Robert Krueger
Forum Replies Created
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Hi Michael,
thanks a lot for taking the time for a super-helpful in-depth answer! This is incredible. After initial research I was afraid that the answer was going to be something like that. It is such a trivial thing engineering-wise to offer a decent XML metadata i/o and clear negligence by AVID if they don’t offer it, period.
I’ll wait for AVID or someone else to offer something then.
Cheers,
Robert
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Found it. In case anyone else doesn’t find it obvious either, you have to add the “LUT Buddy effects” to your clip as the first effect and set the “Action” to “Draw Pattern” (you will see the pattern on top of your source clip) and then add it once again as the last effect and set “Action” to “Read Pattern”, which enables the “Export LUT…” button.
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Yes, of course, one would have to see the original shots of those movies and see how much of it was done in lighting and yes, I know that you need HQ footage for it to hold up in more than subtle grading. I wasn’t expecting to be able to produce a Transformers look with a hacked GH2 and a set of 200$ LED lights but finding out first-hand where the limits are, is indeed something I’d like to spend some time on.
The book I’ve read on the subject so far was “Color Correction for Video” by Hullfish and Fowler. I will check out your recommendations on books and courses.
Thanks a lot for your time and insights!
Cheers,
Robert
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Hi Sascha,
thanks for the feedback! I will try that.
I have been looking for ways to achieve that look for a while reading a lot of material on the web and mostly doing my grading with 3-way-cc in FCP7. There are people out there claiming that you can achieve that look by just pushing darks into teal and highlights into orange. However, since I have been looking to solve that mistery, I have stared at so many examples from blockbusters where it simply could not have been the solution because in the same picture there were examples of both very saturated teal and orange midtones and not a mixture of the two at least it appeared that way. That is why I thought it must be more of a palette-like approach where you push anything that is closer to teal than to orange more in the teal direction and vice versa (while leaving skin tones mostly untouched).
Let me know what you think you these thoughts if you have the time and inclination. I will try your approach as my first resolve project.
Cheers and thanks again,
Robert
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that did it.
Error message is gone, so now I can begin to explore Resolve.
Thanks for the excellent support!
Cheers,
Robert
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Thanks for the quick response!
Graphics Mode was not set to Higher Performance. I change that but it did not help. I even rebooted and checked again. Permissions and ownership of the StartupItems folder look ok:
ls -l /System/Library/StartupItems
total 0
drwxr-xr-x 4 root wheel 136 Apr 15 2011 CUDARobert
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Hi Charles,
I was afraid of something like this. I’m going down the same road right now with results that make the workflow somewhat bearable but nothing more. It really seems like something that needs to be fixed on the software engineering side.
I don’t want to switch between tools, when I have to work with still images in a project (which happens quite often in stuff like wedding movies). There is no obvious technical reason it should be this slow. It just feels broken.
OK, blown off enough steam here. Thanks for the update and good luck to you as well!
Robert
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Hi,
did you solve your problem? I have the exact same problem here and, like you, I am puzzled by the order of magnitude of the rendering times.
Comparing with other projects, I really don’t believe that the timeline codec alone would explain the rendering times but I may be wrong. What rendering times did you get to, following advice in this thread?
BTW, this same sort of thing works a lot quicker in Adobe Premiere, with which I have done this stuff many times, regardless of the used rendering codec. That’s why I thought there must be another explanation for this.
Thanks in advance,
Robert