[Joseph Owens]

[Peter Magnusson] “? I configured the cards according to the DaVinci setup”

And there should be NO monitor connected to the Quadro.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I expect it will depend on whether Apple has any spare change on the night table to support such a frivolous pleasure trip, and times are economically challenging for them, you know. I mean, how many professional editors are there in Europe that are dying to import their iMovie projects for auto-grading? Maybe if they threw in auto-titling! That would be a game changer and they would have re-re-re-invented editing…. again. (Spoken with vaguely ethnic and intellectually snobbish accent)

(Default title: “MyMovie”).

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Daniel Boist] “a generally smooher roundtrip preserving alphas?”

Imbed the original ProRes4444 with alpha on a layer under your graded clip and you can still use the original clip as an alpha multiplier for the new one.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

So the application draws nearer to being an All-in-One compositing, grading, finishing tool and then it would be Smoke and that is a different haircut as they say.

Some workflows are predicated on achieving certain kinds of results at certain stages, subject to revision at any future point in time. Too much ‘put-together’ at a critical process usually eliminates future options and usually forces a complete re-do if there are too many variables, ie., there’s too much “glow” in that shot… but its rendered in.
Regrade it if its part of the color correction process… maybe the plugin/filter isn’t available to you as a tweak at that stage.

This is fine for self-contained projects where there might only be one opinion in the room. Recipe for disaster under other circumstances where there are control/decision issues.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

yeah, this showed up on the TIG as well. I can appreciate the sentiment. Its hard to generate the markup just to allow the kind of ongoing investment and legwork that is required. Part of this is due to built-in obsolescence — Apple and the Detroit model of pulling a gullible and fashion-obsessed consumer base along, but also drastically understating and oversimplifying the process. Anyone who can push the shifter into “Drive” can win a Grand Prix.

But out of all this, apparently the good news is that sophisticated post is just not required anymore. FCX will analyze all your footage, fix it, decide what’s good and what isn’t, and auto-edit/grade/mix/equalize everything and post it to the net distribution venue of your choice (probably the iTunes/Cloud-thing). Order the new Lamborghini off the proceeds that all those random net-browsers will be pouring into your pocket because its all just pure profit, no standards. That’s how it works, right?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Smile

[Christopher Adams] “it would let us talk in terms a DP would find useful to get us a starting point.”

But you and I as professional colorists already know what these look like and can achieve them in about three strokes, which is about all the time that we had to fix filter excursions while transferring our first million feet of dailies.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Margus Voll] “I think filter can be added later after grading ?”

So what would be the point of grading? Unless its a ProMist or other specular type of filter, most cinematographers talk about adding “straw” or “coral” or similar vocabulary as part of the tint/value conversation. What the original request would be for would be a click to drop an 85 or an 80B or a Wratten #11 on top of the shot and hope it has the same effect as screwing it into a lens or dropping it into a matte box.

The reality is that these are optical devices and that’s not how color correction works in an electronic environment.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Good luck with these requests — unless they can be implemented in “real time”, I don’t think you will see them.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Apparently a good idea, but not mandatory if you have a powerful 8- or 12-core MacPro.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Doesn’t matter for some of us — DVDs are part of the deliverable package. For me they’re getting to be the “new VHS”, and PTL that is gone. However…

does no one give a rat’s @$$ about archival/preservation, simple storage anymore? Sure post it up on the net — I’m sure the cloud will last forever, right? Well, until Apple or someone even richer and more arrogant decides that internet cr@p is so yesterday and deletes it all.

jPo

You mean “Old Ben”? Ben Kenobi?