Marc Wielage
Forum Replies Created
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I think if they set DMIN and DMAX in the scanner to something a little closer to the way it should look — but still in log space — it will have less grain. Super 8mm PlusX or 4X negative is pretty rare and I suspect will be extremely grainy no matter what. But I suspect the scan could be better.
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BMD did a terrific demo of the non-liner editing features of Resolve 12 at an LACPUG meeting this past week, and I was very impressed. I know of several FCP7 users who are seriously considering Resolve 12 to replace their aging NLE in a month or two.
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Thanks for that, Ryan — I knew I posted it somewhere, and have no idea why it’s disappeared from BMD’s website since it’s their document!
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[Stéphane Ma] “So the company in charge or converting 2D to 3D sent me back the clips (left and right) but unfortunately the timecodes do not match.”
Can you ask the 3D conversion people to redo the clips that are wrong? Otherwise, I don’t think there’s a way to batch convert all the timecodes in any program — it would have to be done clip-by-clip. -
You could export a flattened file at 24fps in a high-res/low-compression format like ProRes 444 (or even DPX), then start a new session at 25fps, bring the flattened file back in as a round-trip, then re-render it all at 25fps. They will have to make a corresponding change in the audio mix to adjust for the 4% speed up (4.1% speed up if 23.976 vs. 25fps).
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I think it’s better to always wait a few months after an OS is released before updating, particularly if you’re running a mission-critical application that’s a big part of your income.
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[Anthony Harris] “You cannot only know one tool, unless you have the power to do so. Also, SOME of the best colorists use Lustre. Some of the best colorists use Resolve as well.”
Very well-said, Anthony. I think ultimately, the quality of the work is down more to the colorist than it is the tool. Huge movies are being done on Lustre, Baselight, Mistika, Nucoda, and Resolve. There’s lots of good choices out there. It’s a credit to BMD that Resolve is as affordable as it is yet can still hold its own with the others. -
Note also you may not need to stabilize in AE — Resolve’s stabilizer is pretty decent on a lot of material.
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Hue could do it, Primary gain color could do it, and a Sat vs. Hue curve could do it. Makeup often changes apparent color from different angles, different lenses, and different exposure. Underexposure is not a good idea for a commercial, in general.
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Small correction: Technicolor/Hollywood does have a couple of rooms with Lustre, but it’s about 90% a Resolve facility. And there are colorists who prefer to use Resolve for features. Some of the rooms can switch out either to Lustre or Resolve, and it was that way at Complete Post as well.
It is true that lead colorist Steve Scott uses Lustre, since that was also the software (or at least similar software) used at eFilm. I think it’s fair to say they could get similar results going either way.