Mike Most
Forum Replies Created
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Pomfort LiveGrade is a mature product that’s been out for quite some time and used by many productions. DaVinci Resolve 10 is in its first beta cycle.
You decide.
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Whichever ones you point Resolve to, assuming you use automatic import and check “ignore extensions.”
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Where is your media stored?
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Resolve always works internally in full range levels, and should generally be left that way. That’s why there is a selection to “monitor using normally scaled video.” That adds a full to video LUT on the output path, but not on the processing path, which allow for proper creation of different deliverable formats that may or may not require it. If you’re monitoring with a Rec709 type HD display (as opposed to a digital cinema projector) you would have this switch enabled. When you make the DCP, the full range levels will be present and everything should come out right. If you work on a video monitor and do not have this enabled, you’ll be making the compensation manually, creating a file that is inherently graded to video levels, and you’ll have exactly the problem you described. In most DI theaters, the switch is disabled so that the digital cinema projector is being fed the levels it expects.
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That’s fine as long as you’re handing it full range video at the beginning of the chain rather than video scaled. If you’re using a video scaled image, the delog step is going to yield a linear light image that is too light. This is made even worse when the 2.6 gamma is introduced. Rec709 video is meant to be viewed in a video scaled environment (that’s what monitors are set up for), but a DCP incorporates no such thing. So to look correct, you need to be feeding that processing chain full range material, not scaled. One way to check if this is the case is to apply a video to full range LUT prior to sending the material to your DCP program. That should fix the issue.
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The gamma of P3 (the setup used for DCI spec projection) is 2.6. The gamma for Rec 709 is somewhere between 2.2. and 2.4. If you converted from Rec709 to P3 as part of the DCP manufacturing process, but you graded in Rec709, that will lift the image so that it looks correct on a digital cinema projector. However, if you told the theater to set up for Rec709, and/or the conversion was done twice, that would get you the results you’re describing.
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>>Raw/MXF: Not importable, must be transcoded. This will probably not ever be importable in FCPX..
I wouldn’t say that. FCPX already directly imports R3D files, which are essentially the same idea. Frankly, I’d be surprised if Sony and Apple have not already agreed to implement this.
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Dust busing in any software is frame by frame, because dust, by definition, is only going to appear on one film frame. Any automation is simply processing multiple frames, one by one, and with no correlation between them.
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You only have one video card, you have it doubling as your GPU, and it’s a slow card. If you only have one slot available, you might want to try a GTX680. If you have a second slot, or an expansion chassis, you can use the 4000 to drive the GUI and a second card (again, the 680 is a good choice) as a GPU.
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I think it’s both. As far as I understand it, you cannot buy a new standalone Lustre license on either Linux or Windows, even though they are still issuing updates for both. The only way I know of to buy a new copy of Lustre right now is to get it as part of Flame Premium on Linux.
Jake, if I’m wrong, feel free to correct this.