Stig Olsen
Forum Replies Created
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Hi, when running Avid Mojo DX, a couple of graphic cards, Red Rocket, Decklink, Raid and some other neccessary things that need more slots than 5 – is there any solution for this? I also know some that are waiting for the new processor before they decide what solution to go for.
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For power grades, I would like to have a list of names instead of thumbnails. Its getting very messy with all that thumbnails. Maybe it is a good thing, but there should be an option I think.
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Ok, what have I missed?
Why do you want the DNxHD 36 to be viewed in rec709 as you can change the source levels of the raw alexa files before the transcoding to avoid the flat look? -
I mean that if you work DNxHD 36, there is no need to transform into 709 as DNxHD 36 is only ment for doing offline edits.
If you want to get rid of the flat look on your offline edit, simply set the source of the offline clips to data levels. -
Nigel,
Why dont you change the source of the AMA-linked ProRes-files before transcoding to 36? No need to use Davinci for this purpose.
Stig
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Hi,
We have been over this issue hundreds of times until we figured out what was wrong.
In our case we had an external OLED-monitor with two inputs connected to two different machines. One mac with Avid and one mac with Resolve.
The different inputs on the OLED was calibrated different and caused the same media to appeal different.
If you work native and render mxf (185-220) this should work without any luma or RGB issues.
Put the mxf files in a new avid media folder and drag the database file into the bin.Stig
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Hi Bernard,
It is normal in my country to finish a 44 min TV-show in one day.
Its basically about balancing the RGB and luminance levels + adding additional graphics as supers and master on tape. Have someone other than you to watch the master tape for security purposes.Normally this is done on the master suite that in most cases is a Avid Symphony or similar that is dedicated and integrated in the already set up workflow. The symphony also do have some basic secondary possibilies for correcting more difficult shots.
This is tight, but it is mostly the way it is done on the largest TV-shows on this side.
For more advanced grading in a Resolve Suite – consider not to do the job is my advice on that scehedule and probably amount of money.
Stig
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If it was shot with motion control they had to rotoscope all the movement in front, or shoot the foreground plate on greenscreen behind the actors.
An example – https://www.youtube.com/watch?v=NwW0q65VIas
Or simply watch the BTS-movie of requiem for a dream.I think that one of the above is correct, and maaaybe they have (if its shot with motion control) put som extra motion blur on top of the background plate, but they can have this effect with simply working the shutter.
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What do you mean… it is shot that way. Low speed with controlled shutter and the the people up front are walking more slowly than normal.
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Yes, DNX is simply for HD.
If the editors is working SD, they simple export with the “same as source” settings for After Effects og do an AAF export as mentioned. This will keep the “quality” AS shot.
You need to ensure that there are no loss on the way to AE.From AE back to Avid you can use Avid Meridien that is designed for SD instead of Animation.
But, SD looks like SD anyway – The only way to make SD look good is to shoot and have a HD workflow for then to downscale when output to final delivery.