[Joseph Owens]

That toggles between Record and Source, but for some reason, my AAF imports are still displayed with handles — ie I can’t see my original edit in any mode.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Don’t think so.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

What’s the expression about doing your laundry in public?

Betas are for internal communication only and that is just common sense.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Thanks, Dan, but Tim is the original poster.

I do have an instance of the AVID/Resolve full license running now with ATI 5770 and nVidia QFX4000. Looking forward to the arrival of 8.1

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Tim Bond] “Any thoughts?”

You should peruse the configuration document. https://www.blackmagic-design.com/support/detail/?sid=3948&pid=4448&os=mac&leg=0

They really mean it.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Robert Houllahan] “get on with doing the grade the way the producer wants it, ignoring any and all artistic intent of the DP.”

Oh, man if the walls could speak. This is the rule, not the exception.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

On-set color direction is a kind of Holy Grail. The biggest challenge is not with the numbers, but controlling the environment. Set is normally semi-chaotic, so detached evaluation is very often an illusion. Notwithstanding the uncalibrated nature of most portable equipment, the reality is that even a “calibrated” monitor will not look right if its not sitting in controlled conditions. Even with dailies, attempting to pilot a grade out-of-context is a very different animal than dealing with a locked cut. The guiding principle, when there’s going to be another layer of final grade, has to be ‘do no harm’, and without very tight controls, scopes, and so on, its easier said than done. Clip or crush anything — you’ll be back to square zero, or you may as well not try to do the final grade with the onset dailies. Most colorists would rather not deal with somebody else’s on-the-fly interpretation, but — if you do save your “looks” then they can at least be passed on to a final (DaVinci – family of color correctors) grade and maybe the ColorTrace will be a shortcut back to the original source media and corresponding corrections. It will be important to keep the door open to going back.

Kodak and many, many others have tried to institute approaches to translate on-set chart or numerical references (FilmTools, Gamma&Density, etc.) to transfer. Success, more often than not, is a matter of politics and luck rather than good management. The biggest single factor, though, is usually verbal communication between dP and colorist; when they’re looking at the exact same monitor in the exact same room. Otherwise, its a bit of mind-reading to really get at “intent”. Sometimes what happens on set isn’t exactly deliberate.

If control is what you’re looking for, then what you need is absolute control. And that encompasses a lot of factors.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

At this point wait for version 8.1 which is advertised to support a full AAF round trip of some description.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Marc Fisher] “but if you’ve made the switch to Premiere, which only exports xmlv4 right now,you’re out of luck.”

then open the XML in FCP and re-export it!

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Kent Kumpula] “I would pay a maximum of something like $3000 for the panel.”

This is completely unrealistic. I doubt they could even be manufactured at this price point.

*Everyone* (the famous “they”) complain about the build-feel of the Wave for $1800. Maybe Logitech could lend some mass-manufacturing expertise, but even they won’t touch a controller if they can’t expect to sell several million units.

jPo

You mean “Old Ben”? Ben Kenobi?