Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Eugene Lehnert] “The version that comes with After Effects would not work”
It probably would be fine… depends on whether you have a unique plane that Mocha can search, but there are a number of techniques illustrated in their tutorial database just in case you need some tips.
An oldie but a goodie that I often still call up is the SmoothCam node in SHAKE. Still works, very flexible.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Gianni Saponara] “Is it possible to modify the frame rate of a clip”
Yes, it is. I’m going to refer you to the Resolve manual — Changing Video Attributes would be a good search term that will bring up a number of topics. This might be a better option to try to answer your question as it covers many variations of what you are really looking for.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Good luck finding something you like… and matching all the HDMI stuff… and finding a calibration you like.
Most of them do support both UHD and 4096 DCI, but not always widely advertised.I have found there is an advantage to the big screen and 1:1 pixels (frozen pixels a little easier to find), although hard to get
a good fix on resident noise as most of the consumer displays are pretty noisy all by themselves. Before people get their shirst in knots, I’m not talking about graphic source material, wide-gamut goes a different path, and if you have shut off all the BestBuy supersized enhancements, it also exposes the weaknesses in the consumer circuitry.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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If you want to do it simultaneously (4K output plus HD), there are two options that I know of:
1) the newest BMD 4Kextreme 12G will export HD plus UHD
2) AJA 4K2HD converter will accept SDI inputs and downconvert to 1080. You will need to send it Dual Link HD-SDI UHD, but it will output both HD-SDI and HDMI.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Felix Frank] ” but my hand wrote nuke…”
Which started out as fission…
And… we used to be able to hand off VFX from Final Cut (Classic) to SHAKE, and Motion and FCP would play back .motn and LiveType projects without direct media export… &c., &c., — it all depends on the internal protocols that the companies are willing to share or rabidly defend (“not share”).
so, if you are relatively new to the field, (say less than ten years), welcome to the nut house. OR if that is not PC, to the “reality-challenged.” Not that there isn’t a ton of that going around.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marc Wielage] “it’s a question of knowing when and how to use Pre-Clip/Post-Clip grades, when to just make a change within the Clip grade, and then when to use a Timeline grade. “
If a clip needs an individual adjustment, then it should be made inside the clip. In the Clip grade.
Pre and Post are time-insensitive because they are intended to function essentially as a custom LUT evenly across a group. What would be happening if clips belonging to a group are scattered throughout a timeline?
Its a bit like “parenting” an element with an Uber-command in the manner that Marc suggested — if a mateched-and-corrected scene needs an overall revision — and “two points brighter” or “darker” is common, then lasoo them and do it with one tweak, rather than working through the whole lot, and if it tracks, great, or if one or two clips pop, then re-address them on a clip basis. That’s just grading.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marc Wielage] ”
I don’t think the Eizo’s color navigator is good enough for Rec709 (broadcast) or for cinema distribution.”When I think about the amount of energy released into the environment in that brief period of time when “film vs. digital video” dominated the discussion; now that it is settled, I’m hoping that Climate Change will start decelerating any time now, because it has to have been a factor.
But lets talk about densitometry. When you try to make “black” on a white or silvery, reflective screen, that’s really where the rubber meets the road. Emissive vs. reflective are so fundamentally different, the only hope is for a reasonable compromise. Any colorist who has spent any time at all trying to get a black balance knows there can be a lot more going on between “0” and “1”, than there is between “1” and 100.” Thats just how it is, and in the digital world, that infinity of random noise, quantization error and other minute factors are just below the radar. Now lets toss in a gamut LUT, and probably re-range the RGB / Rec709 mapping across the grey scale. You start wondering how any of this could possibly work, even at a “good enough” level. Practically speaking, if enough small errors creep in, it won’t. That’s why it costs a bit more to acquire equipment that can achieve the sensitivity, repeatability and accuracy that keeps those factors at bay. The ones you can’t even see, the monitor can’t display it, the (consumer) densitometer isn’t registering it, and then its obvious when it hits the theatre screen or home receiver that is cranked up to BestBuy Sales Demo mode.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Priyanka Menon] “the moment I import it into Premier Pro CC2015 the colours become redder than how it is on DaVinci. “
How is the color display in Premiere being managed?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Peter Chamberlain] “Improved Dobly Vision XML export”
Oh! Oh! This would have been so much more appropriate in Release “ELEVEN”… The boys in Spinal Tap would have been so down it.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Web Design is probably the closest if it is sRGB, which is very close to Rec709, but a graphics monitor is not normally a good choice for doing cinematographic work.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.