Ryan Holmes
3
COW Coins
Forum Replies Created
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Easiest solution: Color correct the clip before you cut it up. Drag the clip onto the timeline (a complete 4-minute take), color correct that, then edit. As you cut up the clip it will still retain the original color you applied. If you tweak the color then you have a problem.
Or if they are already cut up, then place each take on it’s own track (camera 1 is on track 1, camera 2 is on track 2, etc.). Color correct the first shot on the track, then you can copy/paste the effect quickly to all the other shots on that track (copy the FX you want from the first clip, then highlight the rest of them on that track by clicking+dragging in the timeline, then paste the effect onto those highlighted clips.
Traditional solution: Because color work is best done when looking shot to shot to shot in context, people don’t typically color grade until the end of a project. While you can match your 3-camearas at the start (i.e. color correction), once you drop in story elements you may not like the color change between the shots as much and may then tweak (i.e. color grading, which is more creating a look than merely balancing cameras). Color correction is best done in an app that is made for that (Speedgrade, DaVinci Resolve, Color, etc.). Those apps allow you to setup a look and easily apply it to other similar shots in your timeline. It may be time for you to start learning a color app so you have more control (Resolve Lite is free, and Speedgrade is bundled with CS6).
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
It’ll be fine. According to Grant Petty, “We have been testing with DaVinci Resolve 10 builds and this screams….Overall we could not be happier!”
OpenCL has made a lot of advancements the past few years. This could likely push companies to make more. Plenty of horsepower in this little package to run Resolve (especially after BMD tweaks the code for it).
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Juan Salvo] “I thought we were talking about consumer products.”
Funny…I thought he was asking about projectors for post-production work environments given his in parenthesis statement: [John Whitcomb] “(in other words, can I feed it 4k from Resolve?)”
Goes to show how much mis-interpretation can happen! 🙂 Juan you might be right because like you said, you’re not going to find a color critical monitor for anywhere close to under $15K like the OP asked. You can certainly find some nice consumer based projectors for $10-$15K though. But those professional Sony ones will cost you a mortgage to get.
Maybe if the mythical RED Ray 4K projector ever makes it to market….
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
It’s just an upscaled image. Just read the “Performance” page:
https://procision.jvc.com/product.jsp?modelId=MODL029155&pathId=140&page=12Juan is probably referring to these projectors from Sony:
https://pro.sony.com/bbsc/ssr/cat-projectors/cat-ultrahires/Or maybe these (though these are intended for theater projection, not so much post-production suites):
https://pro.sony.com/bbsc/ssr/cat-projectors/cat-digitalcinema/Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
This just looks like a gamma interpretation difference. You can change how Quicktime interprets gamma in the preferences area of Quicktime. I believe there’s a check box to enable a different gamma level, tied to Final Cut Studio if I remember right. (2.2 vs 1.8). Check and your problem should be solved.
Ultimately, Quicktime 7 (and X) is a bad way to proof check your work for color accuracy. It is a notoriously poor (and well documented) app for handling color. It’s best to have an outboard monitor being fed by some sort of SDI or HDMI monitoring card (Blackmagic Intensity Pro or Decklink card).
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Can you post some screen shots of what you’re seeing? That may help those on here to answer better.
Sounds like the artifacting may be in your footage. Judging much of anything on the DSLR monitor won’t do much good as the small resolution of that monitor hides many problems (artifacts, hot pixels, focus, etc.).
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Depends on the monitor you purchase. Some have it as a function, some don’t. All of the SmallHD ones have it as a feature of the monitor, independent of the camera.
I run several SmallHD monitors (DP-4, DP6, AC-7) here and I really like those monitors in terms of cost vs quality vs features. Warren Eig on here just reviewed the SWIT S-1070F and he really likes it. ( https://forums.creativecow.net/readpost/325/1889 ). I believe he actually bought one as a result.
You can also check our Marshall and Ikan for other options.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Simple answer: because h.264 is a more efficient encoding method than a traditional MPEG-2 file.
Per your problem, if they’re using a recent release of PowerPoint they should be able to play a h.264 file in there. Another option is for you to get Flip4Mac and make a WMV for them to use.
Or you could loan them a Mac for their presentation! 😉
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Morten Ranmar] “No need for external HD with AVCHD files (they are not big you know)”
This is problematic for sure. So you have 1 hard drive handling the core OS functions, Premiere render files, conform files, media playback (AVCHD), Auto-Save, etc. – and it feels sluggish to you….I’m kinda surprised it’s working at all. You’re essentially asking a 5400RPM drive (or 7200RPM if you upgraded) to handle several tasks all at the same time. The size of the files isn’t really the problem – you’re asking a drive to handle so many tasks that it can’t possibly serve up all the data necessary, especially once you start demanding 24 or 30 frames per second.
And with Adobe you can never have too much RAM or a more powerful video card. But I’d start with the HD first and progress from there.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Jean-Christophe Boulay] “If it was legal (it’s not), possible and profitable for someone to do it, it would’ve been done already is what I’m saying.”
Well said.
[Jean-Christophe Boulay] “The only way to get around it is to rewrite the software as 64-bit, which Apple did when they came up with FCX.”
Your solution to take advantage of more RAM, CPU, and GPU already exists in FCPX (or you can look at Avid Media Composer or Adobe Premiere which Shane noted). I’m sorry that you spent so much money getting certified only to have Apple move completely away from that software. That’s really awful!
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost