Joseph Owens
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COW Coins
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DaVinci Coins
Forum Replies Created
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[Vuk Vukmirovic] ” and export the QT self contained with current settings. Then I took these files and put it in Compressor to get TIFF image sequences for PC and on first look they all looked fine. When the DP compared the original MP4 from JVC and the exported one I gave him, the image is much darker from the original. “
I ran into something like this a couple of years ago with a client who wanted to keep everything “uncompressed”. First off, “uncompressed” is still compressed, in some way.
I was roundtripping all this material through Apple COLOR at the time, and everything wound up with a big scaling error in both directions, because, as it turned out, the RGB files that the client had exported (under Windows) were not being interpreted correctly under Apple Quicktime, and were being described as Compression: None. The effect was that 64-940 was being interpreted as 0-1023, and chaos ensued. This might be happening with your TIFF sequences, which is a workflow as dangerous, space-consuming, and time wasting as it can get. Even a hard drive manufacturer warned me that NTFS and MacOS partitions, especially where 10-bit “uncompressed” files are concerned, may have interchange issues.
It is not for nothing that people who have a lot of chaotic data-types thrown at them want to see everything consolidated into a single, easy to handle, lossless codec. The Final Cut suite was practically designed to be ProRes-centric — use it! Premiere Pro should be able to handle it, Adobe brags about how codec agnostic they are. As far as display rendition goes, the debate has been raging for years on the colorgrade forums about whether it is possible to use graphics monitors for color correction. They can not.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I began reading this thread assuming it was going to be about some operability issues with the control surface, and discover it has nothing whatsoever to do with the panels themselves…?
If an operator has an issue with the software HSL secondaries, it is going to be the same whether they’re using $29,000 knobs or a $1500 Wave, or a $100 graphics tablet. Do we understand the difference between the software and the controller? I somewhat agree that it can be occasionally tricky to get the best separation performance from Resolve, but that mostly has to do with the quality of the source material, codec, noise, resolution, GOP; its a long list. At the same time, I’ve hit many “one-click” qualifications– but it doesn’t happen every time, perhaps I don’t necessarily expect it to, but that might also come from pulling keys for nearly 40 years, including Ultimatte, SHAKE, Primatte, Keylight, and the beat goes on.
Should the matte separation in Resolve be as good or better than a dedicated compositor program? Very often its about simply feathering out a single hue… but when it comes to completely re-painting an article — the ubiquitous flipping the hue of a shirt comes to mind — its amazing the number of times it comes as a surprise to some that the shirt isn’t just one shade (!), and maybe an operator is going to have to build something to account for its actual range. Yes, there are color substitution nodes in some composting applications — they don’t always work perfectly, either, and sometimes require a lot of intervention — tracking, blurring, eroding, garbage matte, cleanup, repaint…. sometimes not as easily as it can be done in Resolve.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Probably a manual Colortrace at this point, or save all the stills and start cut and paste.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[jake blackstone] “Why? Is FCP XML proprietary? Of coarse not.”
Not what Juan is talking about. ACES is about colorspace/overall color management; all sources are characterized so that they behave or appear to have the same colorometric behaviour. There is some discussion about it being the unifying factor for exactly this grade/VFX trade-workflow. And there is probably enough confusion, for example, about Redgamma and how it relates to 709 gamma or DCI space, which is the danger in the “freelance”/proprietary approach.
BTW, Resolve does support alpha channels now, and I do prefer to treat the fg/bg plate work as layered composites in Resolve. Even if it is a “baked” final, as long as there is a travelling matte or alpha channel, I’m good. It is difficult for most FX people to be able to grade in context, usually because they don’t have judgement monitors to work with, and the big limitation — don’t have the benefit of seeing an entire scene – they usually only have the clip with handles – so have no idea where this came from or where its going. Producers may even change their minds mid-post and change the time of day. “Oh, I know, this would work way better if it was golden hour”…. or…. “yeah, we ran out of time on set and had to shoot this noon scene at dusk. You can fix that, right?” Sure.
Its also much nicer to be able to re-grade the composite further downstream for overall vignettes, etc. which also tends to support the notion that colorists are edging towards becoming part of the overall FX discipline.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Thanks a lot guys. That just cost me $50,000. See if I ever buy you drinks at the NAB after party again.
I might suggest a large, slightly out of focus black&white (maybe halftone-process) background behind the
CEO-guy. Have no idea how much that cost the Scott brothers for “The Good Wife” opener… (which I admire a lot)jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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if I’m reading the product spec correctly, all the Elite version does that the HD version does not is match settings between several monitors, which would be valuable if you had a grade farm set up, and can do a rough set up on a front-projection, which I don’t think you’re interested in.
There is an “expert” mode, but having much beyond a 709 colorspace target seems like unnecessary expense.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marcus Moore] “You’re being facetious,”
Bleh, I tripped the bad word filter in another post so it might not make it into this thread, but facetious? Not really.
How do you think we got by in the good old days of editing tape-to-tape, which I started doing in 1976, no Timecode. There was no timeline then, and its an invention of this NLE-editing model. I’d say its a crutch. Get rid of it. There is no reason why we can’t edit in the media browser. Its an AVID ability, but under-developed.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marcus Moore] “You’re being facetious, of course,”
Not really. If tracks aren’t essential, why would the timeline be important? The only reason for its continued existence in FCX is that most editors can’t keep the whole project in their heads, and it would be a giant conceptual step forward if only those old tired methods weren’t so entrenched. It would be just as easy to make the order and connections in the browser (which becomes increasingly irrelevant as construction of the timeline-model progresses) and Play-Stop-Jog in a viewer would still work the way it usually does… I mean who cares how long the project is, you can see what is connected to what in/out in the new browser so all of that other stuff is just superfluous — it is what it is. Apple told us that, and that stacking tracks no longer makes sense, or that any of that has priority — and in fact the complaining is legion about having to “drill down” to see lower selections.
Think of the timeline as it currently exists as simply a larger graphical “Audition” and you will see that we really don’t even need it anymore. The ‘audition’ as a hidden, semi-nested sequence is actually a hint at what is to come.You may think this is ‘cracked’, but its visionary, the way most people think of the future before they’re ready for it. Right Bill?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jordan Mena] “dialing in colors for their HDTV using the Spyder4TV HD?”
From PC World review:
“If you’re hoping for extensive calibration that will get your HDTV to match ISF standards, the Spyder4TV HD will disappoint you. It walks you through basic color temperature, saturation, and tint adjustments, but you won’t get guidance for any advanced color settings, like the six individual channel adjustments found on Sharp HDTVs, for example. Considering it’s a $130 consumer calibration puck, and not a $15,000 chromameter run by a trained HDTV calibrator who spends four hours adjusting your screen, that’s understandable.”
Their conclusion is that its just a little better than eye-balling it… the use of consumer-level screens for grade has been discussed to death, plasma being nice to look at, but unstable. Generally, these spyders don’t have the ‘integration’ capabilities required to characterize a display, so you are never going to get a 3D LUT out of it. Your choice. I would never use an HDTV for judgement. I got my home Samsung 42″ pretty close with no probes or anything, but first you have to shut off all the “juice” settings that the manufacturer dials in for showroom flash. But I’ve also been shading and grading, professionally, for 37 years.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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How are you specifying the render range?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.