Robbie Carman
Forum Replies Created
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I of course agree with JPo and Dean but I should be noted that even the DL860 is not a perfect machine. Recently on super saturated, dark and grainy footage (recreation scenes) even the 860 is not fixing the out of gamut stuff (0-700mv on RGB Gamut). This stuff of course was 9 billion percent illegal so I didn’t expect it to really fix it – you still from time to time give shots some manual love.
On shows like that I’m a big fan placing a track node and applying a little clipping at the top and bottom end of things for safety sake. I agree that legalizing manually RGB gamut issues can be a little tedious but some soft clipping goes a long way!
And as JPo said the only way you can really know for sure is by having a dedicated Gamut scope like the diamond or eye.
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 -
Yes for sure the delay is there on the UI and Video out – for us doesn’t seem to matter if its a mac, pc (nt sure about linux. However it just doesn’t bother me as the majority of the time my preference is to maximize the UI so the viewer/preview is as small as possible or hidden. Obviously this is helped by the BMD control surface where pretty much everything is mapped.
[Joakim Ziegler] “the UI monitor and the video output is just a symptom of the bigger problem, which is that there’s a 12-13 frame delay between any operation you do and the result being displayed.”
I don’t see this while static grading – a couple examples – add a window, resize it etc its instantaneous, make a correction same thing. Now I would agree with you that during playback when making changes there is a lag. I’m wondering if this is an issue with overall system thru put on mac/pc.
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 -
walter -you can do what ben suggests if you want to be a little more conservative.
Switch over to the track level and then apply a new node. Go into your clip controls and dial back the top and bottom as you see fit. you can also soften this out so its not a hard clip.
Just keep in mind while legal levels does what it says in my experiance RGB gamut issues can still get thru. Thats why in our workflow these days we still play out through a legalizer to a hard disc recorder that can do any flavor or prores/dnxhd etc
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 -
juan are you sure about that? Pretty sure in V9 its a separate download now that they have version parity with the main decklink drivers
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 -
well with out seeing your scopes – the sky is all highlights and you have made a push ( not a huge one but a push none the less. Perceptually, I’ve always found that highlight corrections are more “sensitive” to slight adjustments
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 -
Resolve 9 requires 10.7.4 or 10.8 while it probably “works” in many situations I’d start with using a qualified OS. I actually upgraded from 10.7 to 10.8 for this release and everything has been going along great
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 -
working just fine for us on 3 different cubix setups
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 -
We have two sets of the panels hands down they rock.
I agree with Nikolai – when clients walk into the room they impress way more than say elements, wave etc.
Once you get muscle memory with them there isn’t a whole lot you touch a mouse for anymore. But the soft menu’s can be deep and take a little getting used too.
Construction is solid – power supply connections are very nice touch.
I would have liked old style resolve control panel with built in mouse but don’t need it much.
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 -
another +1 on Neat Video – the new version (V3) can actually take advantage of CUDA. I have a few GTX 580s in a cubix and using the FCP version the NR is basically real time. There is even an optimizer they have within the plugin to optimize the combo of cores on your CPUs with GPUs – the most is not always the best!.
In over all quality its simply fantastic. I love 99% of the things in Resolve but after an early love affair with the NR built in I quickly became a fan of Neat Video. In Resolve I simply grade the shot and then after render in FCP/Premiere I’ll noise reduce on the shots that need it and output the show with titles etc. Works great.
It used to suck in terms of render time but now it really just flies if you can through some processing GPUs at it.
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 -
did you choose the card in preferences?
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