Kevin Cannon
Forum Replies Created
-
I think yes, you have to use a profile that isn’t using the THX/ISF functions but then you need a color management device (davio, etc.)… which could be the case with the Nick’s projector as well…
KC
prehistoricdigital.com
hardworkingpixels.com -
Yeah, I think that’s math behind the ultrastudio…
prehistoricdigital.com
hardworkingpixels.com -
Do you have a display that you are running from the HDMI or SDI outputs that is not showing the banding? Or another reason to believe it is the projector and not the footage/grade?
Are you using in-projector color management? On Panasonic consumer plasmas, the panel is advertised as 10-bit but utilizing the in-TV color management actually reduces the signal to 8-bit and results in a little bit of visible banding that you wouldn’t see on a 10-bit reference monitor from the same signal.
KC
prehistoricdigital.com
hardworkingpixels.com -
Click “reference reposition” from the dropdown menu, which should kick you over to the format PTRZ controls, only now they apply to your stills. I use the wave panel PTRZ controls at this point, but I imagine you could also start dragging slider.
KC
prehistoricdigital.com
hardworkingpixels.com -
I think that it’s interesting that Blackmagic starting giving the Linux license at no charge with the board, but there are probably more folks like me that like the set-up simplicity (and codec support) of the Mac version, and would stick to it even given the option… So for us it doesn’t represent any price change.
Perhaps with all the increased features and new customers, Blackmagic will see an opportunity to lower the price, reduce the margins and increase volume? I’d certainly reevaluate if it ended up anywhere in the 15K-25k range.
KC
prehistoricdigital.com
hardworkingpixels.com -
Yeah, this is such an egregious problem that I’m surprised it doesn’t come up on this board all the time. I’d also be curious for an answer but I’ve noticed the problem goes away by scaling up on the output scaling like you suggested, or selecting “center crop with no resizing” on your input options and then the appropriate half-res decoder setting…
It seems like it shouldn’t be that hard for the Resolve scaling to protect the edges… and it really seems to happen all the time with the “scale entire image to fit” setting.
KC
prehistoricdigital.com
hardworkingpixels.com -
The production I am working with this week used a web app from Michael Cinquin at https://www.michaelcinquin.com/tools/red/consolidate which required that you export an XML, point the web app towards it, then use the generated script in your terminal or run the generated app to copy those files.
On the receiving end it worked quite well.
KC
prehistoricdigital.com
hardworkingpixels.com -
In the render window there is a setting that says “start rendering at:” and it usually defaults to the timecode of the first frame of your timeline (1:00:00:00 and 2:00:00:00 as you described).
If you change the value there, you can specify a different timecode that will be written into the header data and filename of the DPX files, without changing the actual timeline. At least, that’s my understanding, it might be easier to find if it said something like “start recorded timecode at:”
KC
prehistoricdigital.com
hardworkingpixels.com -
Hi Dave,
A production that turned over a RED feature to me on Thursday said they used a free tool that takes your list (not sure if they meant EDL or XML) , parses the list and prompts you for a source directory. It then copies all the R3D takes from the source directory that are used in the list and copies them to a destination folder in the correct directory format… it doesn’t split anything, it’s just copying whole files, but they did it in order to deliver only 2TB of camera originals for the whole feature. It would handle part of your problem.
But they couldn’t remember the name at the time, perhaps somebody else reading knows what it is. I’ll have to ask where they found it when they come in tomorrow.
Cheers,
KC
prehistoricdigital.com
hardworkingpixels.com -
It’s a good reason to try especially hard to cultivate relationships with cinematographers whose work you like to color… regardless if their various productions shoot Red, Alexa, DSLR, or film, it’s likely to be something you want to put your effort into…
…that said, somehow the work that is DSLR always seems less likely to make it to my reel.
KC
prehistoricdigital.com
hardworkingpixels.com