Sebastian Leitner
Forum Replies Created
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the biggest difference is:
mk3 can use “magic lantern”, mk4 cannot.
so no 2.5K RAW 14bit for the mk4, which is in my eyes not worth the upgrade.magic lantern makes the old mk3 such a valuable tool again.
the 4K from the mk4 is not that great, better tools for it. -
yes, resolve works with 32bits float internally (as does fcpX by the way) but monitoring (waveforms etc) are limited to 10bit because people usually only need it for broadcast? 12bits is the maximum and used in cinemas only. as already mentioned, that does not mean the information is not there! in avid you are stuck with 8bit monitoring for example. does not mean correct 10bit export is not possible.
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yes, this is a known problem of resolve’s latest instalment. so far, nobody knows wha exactly. even with prores444 it happens some times – i found that the best results are with cineform. alpha processing seems to be broken somehow. try PNGs instead just for testing.
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there is definitely something wring with the latest resolve instalment and audio levels!
for me all levels are shifted 6-9db when monitoring compared to fcpX.for now bug-reporting is the only thing we can do.
p.s. sometimes resolve has problems with BWF (broadcast wave) files or similar and cannot read metadata.
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using anything else than rec709 does NOT make sense if any one of the following is true:
a) your panel/display does not support wide gamut (P3, adobe RGB color space or similar) – you would not see it and end up with shifted color values. also note: your display needs to be calibrated correctly.
b) your target platform/outlet does not support anything else than rec709
c) your target audience uses devices which do not support anything else than rec709
keep in mind that rec709 is broadcast standard and (similar to sRGB) serves as common ground across all devices. legal/data range aside, this is usually what cameras record in and digital displays show (cinema being the exception). web and computers are sRGB full range gamma 2.2 – TV and multimedia like bluray are rec709 legal range gamma 2.4 on the other hand.
so you are already in kind of a small battle over faithful monitoring, don’t add the burden of managing wide gamut color spaces on top of it 🙂
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optical flow can become corrupted sadly. i had this several times on different machines. optical flow would completely stop working and any speed adjustment (or flow transition for that matter) would either be not rendered and just apply frame blending or end up in “beach-balling”.
i could only solve it by creating a new, fresh user account and work in fcpX from there – or go through a complete clean install of the system (no repair, no upgrade, a “format c:” process). after that it was all peachy.
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yes, also with the 50hz hum removal, voice gets an echo in 10.4.5
hum removal is not meant for noises like fridge/compressors etc.it’s meant for power line hums in either 50 or 60hz, which occur with analogue audio connections other than XLR and/or badly isolation and/or using the same power plug extender for different analogue devices.
it doubles the signal and moves it a wavelength to make use of destructive interference of that frequency. so, if it’s not the power line hum it won’t work and adds echo!
i see that sometimes fcpX activates it automatically because it thinks it hears” a power line hum. most of the times, this is wrong and denoising is the better way to go.
to get rid of compressor/fridge or similar “hums” use a lowcut/highpass filter instead! because those frequencies are different from 50/60hz and also vary in wavelength.
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yes you can. but i’ve tested both on 4K footage from a FS7 in a flat profile (no in-cam sharpening).
in the newer versions of FCPX the internal sharpening has improved. were i could clearly see differences between highpass and normal sharpening in say 10.3 flavors, i don’t really anymore in 10.4+ it’s very similar on good footage.the only thing i can think of where highpass can help is on suboptimal, mushy HD footage where it’s usually better to work on frequencies rather than outline/contours. it’s more obvious there.
if you want to try yourself, here is the published highpass filter:
https://sebastianleitner.com/highpass-fcp.zip -
FIX COLOR/GAMMA SHIFTS ON APPLE (iMac) P3 RETINA DISPLAYS
TAKEN FROM MY WEBSITE, READ MORE AT https://www.sebastianleitner.com/
(check out my DCP course and hit “show more”)it’s not really a bug, more of an Apple-feature gone wrong (sounds familiar?). Apple introduced something called ColorSync a longer while back, initially meant for images (print/scan/preview) only. A shorter while back Apple broadened its functionality to cover video as well – to ensure display accuracy across all Apple devices and systems. So, cool, macOS now makes sure your pictures and videos look the same on all (Apple) devices – but there is a catch: only Apple software (well, mostly*) supports this – namely QuickTime, Safari, Final Cut Pro X and QuickLook) – and you will run into lots of troubles with other, non-Apple, apps (e.g. Adobe Premiere Pro, VLC or say Firefox and YouTube), obviously this color sync would not work on a non-Apple hardware product as well, so expect strong shifts in color and gamma in “the real world”.
The reason being ColorSync enables certain LUTs for your graphics card in the background on a system level to compensate and shift color+gamma levels accordingly, trying to make the best of your wide gamut, P3 display. It sounds highly advantageous and cool but in the end you just don’t see the “real” image, meaning its raw values but shifted ones instead. You want to see a truthful reference image which is certainly possible on those really great Apple (cinema) displays.
The quickest, free solution is easy but kind of secret and not well documented at all! You need a display profile that circumvents ColorSync, tricking your system into displaying raw values only without transforming them! And the only profile (provided by Apple in 2012 by the way) to do so is called HD 709-A. Some people don’t have it for some reason even though it’s by Apple, so you can download it below (and put it in “User/Library/Color Sync/Profiles”)! It will take care of this tedious issue once and for all. In my experience, color and gamma are consistent across all kinds of different systems and hardware setups – yes, even broadcast monitoring/referencing setups. NOT cinema obviously, since the color standard there is DCI P3 in XYZ levels – not RGB (this is how all digital displays work).
download: https://www.sebastianleitner.com/HD709-A.zip
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QUICK AND EASY FIX FOR ANY RE-LINKING ISSUES
it’s not a real “force re-link” and I don’t know if it has already been mentioned BUT here is my little trick to deal with occasional errors like these: FCP X (after version 10.2 at least) imports any media as kind of a timeline. You can always right click on your files in the browser and choose “open clip” (name convention in 10.3+ which used to be “open in timeline” before).
From there you can basically add and remove anything you want, swap the audio for example or the picture or both for that matter. You could also stick subtitles or graphics and titles to it which would always stay with the video that way.
Regarding a force re-link all you have to do is dropping your new file in there and overriding the old one – of course it needs to have the same specs in terms of frame rate and sync but format or channel config do not matter. Works for me every time.