire project.

Either way, this has been a nearly weekly topic of discussion regarding efficiency of approach since Apple COLOR was released, what? five, six years ago.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

XML is a markup language that describes your edited project.

Dpx, Quicktime, etc., are the encoded media components that make up the audio/visual portion of the project. Without the means to interpret the speed changes that you are introducing as part of the edit process, some applications cannot duplicate the instructions that the XML carries. Apparently this will change with the introduction of Resolve 9, although at first glance it seems as though ramps will be confined to instructions defined within the XML document and third-party plug ins may have to figure out how to imbed their parameters so that it looks like a native algorithm to the originating edit application.

The method described — exporting a new ramped clip, is the time-honoured approach of “baking out” a QT (or dpx sequence) that itself runs at 100%, so that the speed ramping does not have to be emulated by the correction software accessing the original source media.

When you “render out” your ramped R3D media to dpx or Quicktime or anything else, you can choose whether it conforms with the display standard you are currently using or some other. If you are working strictly within 709 specification, I don’t really see the need for some other gamma setting unless you are over-complicating the workflow with a matte-box full of LUTs.

I’ll be very interested to see what Resolve 9 does with a “0%” speed change, or “freeze frame”.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Yeah, I think a matrix transform that resets derived Y’ would be a difficult task in an RGB system — essentially you’re trying to “reset” a 3×3 matrix in two different dimensions. You are not working with Y’CbCr in daVinci or DaVinci, so luminance is not being directly addressed — it is being calculated from the RGB values that you have changed to achieve your hue/sat correction.

I guess the workaround would be to restrict RGB gain balance to the joyball and use the Y luminance knob to adjust gain, rather than the ring. Of course none of this helps if you are not monitoring a YRGB parade, so you don’t really know where your luminance is going, anyway.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

First off, I don’t understand your workflow.

But as far as re-linking goes, have you tried “Change Parent Directory”?

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Dwaine Maggart] ” price of the Resolve panels was in the $75K range”

…and they contain some very finely machined parts. I am being tongue-in-cheek, though, obviously, I hope I really didn’t need to point that out. However, I do recall the price of a gate for an URSA being in the $20K ballpark, but just like any stealth bomber design, most of the cost is actually in the R&D. Today’s CinC machining is not ‘your dad’s CinC’.

The real issue around scanning film is the whole infrastructure that is also required. As usual, its not the article itself that is the challenge, its how to keep it serviced, and all the prep surrounding getting a lab roll of film ready to mount. Splicers? Where do you get those now? A garage sale down at your local cinema?

But as pointed out, maybe the real prize in the crackerjack box is the image processing patents and licenses.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

[Walter Soyka] “Everyone thinks “film scanner” when they hear Cintel”

Well, at least “telecine”, but the noise and dirt-fix technologies (some similar toor licensed with Kodak “Ice”) would fill in some gaps.

Pesonally, I’ve been lusting after a diTTo for years, and now that they will be priced at about $5K, might be the time to set aside the funds…

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Kind of counts like a variable speed change, which of course up to this point is forbidden, anyway.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Sometimes tracks make complex editorial movements “easier” than than connected clips. And sometimes they make editing much easier.

If only all projects were “cuts only” like in the good old days of machine-to-machine, then management would be a no-brainer. One track, no waiting. I do concede that X has some internal mechanisms that are a leap forward – we’d be just as incensed if its reach did not exceed its grasp. This has all been discussed to death. However, just like audio used to be relegated to third world status sucking hind tit behind glamorous video, the real-world requirements for all the deliverables permutations that we are now faced with seem to have been glossed over, and forces some serious workarounds. Texted, textless, seamless, break structure variations, audio hierarchy in all its DolbyE, stereo, stems, surrounds, and have I left anything out yet? Oh yes, the extended versions with snap ins and alternate language/international window elements… but wait there’s undoubtedly more, and no, this is no longer just a broadcaster issue, because all distributors want all these things plus, oh, you know, several layers of assignable polylingual subtitles. Not unusual for me to be working in three or four languages now.

It would be amusing to see how long the audio engineers of the world would have taken to line up the offending parties ‘against the wall’ if the magnetic one-track mind had suggested that they no longer needed multitrack as an operating hierarchy. It would not have gotten out of alpha.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

3gb cards (they can be any pc version correct?)

Not so sure about that, depending on OS – you might be OK with. Mountain Lion, but if you’re in Snow Leopard, you might be waiting for a flash mod.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Joseph Owens]

Haven’t had to reconcile something like this, but my bet is that on a clip-by-clip basis you won’t notice any difference. Even SR decks can correct for the 1000/1001 pitch difference in real time playback, and certainly the raw pickup points won’t be different.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.