Paul Korver
Forum Replies Created
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Read the Manual? Psha!! 🙂 Thanks for pointing this out Eric. Will take a look but it does seem like optimizing (ability to set bitrates etc) H.264 delivery would be ideal as H.264 is likely the most common form of a file based distribution for motion content.
EP / Partner – Cinelicious
https://cinelicious.tv/ -
We do have a 23″ HD Sony BMV Grading LCD monitor which has some graticule presets and probably some customizable settings… but our timeline setup in resolve is 4K 4096×3112 so may be difficult to gauge exactly since it will be pillar box coming into the monitor full ap.
We’re going to do a goofy work around where we make the lines in Photoshop and bring those in as and “offline” version then do the 50% fade up to reveal the line. I agree it would be great to bring in an some sort of a custom alpha for this.
-Paul
EP / Partner – Cinelicious
https://cinelicious.tv/ -
Hi Joe,
I believe you. If you still remember the workflow care to share online or off?
Paul -
In this case we (and our client) are attempting to view the media from the AVID gui. I just got an email from BMD saying that it is because we are not viewing the Avid media over the Avid SDI out to a broadcast monitor. I find that a bit difficult to believe because the image in the GUI looks seriously different and like blacks are even getting crushed as well as lifted.
Would Avid build a system that looks completely different in it’s GUI compared with what is coming out of SDI?
In this case we are doing Avid dailies for our client and they want to view on set and they don’t have a SDI out of their Avid to a broadcast monitor so they’re stuck looking at the Avid GUI and the DP has serious (and founded) complaints that the dailies look like crap (when they actually don’t).
A side note in our research that also may help the issue is that when we export any flavor of ProRes other than 4444 and bring it into Avid using the AMA workflow the same gamma shift happens (in both rec 709 and RGB avid settings). However if we use ProRes 4444 and ingest to Avid using AMA the color looks perfect in the Avid GUI.
For all tests we were side-by-siding the ProRes clip on the SAME LCD monitor as the Avid GUI at the same time.
I’m fairly certain it’s an avid issue but I’m having a difficult time believing that just looking at it over SDI would fix these issues. And if it did that would be lame because and Avid editor shouldn’t be forced to only see a correct image over SDI… the should see a “ballpark” correct image in the preview / edit GUI as well.
-Paul
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Yeah but it writes proprietary BRU archives which are not widely accepted as a “deliverable” format (sometimes LTO-5 is a deliverable for us). Especially not by studios.
Someone on the Xsanity forum pointed me to PresSTORE which looks interesting and I’m going to look into.
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Thanks Guys! Worked.
-Paul
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Bammm!! That is an incredible list of features! Not sure how other sytems can compete what you guys are offering. Thank you Rohit, Peter, Grant, Bob, Dwaine and all my friends at DaVinci for this incredibly generous Christmas gift.
Paul
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Got it. Thanks Peter.
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Congrats Peter. That a great spec. Faster than I’m seeing with our RedRocket controlled by RedCineX.
We just did a batch of uncolored / flat redraw dailies from 4K to HD ProRes 422 HQ and it was more like 2:1 render times.-Paul