Marc Wielage
Forum Replies Created
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Create a new project and open it. From within this project, bring up the Home page, then right-click on the project you want to delete and delete it.
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It’s also going to look different under different browsers, different on tablets vs. phones vs. PCs vs. Macs, different in Vimeo vs. YouTube, different compression rates, different color spaces… there are many variables on the net. At some point, you have to let it go.
The problem is trying to judge non-color-managed images on the Wild West that is the internet. I would just go for a reasonable look that translates to Rec709 and sRGB and just live with it.
Note that gamma space also changes, in addition to colorimetry. It doesn’t help to make your judgements on non-calibrated monitors.
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How does it respond with 1/4-res or 1/2-res good?
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Wow, here’s a 4-year-old thread back from the dead.
Do a Google search on QUICKTIME GAMMA SHIFT.
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[Rick Lang] “Marc, aplenty that’s not the way it should be done now. Peter Chamberlain is advising to edit and grade in the timeline in a lower resolution such as HD, but when you are done that stage, then change the timeline resolution to the highest master or deliverable you intend such as UHD so that a new render is done before you go to the Delivery stage.”
The last time this came up a few years ago, I was assured that as long as those two checkboxes were clicked, it wouldn’t matter. I’m such a stickler, I always change the timeline resolution anyway to whatever the source format is anyway and then downrez in the delivery page, just because that made sense to me. I definitely saw a big difference if you had a blowup with 4K material: it was a lot softer with an HD timeline vs. a 4K timeline, even just monitoring in HD.But I also notice the render speed goes down a good chunk when you click on the “Force Resolution” and “Force Debayer” modes, so it always seemed like it was doing more than just a change of algorithm.
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Use Clip Attributes to change the speed of the clip to 23.976fps. Don’t change the speed in the edit page per se. Be aware that once you change the clip speed, this will change the edit since the clip will now be X% longer than it was before.
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That actually might work. It’d be interesting to try syncing just one file at a time and see if that works better than selecting a whole bunch of video files and a different bunch of sound files.
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This is a good reason why having identical timecode on sound and picture is a good idea. When you do this, it will sync automatically, and very quickly. Timecode is an important and necessary part of the process.
Without it, my advice is that if something like Plural Eyes doesn’t work, then hire an assistant editor to just sit down and do it the old fashioned way. A halfway experienced assistant can do 1 shot in less than a minute; good ones might do it in half the time. If you have 200 shots a day (which is a lot of material), that’s roughly 3 hours of work, which is not the end of the world. Do that, and learn from the experience to always jam timecode on all cameras and sound recorders. In the cases where timecode is not available, live with the consequences and budget additional time.
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And in addition to the very good advice above, my observation is that there’s a point where you have to say “this is as good as it gets.” Cinematographers simply can’t adjust aperture in the middle of a shot. And if they do, then it’s up to the editor to be smart enough to just use a different take where this didn’t happen. Otherwise, just smooth it out as best as humanly possible.
Non-linear changes like this tend to affect different parts of the frame in unpredictable ways, as you’ve discovered. I’ve worked for an hour on (say) a 9- or 10-frame sequence in trying to smooth out an exposure bump, and typically all I can do is just make it better… not undetectable. If it’s to the point where it’s 75% or 80% better than it was originally, the filmmakers are just going to have to live with it or come up with different coverage.
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It should not theoretically matter as long as you check off “Force Sizing to Highest Quality” and “Force Debayer Resolution to Highest Quality” on the Delivery page. This will always go back to the high-res original and then downrez from that to your chosen output resolution for the final render.