Marc Wielage
Forum Replies Created
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[sean pollaro] “My company bought right into the hype buying all the latest 4k cameras and now post production has gone down the toilet. I feel pretty confident in going forward and building a monster PC. either that or we may just have to put our 4k cameras up for sale and come running back home to good old 1080p. “
There are ways to handle it, but you have to have reasonable expectations. A lot depends on your final delivery and the types of programming you’re working on. If it’s commercials, it’s not that hard; if it’s half-hour episodic TV shows, it’s doable. If it’s complex two-hour features, it’s a lot harder.One of the big tripping points is just the output renders. If you have a fast network and fast drives, it would be possible to share projects on the network and just make one workstation nothing but a rendering/delivery machine. This would free up your color-correction station from rendering, and allow you to move on to new projects (assuming access to the same files and duplicate projects on the network). Even if the 4K render took 10-12 hours, you could use that time by moving on to other work and not be delayed at all.
I’d look very carefully at the need for 4K delivery and find out if this is something actually being requested by your clients and distributors. This may be a case where what they want today is just 1080, but there’s a chance of a UHD delivery a few years from now. If they absolutely must have 4K today, then you’ll need to implement a much more complex (and expensive) solution to handle it. It’s possible to do it at an affordable cost, but I’d say an 8-GPU Linux box would be the best way to go.
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You can also add film grain as a key. Some companies that have fairly broad grain effects and samples include:
https://cinegrain.com/
https://www.crumplepop.com/
https://gorillagrain.com/
https://www.grainzilla.com
https://www.holygrain.com
https://www.rgrain.com/
https://www.vision-color.com
https://www.filmconvert.com/
https://imagenomic.com/rg.aspx
https://www.artbeats.com/collections/638-Film-Clutter-2-HD/info
https://www.fxphd.com/store/scratch-fx-by-warren-eagles/
https://cinnafilm.com/dark-energy/dark-energy-professional/
https://www.filmwash.com/shop/ -
As a general rule, don’t ever change file names. Changing metadata is fine.
The chapters on Media (pp. 110-166) and Conforming (pp. 347-414) in the v11 manual have a lot of good info.
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[Joe Orange] “I don’t have a Conform tab – why?”
Changed to edit some versions ago, chapters 3, 4 & 5 of the v10 manual. Or chapters 4, 6, 7 & 9 in the v11 manual. -
Run some test signals with bars and a grayscale ramp and see what a 1 minute test looks like. This should help you pinpoint where the flaw is in the workflow.
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Depends on how many hours that day I’ve been staring at the monitors. When I start seeing snake eyes and skeletons in the vectorscope, it’s time to go home.
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My opinion is that using an analog monitor for HD color correction in 2014 is not a good idea. I don’t think JVC monitors are horrible, but I do think there are much better monitors out there that will be a lot easier to calibrate and use in a color-correction environment. 20″ is awfully small these days.
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Using remote grades… pp. 751-757 in the v11 manual.
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As far as I know, Helvetica Neue is not a standard font, but an add-on font you have to buy from Adobe. I have seen conflicts from certain Adobe fonts before, particularly with web pages and things like that. In theory, the software should be using the font toolbox with the operating system, but I don’t know how BMD is doing it.
I have seen weird things happen even with font slates in Resolve 10 where the size suddenly changes for no reason, just after the timeline is closed and reopened. I gots no explanation for it.