Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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Momentarily switch the output of the HDMI Resolve output to something 1080, allow the LG to recognize the picture, then switch your Resolve output back to UHD or 4096 — the LG should display a picture. Not new.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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[Duke Sweden] “Will I need an older version of Adobe Reader to open it? ;-)”
No, but Adobe will save it as a current version, then you won’t be able to open it using a previous version. And when they update in a few weeks, like Premiere, then you will have to re-save it again.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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[Andi Winter] “would love to print those movie-posters for me and the dop “
Screen Grab?
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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“Insert” edit is the correct answer.
There is another type of edit called “over write” which substitutes your trimmed source media into the timeline “over-writing” the previous clip. If you are clicking and dragging media, this can be tricky to differentiate. In versions of Final Cut Pro, there was a directional arrow that indicated what action would be taken. This depended on whether the release point was above or below a criteria line superimposed on the layer.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Tero Ahlfors] “I’m not sure if there are drivers for the Nvidia 10XX series on the Mac but I’d suggest a 1070 or a 1080.”
There are, but you will have to try to move into at least 10.12 for a Pascal card, then find the correct WEB driver for nVidia and your specific OS point release (eg. 10.13.4 (17E199) web driver is 387.10.10.10.30.103) – and every time there is a new point release you will have to refresh the web driver (but wait 48 hours for nVidia to react to one of Apple’s “security and stability” releases. Their definition of that is “mess up everyone who is not using our proprietary/approved products.”
There is a (kext?) hack to ignore the point release incompatibility because there really is no difference except Apple’s boot protocol insists on checking the web driver and rejecting it if it doesn’t have the specific OS identifier.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Tristan Hachmeister] “(blacks fully crashed)”
Usually means you have the video range set incorrectly. “Full” RGB vs “Video”Linear — the difference between 64-940 and 0-1024.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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The version of Resolve “15” that you installed is a preview Beta and is unlikely to be complete.
This occurs often with Beta-release — it is very likely not fully-featured yet.
Some formats may or may not be supported until the company gets to Release Candidate and Final versions.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Bob Cole] “I assume that Blackmagic means closed caption?”
All the way up the road to unintended consequences, I got involved with caption/subtitling several years ago and discovered a world of hurt.
Closed Captions are not subtitles, and Subtitles are not closed captions. Although “people” are not all that aware of the subtle differences.
“Standard” SRT files are SubRipText that, yes, look a lot like captions. But they are not EIA-708 closed captions.
You will also get better results (ie: Vimeo) if you use sidecar files like WebVTT.The real problem here is that *closed captions* in their broadcast sense are intended for the hearing impaired, and function like described video for the visually impaired. That is, they not only convey the transcribed spoken dialogue, they also describe the aural environment — [gunshot offscreen] or [Garbled telephone message] when the speech is intended to be unintelligible. Usually, “subtitles” are intended for an audience that is listening to the soundtrack and either sees the text as an assist in comprehension or a completely different language. Subtitles don’t describe the sound ambience, offscreen sound, or identify speakers. That is just how it is.
BTW “Stay put. I’ll get them.” stands a chance of being flagged by DCMP as *non-conforming with suggested practices* and should be represented as “Stay put.” “I’ll get’em.” (with a pause in between). The FCC is getting sticky with this kind of thing. Text shall be synchronized, and convey the manner in which it is spoken. That is a rule.
Yes, there are rules. A lot of them, and FCC started threatening fines for non-compliance a couple of years ago already.
https://dcmp.org/
https://www.fcc.gov/general/closed-captioning-video-programming-televisionI recently spent two DAYS fixing two short programs that had been “captioned” by the CBC (loose interpretation of the word, since it looked like an automatic, letter-counting algorithm had simply slotted whatever words fit into the box) and good enough. Not good enough. Two other broadcasters had already complained about the poor quality, so yes, it was a fixer job.
Her’s the other thing, though… HDMI doesn’t (can’t) transmit closed captions to a display like we used to do (Line 21), because it just doesn’t exist. Your digital cable box has to do it. Also, .scc now appears to be (finally) obsolete. I tried to author a DVD a few months ago — the client insisted on federal compliance “CC” — but the roadblock came when the rider-request was for 5 other languages to appear as subtitle streams. That’s where the chickens came home to roost. Ultimately, they had to walk it back to “Authored for the Hard-of-Hearing” because they could not meet the
Federal Standard for the Hearing Impaired. The DVD authoring software and players could not distinguish between the .scc and .srt (subtitle-stream) metadata and would always mis-count which asset to access — so you would get French when you wanted CC… Portuguese when you wanted German… and so on. The fix was to delete the .scc Captions and imbed Stream1 as the English “closed captions” (technically no longer legally qualified as such) and then ripple out the streams. After that it worked, but… you can’t put a Prancing Horse logo on a Pontiac Fiero and sell it as a product of Ferrari.jpo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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There used to be a term “best light” which was a dailies-workflow designed to try to please dP’s and still fit within a producer’s budget and the post-house’s need to achieve a shred of mark-up on services. Basically, a step up from a “one-light” (which was totally up for abuse in interpretation) and a “matched” set of dailies. But the transfer operator was only allowed RGB primary correction so as not to “hoop” the finishing colorist. The best advice I ever got was “just lay it over the origin.” If you know how to read a vectorscope, you will know what that means.
Colorists did not have access to “histograms” until the first software/commodity-platform-based grading applications were introduced. Never knew what to do with them until the issue was discussed with a LUT developer… the takeaway at least for me was, hmmm… not really all that helpful.
Anyway here is my take… primaries only, no secondaries or curves:Neutral_warm.jpg
If this is the right uploaded image…. if you scrub over the beard, it still seems to have tint — eventually you also have to overcome the perceptual difference with simultaneous dynamic contrast/ complementary contrast.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Chris Wright] “also set my black and white point white balance.”
Beard is really that blue?
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.