Mike Most
Forum Replies Created
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>>But without tactile feedback you always must look down at the iPAD.
Absolutely true, and that’s one of the biggest problems with representational interfaces on a touch surface. We recently designed a touch interface for our on set color product and faced exactly this issue. Our solution was to go completely gestural, using a combination of multi-touch gestures and single touch gestures to differentiate the different functions. That’s really the only way to do a touch screen controller that doesn’t require constant viewing and specific finger placement, but it can really only be done if the number of functions that are required are limited, as they are in an on set product.
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The ones I know who use a mouse and keyboard (probably the same ones you know) are usually on Lustre. And while it’s certainly true that the Lustre interface is better suited for direct GUI manipulation (the controls are sized better and scaled better for that, and there are a LOT of buttons) I’ve used the current Resolve interface with a mouse and keyboard and it wasn’t as heinous as some are making it out to be, particularly when working with log controls (offset/contrast/contrast pivot). I would agree, though, that it’s not ideal.
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You can easily create a node to implement the log to video conversion and use that as a key source, by piping the alpha channel from it into a color node that is fed from the original log image. That way you get both coloring flexibility and the more accurate mattes.
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>>And how much does Nucoda Film Master cost in relation to daVinci Resolve?
It now costs $2700 as opposed to $1000 for Resolve. Not very different, actually.
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No Dreamcolor monitor has ever had SDI inputs. They have always had only DVI, HDMI, DisplayPort, and VGA inputs. Most users fed them by having SDI out of a computer, fed through an AJA Hi5 SDI to HDMI converter, which preserved the 10 bit SDI signal and allowed proper use of the Dreamcolor color engine. Some used a Blackmagic HDLink, but the DVI version of that box did not pass 10 bits and the DisplayPort version was not generally available when the Dreamcolor was first released.
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Why does everyone here seem feel that these kind of things are always the “fault” of third parties and not of Red?
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>>Should I just work in Rec 709 video levels, use external scopes, and let DCP house adjust my blacks and >>whites? How will chroma be affected?
I’m glad you asked that question at the end of the post, because the answer to that is yes. Assuming they know what they’re doing, the company making the DCP should be able to apply transforms for the three major differences between your Rec709 targeted material and the digital cinema format. Those three things are color space (including white point), gamma, and running speed (23.98 to 24) for both picture and sound. Your knowledge base and your equipment seem to let you work in video space just fine (assuming you’re looking at a properly calibrated monitor). But digital cinema is not video space, and having them ask you to go “half way” by delivering 12 bit TIFF files – even though they will, by definition, be in the wrong color space and have the wrong gamma – tells me that either they are giving you bad direction, you’re asking the wrong questions, or both.
What you need to do is turn out a video product you’re happy with. What the company making the DCP for you needs to do is take that video product – in whatever format you deliver it (I would suggest either DPX sequence, uncompressed Quicktime, or Prores4444, with 5.1 audio either embedded or separate), but with the knowledge that it is in video space – and make a DCP that projects on a standard DCI compliant projector and looks virtually identical to your video product on a properly calibrated video monitor. How they do that should be irrelevant to you. “Do it yourself” only works if you really know what it is you’re doing, have the equipment to do it and test it properly, and want to take on the responsibility of it being compatible with the intended distribution venues. If you are hiring a company to do that for you, you should not be doing anything to alter what you know how to make properly, because in doing so you are essentially taking on responsibility that should be theirs. If they don’t see it that way, you might want to look elsewhere.
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Hey Matt,
As far as I know, Pomfort doesn’t import or export live video at all. It works by sending continually adjusted LUTs to external boxes, such as the HDLink, Fuji, and Pandora devices. All monitoring is done on the monitors that those boxes are feeding. Having said that, as long as it can talk to those devices (by either USB in the case of the HDLink or Ethernet in the case of the other two) then yes, there’s no reason you couldn’t run it on the same computer.
I assume you’re still in MIami? Hope things are good with you, it’s been a while…..
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720p/25 does not exist as a valid video format. Neither does 720p/24. 720p only exists as a video format in 50 and 60 fps.