Marc Wielage
Forum Replies Created
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[Dan Powers] “Now if I could just pan the viewer window to see the points that are outside the zoomed region.”
Center click + scroll wheel will zoom out the Viewer and let you see beyond the edges of the frame. Is this what you’re talking about? -
That is an interesting device, basically a box that holds macros and certain key combinations. I believe there is a major A-list colorist who uses this for printer lights, LUT modification, and other specialized functions.
Link is here:
https://xkeys.com/xkeys/xk80.php
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BTW, just to add to this: there was a fantastic film noir show on last year that nobody saw, the American TNT series Mob City. Several episodes were lit by the great David Tattersall, and I thought it was a remarkable looking show. The story and acting were flops with the critics, but I think it’s one of the nicest-looking period shows I’ve ever seen, especially in the last few years. The fact that this was all shot with Arri Alexas and graded digitally, yet looks very close to a classic 1940s cop mystery, is really remarkable. It shows that you can preserve this look and still shoot in color.
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MC Color is working for me under Mac OSX 10.9.2, EuControl 3.1.2, Resolve 10.1.5, 2013 nMP. OSX 10.9.3 wreaks havoc with both EuControl and Resolve from my perspective. It’s always a good idea to hold back one version until the manufacturers either provide updates or give you solid confirmation that the new OS will work.
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Very true — a lot of the whole film noir thing is the lighting. There’s a great quote attributed to cinematographer James Wong Howe who said, “it’s taken me 40 years to learn, not how many lights to use, but how few.” It’s more about placing shadows than where the illumination goes.
If you’ve got something lit flat like a sitcom, it’s never gonna be in a film noir world, because the deep shadow content just isn’t there.
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Yes, double-click on the letter (R, G, B, Y) and it will go back to normal. Center-mouse drag brings all the sliders up.
I’m not one of them, but there are colorists (even successful ones) who use only a mouse to color correct. I think a lot of them come from VFX backgrounds, where that’s a normal way of working — that plus a Wacom tablet.
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The RGB Mixer does wonders, as does a vignette.
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ProRes — even 444 — is still a lossy format, though the compression ratio is very low at 444. If you re-render the file, it will be compressed again. I’m not sure how many passes it would take before you started to notice artifacts. I can tell you with HDCam-SR, you’d have to go well above 20 generations to see any issues, assuming each pass didn’t alter the signal (like a color correction or a composite).
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That’s very helpful, Patrick — I agree with many of the standards they’re proposing.
The weblink for the standards is here:
https://www.digitalproductionpartnership.co.uk
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[Ben Lindemuth] “I know 2k & 1080 are very close in rez and will likely be indistinguishable from one another in most viewing conditions, again just looking for confidence…”
Do a test and see. In the real world, there are so many factors affecting picture quality and sharpness, there’s no way to predict it. My gut feeling is there won’t be any discernible difference if the end result is 1080 HD. There are issues with varispeed and motion interpolation, but that’s not a sharpness issue per se.