Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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[tony west] “they should just stick with computers”
This won’t be a dumb question in the near future: “What’s a ‘computer’?”
I just installed a new Denon AV Receiver that is network and AirPlay enabled. What a revolution.
Every streaming radio/music, etc., service in the world, plus solid linkage with my (admittedly Apple) portable devices, for even more sources. The new Denon remote has less than half the buttons on my 12-year-old AVR-3300 remote– in fact, the portable devices; iPad, iPhone are the remote. The sound performance, especially with their auto-room placement calibration simply knocked my socks off. Same old speakers, totally different experience. One knob on the front of the AVR, and an intelligent front display, so I don’t need to turn on the plasma to see what I’m doing. I think my wife will be delirious.
Apple don’t really need to build a display — as long as they completely inhabit the connectivity.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Walter Soyka] “what’s drawing you to investigate SpeedGrade now if you weren’t using it before?”
More or less pure professional curiousity — like going to see a production to see just how “bad” or “good” it is after reading the critics’ reviews. Also another local facility is using it, and of course, when it arrived with my Production Premium package, its like getting a defecting MiG to analyze.
It might turn out to be an advantage to use as another option if PremierePro gains any traction and Adobe works out a workflow for it that makes it incompatible or uncomfortable for Resolve roundtripping. And to be able to talk intelligently about an application — (notwithstanding the FCX debacle), and maybe wring another few minutes of use out of my Tangent 200 panels, which is looking less likely.
This all does seem to be rather reminiscent of Apple not knowing what to do with Final Touch when they got it and decided to just toss it in the popcorn box as a free prize. At least they got the XML to work. Yeehaw.
Just another veiled insult to colorists by the manufacturers as to exactly how much respect they really have for the discipline.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Paul Stroud] “Is there a reason color grading programs seem to have their own conventions”
Because its a different task. All modern colorgrade applications owe their legacy to film timing, Hazeltine, Pogle, daVinci (note the lower-case d) et al, and telecine — the celluloid-to-video variety. Then somebody got the bright idea that a color corrector should be able to do tape-to-tape and then it became file/server -based and the rest, as they say…
Grade is supposed to happen, supposed being the key word, with locked finals. God help you if you sent a less-than-completely signed-off workprint to a neg cutter. Of course, that process was irreversible, but currently a project is never locked, ever. So colorists are expected to be editors, and in a growing way, fx compositors. Not necessarily a bad thing — being a one-trick pony is the recipe for disaster in today’s marketplace, but the reality is that the core function of grade uses a different set of skills, a different mindset, requires different hardware – calibrated, for example – and a very different time budget.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Mike Halper] “it still seems the controls are overly sensitive. This issue is primarily with a mouse, but also with a surface. “
Have you tried:
Control Panel
These controls set the sensitivity of the primary grading controls for Lift, Gamma and Gain balance
and master, the Cursor trackball offset and master, and also the Hue, Saturation, and Luminance
qualifiers.jP{o>
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Broadcast deliverables appear to be drafted by people who are pulling numbers out of a hat, or somewhere else, or worse, a Google search. Example: Project two years ago, the audio had to be delivered in “aff”… Yeah, probably a typo.
But wait for it, any issues with drop frame? (here we go, its like pulling the pin on a hand grenade and rolling it into the spider hole!!!!). “Isn’t it supposed to be ‘more accurate’?”
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Alex Mermelstein] “I’ll use Cinema Tools’ Reverse Telecine option to make them 23.98.”
That would work if it had 2:3 cadence, but as this is native 2997, that isn’t likely. There is a way to make 2398 out of 2997 in Compressor, but its a “better” interpolation and can take some time.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Himanshu Bhatnagar] “What exactly am I missing here ?”
Uh… Adobe Media Encoder.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[David Eaks] “FWIW its bain, it seems like the bain of your existence.”
Uh, no… actually, its “bane”.
“bane” was once a very serious word. The Old English “bana” meant
literally “slayer” in the sense we now use “killer” or “murderer.”
Early on, the English “bane” was also used in the more general sense
of “cause of death,” and by the 14th century “bane” was used in the
specialized sense of “poison,” a sense which lives on in the names of
various poisonous plants such as “henbane” and “wolfbane.”From this very literal “something that kills you” usage, “bane” by the
16th century had broadened into its modern meaning of “something that
makes life unpleasant, a curse.”j (DR. Sheldon Cooper, to you) Po ;-P
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Rafael Amador] “For anything that can be recorded on that VTR, you only need single link.”
Don’t know where that is coming from as it would only apply to 5500s not equipped with the 5003 interface. Dual-Link is certainly part of the SR recording format when optioned correctly.
Single-Link 4:4:4 is not possible with the 5500, as it was introduced with the 5800 series.
Looking at my HDLink Extreme3D software, though, I can see where the frustration sets in, as there is no “control panel” the way that AJA graphically sets up its throughput, so that you can definitely see the “cable” connections as they should be configured. Maybe this is part of a Blackmagic pro-sumer mentality.
However, in the System Configuration page of the Blackmagic Decklink software, you will find a couple of radio buttons, one of which is “Use 4:4:4 when possible”, and there is another switch which toggles 3 Gb/sec single link. The REAL kicker, though is that not all ProRes 4:4:4 is RGB, since Apple designed the codec as a container that can carry both Y’CbCr and RGB, but no indication as to which it might be in any given situation. So you might actually be trying to send Y’CbCr down an RGB pipeline and you won’t get anything but grief at the other end.
And that is an egregious oversight, and more evidence to me that Apple really and truly does not understand video and thinks its all just “graphics”.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Confusion about what constitutes the bit-depth of a container?
Consider how computers process data. Binary, octal, hexadecimal. Base two, Base eight, Base sixteen.
If you do not understand binary code wording, then whether something is “8-bit” or “10-bit” or “12 bit” or “16 bit” or “32-bit” or “64-bit” would be mysterious. They are all “words” or “bytes” that contain a value. Whether a particular value is carried in large-enough byte container does not alter its meaning, so “converting” an 8-bit data packet to fit in a “10-bit” container, which obviously has to be 16-bit or higher, is meaningless. It also does not change its intrinsic resolution as it was originally encoded.
Its as silly as demanding 4:4:4 output from a sub-Nyquist codec source.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.