Robbie Carman
Forum Replies Created
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I’m a fan of 1 project multiple sessions.
I have found no downside to this approach but only upsides meaning….
1. Never had a project crash – even with 3 or 4 versions per clip and a ton of stills
2. Timelines easy to look at 15-30min
3. Stills accessible throughout – Color trace is great but a PIA on the same project if you ask me.I’m about to start a feature doc on tuesday and I’m considering grading it as one long piece – other than one big timeline I can’t see a reason not to do 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 -
yep if you plan on doing work in Premiere. Mercury Playback engine takes advantage of CUDA processing but only with the card monitors are plugged into. I swapped out my GT 120 for a GTX285 huge jump in performance in Premiere – Resolve totally working fine
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 -
I built my own on the Arri LUT builder site but as far as I know (peter, dan or rohit can chime in here) the stock one is essentially the same thing LOG C – 709.
The thing that can sometimes get you is if your program has mixed material. I had a project two weeks ago where I thought everything was Alexa LOG C HQ and it turned out some B-Roll was linear and I was starching my head wondering why that stuff looked so bad. The fix is just to apply the LUT on the node level instead of the project level
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 -
great post as always JP. I believe this difference can also be general referred to as metamerism failure. I experience this all the time. In my case a FSI ref monitor and panny plasmas. When measured with a 35k PhotoResearch Spectroradiometer they show the same values however the panny always looks warmer, FSI always greener.
Quick dorky read on the subject of metamerism failure https://en.wikipedia.org/wiki/Metamerism_(color)
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 -
I would agree with JP on the 4000. I run 3 480’s and a RR in my cubix. It works fantastic although I don’t really see a difference between 2 480’s and 3. In a Cubix because of the extra power required I think think bang of the buck the 480’s are the best solution right now (we can pray Dave a MacVid cards figures out the 580s/590s)
You’re right though with out the RR debayering is done on the CPU’s so they more the merrier. I will say that even with the Rocket I have I can’t get consistent Epic playback in realtime if I go higher that half rez good.
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 -
I was really worried about that same issue. We’ve gone from 285s to 480s in our systems. Tested in a ton and I haven’t noticed any shifts on projects that were graded on the 285s
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 -
[Chris Armstrong] “Seems like it would be easier to apply (and enable/disable/swap out) the LUT if it’s configured in that LUT config screen vs. a node? (At least if you’re using the same LUT for the entire project).”
You nailed it. LUTs on the config page govern the project while you can be selective with the node based approach – which is nice sometimes for example you might have project with linear video mixed with LOG C
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 -
I would add Cineform to that list. Pretty fantastic cross platform mastering codec
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 -
got one of these in on demo – having been using active displays for the past year or so the passive display is soooooo much nicer on the eyes.
https://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL101867
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 -
been running it for the past few weeks and no real problems. Only thing I would suggest is turning of the “remember” feature for launching apps – that is close a an app and next time you open it it returns the the windows to their original state. You can find this in sys 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