Robbie Carman
Forum Replies Created
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[Toby Risk] “Currently, as far as I can see all the LUT’s affect all the outputs, which is limiting in terms of achieving accurate colour on the colourists monitor and the client monitor.”
Huh? Sorry to be slow on this one but grading should be taking place on a dedicated, calibrated and accurate reference monitor. While I can see some limited use of applying a LUT to the preview on the GUI I’m not quite understanding why not having this feature is limiting? The action is taking place on output monitoring.
Same goes for a client monitor – a proper client monitor should be in one way or another inline with your SDI output path. Are you using the GUI preview for client monitoring?
Robbie Carman
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Colorist and Author
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Mixing Light Powered By The Tao Of Color -
did you render out data or video levels?
Robbie Carman
—————-
Colorist and Author
My Books
Online Training
Twitter
Blog
Mixing Light Powered By The Tao Of Color -
[Juan Salvo] “Reminds me of the awfulness of the af100. :(“
100%. Its just not a great image to push and pull like the AF100. Shot very well it holds up but when you need to get in there and really stretch things is not so good. Its funny I had a dark shirt situation on a C300 show that kinda looked like noise so I was noise reducing it with Neat Video – no change – it was then that I realized it was noise but rather ugly 8bit banding in the shadows….yuck
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
[Joseph Owens] “NDF/DF should not have been an issue as the whole thing is 23.98. About 10% of all clips were in sync… 75% were one frame delayed, and the rest wobbled up to 6 frames out.”
Interesting – I’ve not had the issue with all one frame rate but what you describe has been a major headache with mixed format timelines – specifically 23.98 material on a 24 timeline or vice versa. For a recent feature I gave up and baked the entire film and cut it up since it was one track virtually no dissolves. There is for sure something going on with mixed format timelines.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
on the delivery page try the auto setting for levels instead of normal scaled or full range
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
Paul –
The Hardware Legalizers are priced depending on options similar to the Harris DL 860 so 5-7k. I think the software plugin is like $399 but not sure exactly. It works well in FCP but it takes a LOOOOOONG time to render.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
[William Edwards] “That harris machine, you just ‘feed’ the video through it?”
Yes – its SD/HD SDI in out – actually you can have 3 outputs for feeding multiple places. Harris along with EyeHeight probably the most used legalizers in the world. Basically you set legalization parameters to meet your specs the box does its magic.
The thing though since its a baseband video device it works great in a tape based solution (which we often are) but can work in a tapeless solution as well. We simply route Resolve/FCP thru the legalizer (sometimes also thru a standards converter) to a hard disc recorder like the hyper deck. That way we can record truly legal prores, dnxhd or uncompressed in real time with out having to render usually highly inaccurate broadcast safe filters.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
yeah for sure – unless your a robot or a very conservative grader it can be hard or impossible to catch those 2 pixels 🙂 However some additional things to keep in mind.
1. I wouldn’t trust the Luma warning in FCP at all. Just saying. Dedicated scopes in the SDI path really only way to tell for sure. And you also need to know your specs! DCI, GEO, SCRIPTS, PBS etc all have their own standards many will allow some over/undershoots for a specified period of time to a certain level. 102% for 2or3ms for example. RGB vs LUMA gamut also sometimes different. Really need to master those.
2. You don’t need a LUT and with absence of accurate scopes its going to be darn near impossible to tell whats going on with your transform.
3. You might try the old nest with a broadcast safe filter on the nest set to extremely conservative in FCP or use the excellent Eye Height software legalizer for FCP
Keep in mind Stig and Sasha are right on with RGB full scale workflows I was just trying to give you some perspective on a prores broadcast with FCP workflow. Your milage may vary! 🙂
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
oh and I should mention I made it sound like your FSI can only monitor 422 footage or something – you can monitor RGB 444 Full range over 3G SDI quite easily.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro -
Alexis did a great job explaining this in the new revision of the manual so be sure to check it out (pages 167 to 169).
So from your original post it seems like you’re working with REC 709 Y’CbCr footage and not 4444 RGB? So ProRes HQ or something similar?
If so I’ve done nearly 160 hours of shows this year with the workflow I’m about to describe using ProRes HQ source files > grade and resolve and render > back to FCP for audio/graphic remarry and for output and layback. And everything has been fine.
There are two separate issues going on. First in your config (for both monitoring and deck) there are two options – video levels and data levels. WIth these options the important thing to remember is that it should be set to what your monitor or deck is accepting. So if your working with an FSI monitoring REC 709 you should leave this set to Video Levels.
While the internal scopes are always going to show full range in Resolve if you pop open your scopes on your FSI or an external set of scopes in the SDI path you’ll notice that the original footage that you perhaps looked at in FCP and saw a ton of under/overshoots are now clipped. However because of the internal processing of Resolve that data should be recoverable while grading.
On render in the delivery page simply choose Auto or Normally Scaled in the levels pull down and render the show. Send the XML over to FCP and things should be fine.
Easy way to test this create a white field over 100% in FCP or a gradient. Something you know is illegal and has over shoots/under shoots. Bring it in and render with the workflow I described and things should be ok. Again for broadcast ProRes stuff this is my workflow day in and day out.
A couple things to note:
1. Even with Video Levels and Normally scaled render its still entirely possible to get RGB Gamut errors (really only way to measure this is on a scope like the TEK diamond or the Harris Eye) but you can “sorta” see it on an RGB parade if you have overshoots/undershoots. To be honest you have to push it to have this problem but its still the reason that we run thru a Harris DL 860 for tapeless or tape outputs really mainly to ensure RGB legality. Resolve with the workflow I’ve discribed seems to do just a fine job at protecting Luma and Chroma and to a certain degree composite levels (although another reason to have the legalizer).
2. The Luma warning in FCP – was in the yellow warning sign or the green one? I can’t remember the exact levels off the top of my head but if its the green one thats normal just shows you there are levels between (I think) 90-100%
3. Finally, when it comes to RGB 444 data thats another can of worms entirely. The workflow does become slightly more complicated simple because there are times when you want to monitor for example 709 and Video levels but layback Full Range. Please read Alexis excellent write up on some of the scenarios in the manual.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion
An Editors Guide To Adobe Premiere Pro