Robert Ruffo
Forum Replies Created
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THANK YOU!!!
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Most “VARs” I know have little to no ability to do anything but upsell you on stuff you don’t really need. Exceptions are rare.
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Movi is useful for shots that would otherwise be difficult or impossible.
However, fi you are a good Steadicam op, then you can do things that movi can’t, like stabilize a camera’s position in 3D , not just its orientation. Imagine, for example, how ridiculous a long walk and talk down the street – a Steadicam staple – would be using this device, or a slow creep near the ground.
All we see in the demo are very fast moving shots, where momentum helps smooth the 3D position problems. The demo also has only very wide angle shots. My wife can do a Steadicam take that is fifteen minutes long at 50mm, keeping a head-and-shoulders an actor well framed with no feeling of “walk bounce”. try that with a Movi.
People who are selling their Steadicam rigs to buy this are quite frankly amazingly stupid.
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They have to make money somehow – but they could charge $2000 for an open version. I might buy that.
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My issue is that trying to create a secondary from an HSL qualifier ends up in a lot of noise or something very imprecise, or just big blurry noise.
In almost all other color grading software, “blur selection” actually removes noise and the “choke” retreats the selection so that it doesn’t halo. In almost all other software, this is a very easy and fats and intuitive process.
“Grow/Shrink” and “offset” are so weird the DaVinci manual does not even attempt to explain them. They do not work well, they are big time-wasters.
In Davinci, the HSL qualifier system is by far the worst of any of the major packages. The tracked windows are spectacular and awesome and wonderful, yes, but windows are often not all you need to do a secondary grade (unless you want to – or can – spend hours pushing points around).
Unless they’ve fixed this, it seems V10 adds lots of features that are non-essential to most grading sessions I’ve encountered (I’m not saying useless, just non-essential), yet fails to fix a basic problem that comes up in every single session.
Blur Choke is pretty basic stuff – many software did this perfectly well 10 years ago. It’s not patented or anything, it’s not hard to code.
People here who claim the HSL qualifier is fine as it is have simply never worked with the secondary color range selectors of any other packages. They are all better. Even Colorista’s is way better, and that is a prosumer/low-end plug-in not even aimed at a dedicated color-grader. Baselight? Smoke? Msytika? No comparison can even begin.
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I just hope you guys have fixed the qualifier – “new RBG YUV selection” might indeed be this.
All these new features are fun, but to me this was part of core functionality in serious need of improvement. The rest was already more than fine.
Just give me a blur/choke for qualifiers that actually works solidly.
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DSLRS can look OK under very limited circumstances, such as when no grading is done at all, or when virtually nothing is in focus.
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Paul, I have a Wave now, but that’s not the point, at all. I was trying to get BM’s attention by pointing out a fact – they literally lost 30K of my money because they seem to refuse to fix a serious shortcoming.
People like me are potential premium customers to people like BM – I have a lot to spend on gear.
Last time I mentioned this, I was told that big Hollywood movies use DaVinci, and so therefore it must mean it has no room for improvement – which I find to be a suspect argument at best, and certainly didn;t make me feel like I should give them any more or my money. The result? Baselight will probably get that same money, and they can continue to be smug all they like.
I’m sure I’m not alone – so how much is not fixing this issue costing them? I hope they think about it.
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@ Dan Moran
I’m sorry, but what are you on?
Have you ever tied the keyer in Smoke or even Colorista?
I never said they liked the RedCine grade better, or even that anyone other than me did that grade as part of the service. You can’t quickly create sound-synched dailies in DaVinci with dual-system sound – you have to use RedCine for that – so on many projects someone is using RedCine first. Its’ not a matter of what they like better, it’s a matter of having something they already like as an easy starting point, on the deadlines we often see in the real world of paid production saving time is very important.
20 minutes was facetious.
Your post is supremely arrogant, and clueless.
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We plan on getting a panel soon. I hear now with the new approach to calibration, they are way better than ever before – on par with just about anything out there.