Michael Sanders
Forum Replies Created
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Multicam in X is fab and very flexible but be aware if your going out to Resolve…
If you make a multicam clip that has more than two clips (say an interview where you’ve cut a few times), it might cause you problems. You can’t for instance do any tracking windows as Resolve will through up a “No Media Pool Clip to Track”
Michael Sanders
London Based DP/Editor -
Are you importing the XDcam material directly through a plugin or via Content Browser?
Michael Sanders
London Based DP/Editor -
Franz,
No links as such but just an amalgamation of reading various materials and other forums, particularly the Cinematographers Mailing List.
Deakins, could have shot “Skyfall” on whatever he wanted but chose the Alexa Studio (which Arri rushed through production for) shooting in ArriRAW on Codex. There is an detailed article about this in a recent edition of American Cinematographer.
As to the 65mm Digital camera: https://nofilmschool.com/2014/03/arri-developing-6k-65mm-digital-cinema-camera-4k-nab/
Michael Sanders
London Based DP/Editor -
Basically they don’t belive they can get the resolution and colour rendition from their or any other currently available sensord at 4K pixels that they would be happy with – thus they won’t do it.
And FWIW those who have done the tests belive ARRIRAW upscaled to 4K is just as good. The possible exception is the Sony F65 RAW which is very close.
I haven’t done the tests myself so can’t comment to much but if I was offered an Alexa V F55 I’d probably take the Alexa.
There are heavy rumours Arri are working on a 65mm (yes 65mm) 4K camera but it won’t be avaiable to buy.
Michael Sanders
London Based DP/Editor -
So I’ve done some testing overnight..
It seems that if you create a multicam clip in FCP X that has more than one clip per angle (I.E: An interview with two cameras where you cut the cameras at breaks in the I/V – see Pic
) then either FCP X doesn’t send the clip information to Resolve, or Resolve doesn’t interpret the XML right.Either way its a massive pain. And I’m convinced its worked before in previous versions.
Michael Sanders
London Based DP/Editor -
Bill,
I’m sorry I don’t get how your reply fits my question..
My question concerns backups, in this case to optical media. And how and where camera archives fit in to that part of the process. If I want to make a verified copy of the card I’ll use shot-put pro first as it copies to 3 drives at the same time.
I’m more that happy with my current workflow and to be honest can’t see any advantage to a camera archive there. The media still has to live somewhere, either in ingested form or as an archive. The only benefit I can see with Camera Archives is that you don’t have to ingest all the card into the library if you don’t want to.
FWIW you know that if you keep your libraries on the system drive and that when you render something (a colour correction etc!), that the render files will then live on the system drive inside the library folder. If that file is Prores 422 it could well impede performance your overall system – in many many ways. Not least it will fill up your system drive!
Its still one of my biggest bugbears about how FCP X works.
Michael Sanders
London Based DP/Editor -
OK weird – thought it was putting markers everywhere but turns out it doesn’t!
Michael Sanders
London Based DP/Editor -
Jeff..
If you are doing a global correction, then yes adjusting one colour will effect the entire picture.
When you have the base settings (Black, Lum and Gamma) right try doing this:
Add a secondary colour corrector (click on plus in the inspector next to colour correction).
Use the colour picker to select the skin colour and then alter this – the will alter just skin tone – beware if there is anything in the frame thats a similar colour it will alter that as well. In a grading app like Resolve you would use a window as well to limit the action. You can do it in FCP X but its a bit of a pain. Slice X from Core melt is useful.
Good luck.
Michael Sanders
London Based DP/Editor -
Brent.
It can’t be anything but an RGB colour adjuster.
Going back to fundimentals: colour TV is made up of three colour signals, RGB. You make white by adding RGB in specific propotions (can’t remember the maths at the mo – used to be .59 .3 .11 but that was the old CCIR601 standard) You get different colours by adjusting those ratio’s. Yellow is R & G – start adding blue and the colour changes.
Whatever the UI is doing, under the hood you are only adjusting those ratios. Even if you are working in Y Pr Pb you are adusting the difference of R G and B.
It may work differnet in the UI but that’s just to make life easier for people who don’t understand colour :-)) If you don’t believe me bring up the RGB parade in find a picture and adjust it.
Michael Sanders
London Based DP/Editor -
Yellow is the addition of R and G – to make something less yellow add blue!
Michael Sanders
London Based DP/Editor
