Marc Wielage
Forum Replies Created
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I had a 15 minute with David Corley of DSC Labs some years back, and I got an earful as to just how difficult it is to make camera alignment charts that come back with the color vectors right in the boxes.
To me, I think you’re just as well off shooting a grayscale chart, showing what we used to call DMin and DMax in scanning (blackest black and whitest white), make everything else neutral, then look at the scene and adjust to taste. No automatic control or magic camera chart can do better than that.
What complicates the process is many cameras tend to hype certain colors more than others, so getting linear results is problematic.
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This may be a font conflict within the OS. I’ve seen this kind of thing happen before, particularly in page layout programs like inDesign.
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Jason Myres has some good benchmarks on the current MacPros and older MacPros on the LiftGammaGain website:
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I’m not convinced that Resolve is the right choice to subtitle thousands and thousands of subtitles. I think there are dedicated subtitling programs that are much better suited to this task.
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Arri has an interesting white paper on how best to use ArriRaw in post:
https://www.arri.com/camera/alexa/workflow/working_with_arriraw/mastering/color_grading/
I personally think LogC ProRes 444 looks perfectly fine, but if you have the (massive) horsepower required, you could theoretically use the original ArriRaws. I think for 90% of most projects intended for indie release and TV, the ProRes is all you need. I don’t think an off-shelf Mac will be enough for ArriRaw; I think you’d need a heavy-duty 8-proc Linux system with very, very fast drives to handle this.
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The “gold master” release of 11 is now out (version after B2), so maybe this solves the problem. You could also try an XML instead of an AAF and see if that makes a difference.
I think there is a version 7.0.4 of Avid out there (last one before 8 and 8.1), so that also might be a possible fix.
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The Optical Flow conversion in Resolve should theoretically be able to handle speed changes with better quality than Premiere, but I think that’s a subjective call.
Me personally, I’d much rather have the entire project already be converted to one speed (including slo-mo, speed ramps, etc.) before it’s handed to me, just to avoid any potential issues. I’m generally concerned about sync timing for the sound mix when the color-corrected files are locked with sound for delivery. Bear in mind they have to do a 4% (or sometimes a 4.1%) speed-up for 24 or 23.98 sound files to 25fps, which may require pitch-shifting and other kinds of processing.
The worst-case scenario is when you have mixed-field rates between 23.98, 24, 25, and 29.97, particularly when the 29.97 material was sourced from film at 23.98. That’s a big mess. I just watched a CNN The Sixties special over the weekend where they very expertly mixed a lot of formats like this and did a flawless job, particularly in de-interlacing the interlaced footage. It’s great when this stuff is done well.
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[Robert Ober] “Well that was easy. Did not think of the timeline as a group but it can be.”
This is a big change from v10, but it’s the same deal. Formerly “Track” correction, now “Timeline” correction. Same deal. In a way, the new name makes more sense.The Track correction feature has dug me out of a few holes before, especially when I get a picky client making a last-minute change.
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Check “Colorspace: Video or Data Levels.”
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[Mike Jenkins] “I am trying to duplicate a clip in the timeline so I can apply two different grades and blend them. I noticed that when comparing two grades with a reference wipe, using the “Mix” function gave me exactly the look I wanted, which was different from either of the two grades. So I figured I could duplicate the clip, apply “Warm” to one clip and “Cool” to the other, then play around with blend modes and opacity until I got the right look.”
I think you’re trying to do something in a needlessly complicated way. I bet that the exact look you want could be achieved without mixing the two looks together, merely by starting from scratch in a single node.
Often the trick in color correction is coming up with the right look in the shortest amount of time — not spending precious minutes working and working and working on a look by adding and subtracting corrections. I agree with Eric above that sometimes, parallel nodes can yield some unusual effects by combining simultaneous corrections. The key mixer can also be of help in some cases.