[Joseph Owens]

[Jason Stogsdill] “Can we isolate the tree leaves and enhance their green-ness in color correction?””

Answer is a “qualified” yes… in almost every sense of the word.

Think of the grading challenge that you are setting yourself up for as an uncontrolled “green screen” with: a ton of noise, in-camera vignetting, motion blur and so on, and most of the obstacles that you will be facing will be familiar, if you’ve done a pile of platework. In a greater sense, a secondary correction in most grading applications is accomplished with whatever combination of Hue, Saturation, and Luminance plus garbage-matte (user-shape, keyed, or geometric) alpha you can pull from the picture.

In COLOR, this is somewhat complicated by the Secondary source being the pre-metadata RAW file (if you are using the RAW/RDC-workflow), and usually that image is shockingly undifferentiated in terms of contrast, either in luminance or chrominance. Most people would move on to either a different grading system or do the secondary corrections in the COLORFX room which is fed from behind the metadata Primary corrections. Its not as efficient as the actual Secondaries tabs, but what’s a boy to do?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

If I were to contemplate changing my entire business model, workflow, and client presentation to accommodate BM Resolve, which would appear to require a complete hardware upgrade, then I would not be repeating the same mistake by making it Mac- based, because this is just going to be cyclic. The lesson that Microsoft found so hard to absorb — forcing everyone to buy new hardware every time they revised their Window operating system, is simply being repeated by the Apple corporation. Unfortunately, in my market, I don’t anticipate any support– and certainly not of the calibre commensurate with the price tag associated with the Linux system– to justify that investment, either.
So for me its a **Pass**. Thanks, anyway.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Well, just reviewed all my MacPro machines and none of them qualify. Makes for a very easy decision as to whether or not to bother… maybe next version software… but I doubt it.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I think you should go back to the daVinci Renaissance Classic interface that was just fine on a 14″ black and white crt. And for some unknown or poorly understood reason, we were still able to do color correction.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

You will also have to build a new hardware system, as Revival is a non-mac application.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

So…. any estimates on how many MacBook Pros and MacPro systems are out there that officially cannot support Resolve or even be modified to do so?
A.) because they are more than one year old, and
B.) were specifically built to support software that was shipping;

last point, I would “like to” own an Italian sports car, there are plenty of dealers who would “like to” sell me one…. or more!

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

From 8:8:8 days, scene detector worked reasonably well — it had some “tension” factors that you could modify in case the image content wasn’t a good match for the default thresholds. AS I recall, obviously it couldn’t mark dissolves or FX transitions (obviously). On the defaults, it usually got confused and started scatter-marking if there were certain types of motion in the content — cars driving by, flags snapping, that kind of stuff.

The biggest trouble I ever had with EDL import was that a certain number of times out of ten , with certain customers, the EDL I got was NDF while the tape master was Drop. Gets complicated.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

One little additional note might be to establish a “gradient” illumination around the monitor, as it has been noted elsewhere that a completely “flat” background can contribute to significant eyestrain. One facility I spent a lot of time in had built a lightbox which was a triumph of engineering and really hard on the eyes.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Rory Hinds] “proper white balance”

White balance is somewhat involved, but a proper surround really helps more with a consistent contrast ratio.
See: https://forums.creativecow.net/thread/223/18616

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Sean Kapleton] “just curious if it matters for the converter box going to my HP Dreamcolor.”

There is a lot of chatter concerning the Dreamcolor, along the lines of it being a great monitor for CGI, but not necessarily so for HD video, and that most of its functionality relies on an RGB feed — otherwise the colorspace profiles are not available. I don[‘t use one, so there may be other news. So, does it have an SDI input?

jPo

You mean “Old Ben”? Ben Kenobi?