[Joseph Owens]

Everybody knows how easy it is… You just get in, fasten yor seatbelt (if you even feel the need for that), and press the “UP” button!

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Jon Georges] “Will they be in version 8?”

I didn’t notice anything spectacularly different about the R8 UI except that it will work with Final Cut-like layers, plus a couple of other operations that that will support. In fact, more real estate gets used up with a poly-layer project, and those three-way balls, even in Apple COLOR, are seriously in the way for those of use who use control surfaces exclusively.

I think Blackmagic has designed the application to work most efficiently with their custom surface, acceptably with third-party controllers, and just barely with a mouse. That’s probably merciful with the Lite/Free laptop version and two nodes — operators won’t have the temptation to push the app far beyond its ergonomic limitations with that platform and approach.

I do understand and appreciate the economy, but again, its yet another illustration of Good/Fast/Cheap, pick any two, but not the same thing twice.

Kim, like trying to fly the space shuttle after a quick Apple-Store briefing, I’d expect that you, of all colorists I’ve had the pleasure of working with, would know that the most complex vehicle ever built won’t actually perform out to its envelope if you’re trying to pilot it with one arm tied behind your back.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[David Roth Weiss] “Have you tried the Pull up/Pull down feature in STP”

In fact, that is how this situation has been resolved. I used an “absolute frame” pull-up factor of 100.1 per cent stretching 142409 frames to 142551+1 frame (probably an artifact of the Compressor process) and it syncs to- the-frame on playback. Interestingly, the visual waveform on the FCP timeline now shows the tail pop as being about 6 seconds late…. but it actually plays correctly. So no one thinks there’s anything wrong with FCP’s frame handling?

And, I’m surprised to find that STP is not completely useless. I’m applying the stretch to the Full mix as well, because there’s a ton of phase-flanging now between the two mixes, and contrary to popular belief, there are still some things that are unacceptable for broadcasters. Not many, but a few.

Thanks for the advice, its the right way to go.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Bouke Vahl] “for what reason would you need 4444?”

The simple answer is that there is a widespread belief that “bigger” is better, whereas “the same” is the correct approach, because there is no gain in using the 4:4:4:4 container, but it does make the anticipated codec decoding ambiguous.

The shift is pretty much a proxy shift, rendered outside of the normal Y’CbCr/RGB precision rules.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Robin Erard] “In my mind it’s black at 0 and white at 255, but I have a doubt since this week-end : I made a DCP with easyDCP and my black seemed to high (the DCI projector is to bright because the white is at 25Ftl…) but to be sure I would like to know if DPX output from DaVinci are really between 0-255.”

If you’re really quoting 0-255, you’re working in 8-bit, which is a very severely compromise for DCI.

You can choose your scaling in Apple COLOR, but Resolves’s default is dpx, and it looks like its default is to scale for Rec709 monitors, it should be 64-940.
check the manual:
The Colorspace conversion selection will perform a color mapping conversion to work with data to
video level translations. Remember your images are often stored in full 0-1023 data but the monitor is
generally expecting, and can process, the 64-940/960 video levels as specified by SMPTE. If you wish
to monitor the full 10-bit data range (0- 1023) of the monitoring output, simply change the colorspace
conversion to unscaled full range data. If the Colorspace conversion is set to the normally scaled legal
video then the data range is scaled down to video range (64-940/960).

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[thibault carterot] “When I put a quadro 4000 it doesn’t show the pci details anymore…”

This may be a really dumb question, but you DO have Quadro FX4000 “For MAC”… right? A PC version won’t work.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I am still straddling the Apple world — just riding that pony until it needs to be put out of its misery.
I disagree with some of the commentary that has grown up around the FCPX trial-balloon preview that software is somehow an “investment”. It can’t be — although I know there are accounting tools that assist with writing it down — it really should be considered a fixed cost of doing business. I have to keep telling myself that my outlay for FT2K way back when was part of a capitalization that got the application to where it became functional. Anyway, this is way off topic.

Interesting link to the Arri site. Good lord, they make unbelievable cameras — sometimes bulletproof, sometimes fireproof, if you saw the charred, but still functioning remains of that body at NAB. Thanks Mike! Good to see you around here, too!

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

LUT for Log to Lin?

This is not necessarily a colorspace transform, so I’d be surprised if it were treated as a LUT process. Its more of a re-scaling calculation, but I’m just a beginner with Resolve, myself, making the transform from Apple COLOR. Do I need a LUT for that?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Dan Moran] “You can find all the information for download on this page :”

Does it matter if you don’t have a serial number to register, as it challenges you for ownership.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I realize this issue is probably not related to the recent OS update interfering with the FX4000, but is there a possible corollary? https://forums.creativecow.net/thread/277/4939

jPo

You mean “Old Ben”? Ben Kenobi?