Michael Cinquin
Forum Replies Created
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[Jonathon Lee] “Other then Teranex (BMD or original) what are you guys using? I’ve got my opinions about old vs new Teranex, but I don’t want to get into that now. “
If you get into that now… I give you my technique !
Michael Cinquin
Final Cut Pro – Avid Media Composer editor
DaVinci colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator | DCP versioning and subtitling -
[Joakim Ziegler] “No, as I said…”
No wonder I don’t post that much on this board these days…. -
Sascha, you’re right, daVinci messes up DV files, makes horrible things with fields even without any blur or scaling applied. We always convert DV to something else prior to daVinci grading.
You could use Final Cut Pro to batch convert DV footage to prores. It works fine. Or compressor.
In my experience you can stick with Prores, you won’t lose quality at all. It takes little time to convert because DV is so light for the grading station.As Joakim explains, Quicktime shows DV with only half resolution (there was a time when Mac didn’t have enough horse power to show both fields), unless you check the high quality button in quicktime pro. I don’t think it has something to do with Resolve oddities on DV.
But the best would of course that daVinci reads it correctly. So +1 on your request.
Michael Cinquin
Final Cut Pro – Avid Media Composer editor
DaVinci colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator | DCP versioning and subtitling -
When I received my 2461W, I was very surprised at what the colors looked liked. In short, it felt colder.
I then took the monitor around in quite a few film-rental firms here (Brussels), to compare the FSI and other top-of-the-line monitors. I was always surprised at the results, FSI vs. the rest of the world. Then I compared to one of the best DCI projection in town (Cinémathèque Royale), and guess who was right.. the FSI.
But this was almost an insult to me, so I dug into this quite a bit. How come my carefully expensively calibrated projector was wrong when the factory-calibrated FSI was right ? I exchanged dozens of emails with Bram, but I took nothing for granted, I had to check for myself. The answer “you need a high end spectro” did not satisfy me.
So in the end I rented a CS-2000, and compared it with my Hubble.
I then put the Hubble for sale (https://forums.creativecow.net/thread/277/11184#11184), and kept the FSI (I don’t own a probe anymore, I rent high end spectrometers every now and then).
With the CS-2000, you can aim a very very precise portion of your monitor : I used a 1 pixel cross to be sure to be at the exact center. What I found out was that by moving 30px away from this cross, you could have variations of several .001 xy (which translated into several delta-E -calculations by calman-).
I was not doing all this for the sake of science. I just needed monitoring I could trust. FSI won my trust through their support (which you’re experimenting right now), through comparison with the best digital screens here, and through measurements with the mother of all reference probe which showed a tolerance inferior to the tolerance I would get by being 30px off axis.
More simply than metamerism failure, I found out you can have good looking calibration data, and a poor image. So I became less crazy about Delta-E.
A few figures :
the spectral output of my FSI :
see how spiky it is ? Very difficult to see the color for a colorimeter or a low-end spectra.
the graphs of my measures. Please note I’m not claiming this is the truth about FSI (be it to defend or attack the product). This is what I measured, read above to why measures should be taken with caution when not done in a scientific lab.
They are not perfect, there are some quite big dE on the gamut. But overall I trust the image I get, I never have unpleasant surprises when our work is going in nice screens outside, and the FSI match my new projector (Projectiondesign).
Both projector and monitor are used without a LUT for Rec-709 monitoring, without gamma curves, and without playing with Color Hue Tint Saturation.
That said, more than a year has passed since my purchase of the FSI and the measures I post here, and I can see looking at my test pattern (https://www.charbon-studio.be/resources) that in the darks there has been a little drift, so I’m going to send it back for recalibration for free + shipping costs.I can feel the heat in this subject ; I’m both a client of Steve and of FSI, and I’ve started a few threads on this board that went all wrong with some people bashing and contempting. So apart from this post, I will stand aside and watch, hit me if you must 😉
Michael Cinquin
Final Cut Pro – Avid Media Composer editor
DaVinci – Color – Baselight colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator -
+1 !
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[Sascha Haber] “The project itself is HD with 100% default values , the footage is SD to minimize HD stress.”
= “The project itself is High Definition with 100% default values , the footage is Standard Definition to minimize Hard Drive stress.” (the question would arise 😉thanks for the project and the figures. Not yet running v9, but in the meanwhile I’ve put the project file here :
https://www.michaelcinquin.com/Stabdard_Candle_9.0.drp.zip
cheers
Michael Cinquin
Final Cut Pro – Avid Media Composer editor
DaVinci – Color – Baselight colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator -
I guess there is a directory in /Volumes/name_of_your_raid, that is not empty, and that prevents your volume being mounted to /Volumes/name_of_your_raid.
To check/solve is easy : remove the Raid of your computer, in Finder “Go..” Menu -> Go to Folder, enter /Volumes ; if there is a folder “name_of_your_raid”, move it away (Trash, Desktop, wherever).Now plugin your Raid, and cross fingers…
Michael Cinquin
Final Cut Pro – Avid Media Composer editor
DaVinci – Color – Baselight colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator -
I would suggest not to go with Raid 5, but Raid 6, or to have a very good read at https://www.miracleas.com/BAARF/.
I have had Areca controllers for years and woul’nt recommend them. Tech support has been very unresponsive. I have to work with lots of options disabled (including Tagged Command Queuing, including Read Ahead), because otherwise the Areca reliably make the computer crash when the array is > 60% full (2×12 sata-disks in SAS expanders). So I get degraded performance. It’s a Macintosh driver problem. “Realibly crashes” : consistent accross Areca Cards (1680 and 1880), computers (different mac pros), hard drives (consumer and enterprise-grade, operating systems (Leopard and Snow Leopard), card firmware and drivers. If I had to start from scratch I would go with Atto. For the moment I don’t, because I prefer the devil I know, I need those Raid volumes, performance though degraded is still fine for 2K DPX read/write at the same time (> simultaneous 300 MB/s read & write) and the stability of the Raid Volumes (one Raid 6 on one computer, one Raid 60 on an other) has been perfect.
It makes no sense to test a RAID array with something like Aja System Test. The Write test are not accurate because the Raid cache speeds up enormously the thing (I have 3 GB RAM on my Raid Card, those are filled almost instantly, 16 GB is not enough). Then the Read test are not accurate either, because the write cache is still getting emptied. I would suggest going with https://diglloydtools.com/disktester.html … or duplicating a dpx full of DPX, or R3D (whatever you work with), and check out Activity Monitor to see what is the real-life read/write speed.
Michael Cinquin
Final Cut Pro – Avid Media Composer editor
DaVinci – Color – Baselight colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator -
I did find mention of 2 channels AES or analog, but nothing about embedded audio.
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you can count me in those hoping for a better support of the Element. It is disappointing, isn’t it ?
Custom mapping or proper mapping, either will do.Michael Cinquin
Final Cut Pro – Avid Media Composer editor
DaVinci – Color – Baselight colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator
