Tim Farrell
Forum Replies Created
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Why not use “Add Folder Based on EDLs into Media Pool”?
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It’s fairly low con with overall desaturation and cyan in the whites. Cyan sat lifted. Use the cyan preset hue curve.
Midtones going towards brown and you could try a hue curve for some more saturation here too. Have it spread over yellow/red.
Hope this helps a little.
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Try an uninstall of Desktop Video 9 and then reinstall. I had same issue as you but this fixed it.
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As Joe says it’s for people who want to render “studio RGB” (scaled) instead of “computer RGB” (full range). (eg: render dpx files and have Data Level set to Normally scaled legal video.)
If rendering to YUV codecs like ProRes 422 or DnxHD it’s not relevant because your renders will always scale to 64-940.
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As I understand it, with the exception of JPEG and JFIF stillframes, there is no such thing as full range YUV ie: it’s always scaled.
Perhaps Rohit or one of the other DaVinci team can confirm this.
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Hi Rob,
In the config page try setting playback frame rate to 0.33333.
I had a lot of system lockups with 0.33333 though and had better luck with setting it at 0.25, so each patch lasts 4 seconds.
Let me know how it goes.
Tim
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Good question Chrispy.
I am looking to download some arri raw files for this sort of workflow testing.
Does anyone have any links?
Thanks.
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What’s a TC session?
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Hi Gabriele,
Instead of using the Cinespace folder, create a new folder within the LUT folder and call it Arri or whatever and try putting the LUTs in here.
This works for me.
Tim
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Hi Christopher,
You need to look at the shot and decide where it’s important to have detail and where crushing blacks or clipping whites is preferred.
Two simple examples.
1. Clouds on a blue sky. Normally you will want to see some detail in the clouds and as you mention, soft clips can help a lot.
2. Something shot against a white cyclorama. You want this to clip to create the illusion of infinite white space. If it doesn’t clip you’ll end up seeing graduations and defects, which ruin the effect. Same for any sort of specular highlight. You will want these to clip. There’s not going to be any detail within these areas and if you don’t clip them off, the rest of the scene will suffer from lack of brightness.
Of course it’s the same for shadow detail. Does lifting the blacks reveal more detail or I am just seeing noise/grain? And even if there is more detail, ask yourself if the shot benefits from seeing it, or is it better with the blacks crushed.
If you’re monitoring is setup correctly, I would suggest you forget about numeric values and just concentrate on what level of shadow and highlight detail is desired for each shot.
Hope this helps,
Tim