Robbie Carman
Forum Replies Created
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[Norman Pogson] ” Canon 7D has a color space of 4.2.0 “
Color Space and Chroma sub-sampling are not the same thing. The h.264 codec that the 7D uses Y’CbCr color space commonly referred to as digital component and sometimes generically (although technically not correct) as YUV. Y’CbCr is simply a way of conforming image data off of the sensor. sRGB or Adobe RGB for photos are essentially the same thing – a way of conforming image data from the sensor to a space.
In Y’CbCr luma and chroma are separate Y’ is luma and CbCr are the chroma difference channels. Because of this separation chroma subsampling can into play to provide further compression ability.
Because our eyes are much more sensitive to luma (brightness) the Y’ component is hardly ever reduced (a notable exception is HDCAM (not SR) which is 3:1:1) however chroma often is often reduced severely. 4:2:2 means that chroma is being sampled half as often as luma 4:1:1 a quarter as often and 4:2:0 color is sampled 4:2:2/4:0:0 alternating lines
What makes matters a little more confusing is REC 709. For the purposes of color REC 709 describes a gamut. That gamut for REC 709 is significantly smaller then what Y’CbCr is really capable of.
What would be very cool (although bandwidth and other limitations exist) is for these cameras to one day be able to record R’G’B (chroma subsampling doesn’t come into play there) in an MPEG codec similar to how HDCAM SR works.
Robbie Carman
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Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Chris Hall] “f the FCP EDL’s are working for Robbie, then I’ll assume its something with my system (maybe you have a newer Beta of DaVinci robbie?).
“Well I do have a newer beta, but it was the same in the past. Are you using Preconform instead of conform in the Conform Tab?
I’ve delivered a ton of shows already with Resolve using the workflow I described above no problems
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
I’ve been doing this for a while now without problem. For most of our clients projects are delivered as an FCP project with a cut up sequence with transitions duplicated.
From there you have the first part right simply export an EDL (generic edits) I’ve had best results with giving the flattened QT a reel name or number in FCP prior to exporting the EDL (doesn’t matter what it is). Then all you have to do is add the flattened QuickTime to the media pool and on the conform tab choose pre-conform and select the EDL you made from FCP. All your really using FCP for is to generate an EDL (you’d get a similar result with scene detector, but the dissolves can be an issue as you mention)
From there everything should be good. Couple things to be aware of on the config tab make sure you’ve set up the proper frame rate for the conform. Also if your program is drop frame you have to do one extra step in FCP as Resolve at the moment doesn’t support DF EDLs.
So, if you’re DF in FCP after you cut up everything go to Sequence > Settings > Timeline Options and make sure DF is not checked. THEN make the EDL. Now when using the pre-conform option your cuts should be in the right place.
Also with DF what I’ve been doing is rendering out one long QuickTime of the entire show. Then back in FCP I duplicate the original cut up sequence (I name it _Output) select all the clips on the duplicate timeline and choose to make independent and then force reconnect the clips on the duplicate timeline to the new rendered QT from Resolve (this works as its just using TC to reconnect properly). Finally I just switch the sequence back to Drop. From there I output to Tape or where ever
Unfortunately I haven’t been able to figure out creating a DF master direct from Resolve.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Stephen Martin] “he engineering departments in both NY and LA unanimously agreed that ProRes (not HQ or 4444) is the perfect intersection of quality and file size. “
I second that. I grade nearly a 125-130 hours of programing a year for Discovery, Geo, PBS and without question from talking to all QC departments for DSLR or other 8-bit sources ProRes (SQ) is recommended. In fact LT is acceptable in many cases (roughly equivalent to DVCPRO HD) depending on the level of programing.
Gary’s explanation is technically accurate for sure, and I’ll go one further. Over the years I’ve found (myself guilty of this sometimes) that because a “better codec” is available people convince themselves of perceptual differences in quality when none exist.
And Lance, calling people morons now matter who they are, skill level, or question they ask or statement they make is simply unacceptable in my opinion, but especially in an environment like the COW. We all have different opinions and because someone differed from your opinion doesn’t give you carte blanche to act like a 3 year old. Success. Technical aptitude, creativity and the ability to give advice aren’t measured by an IMDB listing, a codec someone uses or a piece of equipment they own.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
I have the IS lens and it’s amazing. I had the regular 100 previously but I find the IS L version to be sharper. For handheld work the IS does really help just keep in mind the closer you get to 1:1 the IS has less of an effect/help. I also use the lens for interview type work as it’s tack sharp and the reach is nice for times when you want the camera farther away
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Kevin Cannon] “Robbie, how is the VT-25 working out for you? Have you had it calibrated yet?”
Awesome and yes! Best blacks I’ve seen in since I owned a Sony BVM. I find my self sometimes looking at the VT-25 more then the FSI reference monitor I have. I have it mounted over my other monitors on an articulating arm so it can be pushed in and out of the way and tilted for different purposes. I haven’t yet used it for 3D other then watching some demo stuff on it and falling asleep on the couch in my suite 🙂
One thing I would highly recommend for any client type monitor of this size is to get proper bias lighting for it. CinemaQuest makes some awesome D65 Panel lights. I have a couple of their pro lights for around my reference monitor and computer monitors but I got their small panel lights that zip tie to the vent holes on the back of the panny. Now I have even, calibrated D65 lighting around the panel and it makes viewing for long periods of time easier and helps even great blacks get even better
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
Glad you like Darin.
The Panny’s are great. Not sure where you’re located but I would highly recommend a group called Lion AV and its owner Gregg Loewen. Gregg is the lead THX calibration instructor (he’s also ISF certified) and has calibrated all of my panels over the years. While his main focus (where the money is) is home theater he has a lot of experience with post workflows and calibration. Each calibration is about $400-$500 bucks but is so worth the money to get the confidence that your larger panel (esp. if its a client monitor) is just as accurate ( think REC 709) as your reference monitor.
After a ton of research I actually went with the Panny VT-25 50′ Full 3D model. After talking to some panasonic guys and other panel gurus I learned that the consumer models actually had more advanced panels, however what I don’t have which you do is Pro IO. I have to do some trickery with HD-SDI to HDMI conversion which so far works just fine. I just wish I had an extra slot in my setup for that HDMI card of the HD Extreme 3! Maybe I’ll drill that hole in the case 🙂
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
I have to disagree with the comment earlier the thread about color running much faster with ATI cards. While I have two separate boxes ( one for color and one for resolve). I’ve spent the past 10 days running color on the system I have setup for Resolve (logic board issue on the other box). I notice no noticeable loss in speed rendering in Color with the GTX 285 if anything its a touch faster then the ATI 4870 I have in the other box. I always render in float so that could have something to do with it.
As Ilya points out the only issue you really have is that you have to switch which card your monitors are plugged into when going between resolve and color.
So all and all it works just fine. With that said pretty soon for me anyway the color system will only be for specific projects and making updates to older projects, I’m throughly sold on using Resolve ALL the time
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Nate Weaver] “What does “additional remote grading features including grab/select/delete stills” functionality mean?
Is this programming for the Wave, or the Resolve panel, or?”
No this is part of remote grading functionality of Reslove (notice the change in spelling). If systems have the same media resolve passes back and forth application data making remote grading possible.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Illya Laney] “Is logging going to be a normal software update?”
Dunno. They were in beta at IBC showing this. Seemed to work well. Can’t remember about the I bar though
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion