Kevin Cannon
Forum Replies Created
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Hi Gustavo,
Here’s a thread that a read from reduser about working interchangeably in rec.709 and p3, but what you have surmised is correct – if you monitor and grade in p3 you will have to do a transform to get the picture into rec. 709 for tape (and don’t forget that you may have created colors that can’t be displayed by rec.709 displays, so you have to deal with that):
https://reduser.net/forum/showthread.php?39302-Support-for-DCI-P3-(SMPTE-431-2)-Color-Gamma-Space
KC
Prehistoric Digital
PhD Grading Suite -
It’s also great sometimes to be able to apply grades before and after the LUT is applied, if you put the LUT in a middle node. And you might occasionally come across a shot or scene where you want to use a different LUT, even if the source material is all the same…
KC
Prehistoric Digital
PhD Grading Suite -
Yes I used it directly from the HDMI out of the DaVinci. It was a 58 VT 25 in case that makes a difference but I never experienced that problem.
KC
Prehistoric Digital
PhD Grading Suite -
True, you still have to compete for it with some amazing talents… As colorists become more independent of facilities, many with their own suites, one has to consider the client experience – location, and security, and limited seating can definitely be disqualifying factors for projects that would pay $1,400 an hour, even if your color correction is borderline magical.
KC
Prehistoric Digital
PhD Grading Suite -
Well they don’t get $1,400 an hour so that clients can crowd around a plasma in an apartment… They get that kind of money cause they can valet park cars for 15 executives and seat 30 people for a review on a 40′ screen, with a big space near the studios or on the west side. Not to mention security, vault managers, and the muffin wrangler. Plus all that legacy equipment – the “heavy iron” as one group of color folk around here calls it.
But figure out a way to meet those needs for less and you can have it all!
KC
Prehistoric Digital
PhD Grading Suite -
It’s geared towards designers, and has nothing to do with hourly rates, but I wouldn’t want to miss a chance to share this:
F**k You, Pay Me (NSFW language)
I love hourly rates. It gives everybody in the room an incentive to stay focused, and with iPhones, iPads, and laptops in everybody’s hands, it’s good to have that incentive… I don’t even worry about a minimum (a different story, of course, if you are dry-hiring a space that has a minimum). If you charge hours of prep as well, it rewards clients that use reel #s on their clips and collapse to fewer tracks…
I keep very close watch with a pad and paper and triple check the hours are correct before sending an invoice. On longer things I like to send updates to the producer so that they can take issue with your hourly counting right away… and not when they see the final bill.
KC
Prehistoric Digital
PhD Grading Suite -
Yes, it can. I think the menu settings that are important are to turn Blur Reduction OFF. Then in Advanced Picture > 24p direct in change it to 60Hz. At least, that’s what my calibration expert set and it looked fine for me, at either 23.98 or 24.
KC
Prehistoric Digital
PhD Grading Suite -
Almost nobody is doing this (yet) but if you mean that you’ll be doing 4K timeline resolutions and/or monitoring, the 2GB of RAM in the 4000 might be relevant compared to the 1GB in other cards.
But if you just mean 4K RED sources, have had a great experience with 3x 285s. They are are really fast, really cheap, and (for what it’s worth) supported.
KC
Prehistoric Digital
PhD Grading Suite -
Just because we haven’t seen a lot of wide theatrical release feature films graded on Mac-based Resolve (yet) doesn’t mean it’s due to technical limitations of a Mac set-up. Lots of colorists on this forum do features 4K Red to a 2K DPX finish (like THE SOCIAL NETWORK) or 2K/1080p Alexa (like IN TIME) and I’ve had success doing stereo 3D tests with Alexa (like HUGO).
If there’s a camera format the Mac platform can’t handle, I haven’t encountered it…
More likely that facilities that are buying $80K-$120K projectors that are needed for coloring theatrical release features tend to pair it with Linux because they’ve been established in Linux and already have the people with expertise.
-KC
Prehistoric Digital
PhD Grading Suite -
When I had a call with some of the Projection Design engineers and a reseller, there were still a lot of things being worked out with the cineo35 2.5K projector – they weren’t yet shipping a configuration with the LED light or SDI inputs. I haven’t heard from them since about availability…
As far as the LED source, I would really want to see it and test it before taking any claims about color accuracy at face value. I don’t actually have any reason to doubt that LED can provide a perfectly good wide gamut and stable replacement for Xenon or such, but cinematographers that have been using LEDs as lighting sources have come across very problematic characteristics of the light combined with digital capture… Daryn Okada did a study with the academy on solid state lighting… it might not apply here, but I would definitely want to see comparisons before settling on the projector that is using a non-standard technology.
My friend just picked up a RS60U – I was really impressed with this projector at NAB.
KC
Prehistoric Digital
PhD Grading Suite