Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Dave Williams] “Has anyone been able to do a key on a totally washed out sky, add some color and have it look realistic?”
Yes, these days its an expectation.The technique is usually a combination of Luminance-qualified secondary, erode/blur plus a power window to put some shape into the sky gradation. This gets a little tricky for material that is less than 10-bit, as banding will set in fairly quickly. You should save this operation as a node tree that you can append to a current grade, but also be prepared to do some tracking. Try not to do custom shapes, but mostly rely on the luminance qualification to provide a basic “shape” that you can feather, then shape with a boolean window operation.
Look at a natural sky and for the most part, you will see that horizon lines are less saturated than higher azimuths.
Otherwise 24 working hours for a 1200 event timeline doesn’t sound that unreasonable for a seasoned colorist. That’s what we used to get allotted for feature length intermediate transfers, including notching, film transport, viewing and loading/unloading reels.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Seems like one of the weaknesses of mixing audio in FCP, at least this version. Making subgroups of faders is pretty key to the enterprise.
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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There are some sticky fingerprints in this pop promo that suggest that GenArts Sapphire plugins may have been involved, but, you know without the watermarks, hard to tell. Worth checking out, even if the plugin set is almost twice the price of Resolve (software, anyway). But also doesn’t really expect the years of experience. Resolve also comes with a set of pre-cooked looks that will be nice if you get the Primary grade right, which does help newcomers achieve some quick results, even if its… “oh, that… I don’t F@#& with that.” But don’t get me wrong, its eye candy all the same.
Wow, people are still making music videos. Thought that all died fifteen years ago.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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If what you are calling 8 channel is actually 7.1 (Surround 5.1 plus a stereo LtRt), then there is a virtually pre-set workflow for exporting this out of Final Cut. It involves picking the Surround 5.1 audio monitoring option in the sequence audio settings and setting up your tracks appropriately. Sending to Final Cut Conversion or Compressor should almost automatically set up the SMPTE track allocation in the audio dialog. I do this very often for clients who request ProRes multi-track “masters”, but the codec is almost irrelevant unless it can’t handle multitracks at all.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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The square waves will look different depending on whether you are looking at RGB or color difference Y’Cb/Cr.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I guess I sort of synthesize a “rasterizer” with how my TVM-900 is implemented. Its in the machine room and SDI-routed with a Black Magic studio panel. The TVM has a DVI output on its back plane, which I send to a cheapo 15″ HP display, so I get nice big traces, and of course the advantage of a 4-up YRGB-parade WFM/Vector/proxy-picture/gamut-error window — haven’t spent much time trying to grade with internal scopes or an RGB-only parade, but seems to me in the same league as the proverbial one-armed paper hanger.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jordan Mena] “Can anyone tell me if my scopes look accurate in Davinci based on the image below.”
Not sure how to respond to this… The scope representation is just that and is a measurement, and does not determine anything else.
Where did the color bars come from? Are they FCP generated? 75% or 100%? From a camera? A TIFF?
From the screen grab, it looks like the HS traces are in the boxes, and the parade scope is showing a bunch of stuff, and they seem to be filling the scale range… but beyond that, not knowing your target range, a bit difficult to draw any conclusions.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Brad Ballanger] “Codec is Apple ProRest 422 (HQ)”
That should not be an issue, however, does your source file have a .mov suffix? Resolve won’t see it otherwise.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Its just my internal guideline, and pretty sure that there will be general disagreement.
A recompression for me is a transcode from one codec to another — even within the same family, where a color-encoding, bit rate, or intra-framing recalculation occurs. To a certain extent, not even the render from a grade application, unless you are changing codec, really qualifies as a full recompression, more like a fractional “generation”. All you are really doing is re-assigning the HSL or RGB values of single pixels, and this doesn’t really change its relationship to its surrounding value fields (slots in the pixel array) at least in a lossless codec. Things do change, however, when you start merging and blending external picture elements — blurs, sharpening, mattes, noise, grain… and again if you start geometric manipulation. That’s a different set of rules.
I don’t necessarily count an export from an edited timeline — for example, all-ProRes-422 clips on a ProRes-422 timeline to create a single ProRes-422 Quicktime to be a full recompression. For me, it is fundamentally a simple re-ordering of the frames. However, there are codecs that exhibit losses quickly because they recalculate values based on long-GOP i-b-p economics, or chroma subsampling. Non-square resolutions also raise more than the usual amount of suspicion as to whether you are getting back exactly what you put in.
When you simply copy a digital file from one directory to another… that’s obviously not a compression generation. If you were to change a few of the pixel values inside a frame… but you don’t change the codec, that’s not really a recompression, either. If you pull a subclip or merge clips, unless the codec depends on the field sequence order for its bit reduction scheme, that’s all thats going to change, not the content or values of the intra frames themselves.
Thats my model, anyway.
Love to hear other opinions.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Actually has the feel of an OS issue, but probably a good thing that you weren’t going to a “write-only” drive.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.