Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Tim Wilson] “Are you shooting it yourself?
Are clients bringing it to you?
Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)
What cameras/formats are you shooting/receiving?”I do not operate cameras as a rule.
I run a more-or-less full service online/grade/delivery service (used to be called “online,” I guess) including captioning.
The gamut of service covers just about everything that can be encoded as an image: from stills to feature-length for streaming, disk delivery, broadcast and theatrical presentation. Among the many one-offs, I’ve been fortunate enough to be retained on about half a dozen series over a multi-season arc over the past 10 years or so, and certainly the acquisition formats have changed a lot in that span. Our tools have also changed radically, going from Silicon Color FinalTouch2K to Apple COLOR and then through multiple generations of Resolve. Which I wanted to start with, but even then, davinci systems were not sure about it in favour of their 2K+ system. But we know how that went.Used to get a lot of HDV 10 years ago, which mutated into C300, saw a pile of RED, then EPIC, some ARRI, a lot of Sony FS7 lately. It depends on the flavour du jour and how rich the producers feel. HD is on the decline in favour of 4096 finished as 3840, which is kind of a pain in the asspect ratio.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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What is your target output gamma? 709? What profile did you shoot for?
If you have a simple color temperature error, you may find it simpler to use the mired slider in the “2” menu found in the color wheels controls.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Bill is correct. The software can operate through a shared-network and the client software is both Mac and Windows compliant. It can be a whiff tricky to handshake, but there are a lot of tutorials available to step through the process.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Either you have a software/installation/configuration conflict or a strange input scaling/centering transform.
Is the input image a differing resolution from the timeline/sequence setting; and how is your project configuration set to handle that disparity if it exists?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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The new “Frame” keyframe mode also helps a lot.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jacob Gull] “HDMI –> Panasonic 65″ Plasma HDTV TC-P65S1
I have been recommended a Spyder, but I thought that was just for print/photoshop work.”It isn’t ideal for motion picture, since you need a much more sensitive photometer. In a way, the blacks are more important – its a little counter-intuitive – and even an EyeOne C6 needs some time and multiple samples to come away with a good dark measurement.
I use a C6 with C**lM*n Studio — it is also advantageous to run their Client3 ICC Manager on your iMac. If you can somehow align the Panasonic with its internal 2-point or 20-point white balance (if its offered in the super-duper Advance User Settings), it is better than inserting LUTs. Any calibration software is going to ask you to try to get the monitor as close as possible before generating a profile/map anyway. If you’re “close enough” for that, sometimes you are close enough for what you want to do.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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There is a “flip” button in the Transform dialog.
Try lassoing all the clips… not something I have been concerned with.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Don’t think any of those approaches are viable… Resolve cuts up the source clip and then treats them as new independent clips as if they were unique in origin.
If there are only a few instances, one approach might be to re-import the complete movie and re-create subclips from it to insert into the timeline at the appropriate points.
Marc has evolved an approach that emulates an *import as cutlist* strategy, where you use an EDL generated from the scene detect timeline and re-apply it to the original whole movie, and I think you get the opportunity to move event boundaries in that workflow…
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[samer mahmoud] “ny idea if Decklink HDMI out is RGB or YUV “
You would have bigger problems if that was true. Because there is an apparent twist in the color cube where some hues are shifted in another direction, it is more than likely in whatever “calibration” table the Dreamcolor is using.
There really is only one way to improve the monitor’s display fidelity and that is by coughing up for a reliable measurement tool and appropriate software. Its probably going to cost you another $1000 or so to get yourself a (minimum) X-Rite C6 spectrophotometer and either Light Illusion or the other manufacturer who triggers the nanny-filter on this forum. Even then, a pro-sumer-level display is going to take a couple of days’ effort, thousands of measurements and fiddling around with the monitors “advanced” settings to get it close enough for the calibration tests to actually come up with something that isn’t too far of a pre-distortion to generate the expected values without big discontinuities (banding) and noise.
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Glenn Sakatch] “That is kind of a “what color is the sky” question.”
Silly, its D65.
Just got back from the kart range, and I swear I am quicker in the slower cars. Lap times are about the same.
Anyway, cutting more and more in Resolve lately, even though I have all the majors; keep them around for project import and conform. Resolve is very much like Final Cut 8.
And very much unlike FCPX, somewhat similar to Premiere and has a very different approach to media management and file hierarchy than Media Composer.I think it was a conversation between Bohr and Einstein once in a Princeton lecture hall where, when asked by a student how they came by their in-depth understanding of the extremely advanced mathematical concepts, answered that no one understood the math, but everybody just eventually got used to it.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.