Toby Tomkins
Forum Replies Created
-
Oh yeah! Dont think I tried batch link. Double check the right versions are active though, not just the version number from the 1st use of the clip etc.
A London colourist social would be great, but it would have to around 10pm lol
Failing that drop me an email next time you’re near Goodge St and I’ll collect on that pint!
-
I’m about to do you a big favour and save you a lot of time (-: so next time you’re in Soho, London, buy me a pint (-;
What I worked out you can do recently is: duplicate the old project, and in the color tab, click on the timeline and select Batch Copy. This will un-connect clips of the same take but create master versions of the grade you had for each clip (but you can later create groups of these if necessary, which I think is much less time intensive than your method). You can then import the new XML and everything should match up with the correct versions and I believe the other versions are still there. It’s been a couple weeks but I think this is the method (it definitely involves batch copy). Duplicate projects before doing anything! (right click on a project/session and click save as to duplicate.
Let us know the exact method if you work it out! It was a lifesaver on ‘Ill Manors’, Plan-B’s debut feature film that I’ve just finished! (-:
Good luck!
-
Yes and no, its not only the colourspace that we’re checking. The projector handles the conversion from 709 to XYZ in a similiar way that our DCP will be transformed (3d LUT), so it represented our DCP very closely. Other things like the size of the screen and environment are factors that drive some decisions for grade tweaks in the cinema. Smaller things are much more noticeable on a big screen (hue selection edges for example, or noise) that you might not fully appreciate on a monitor. There is also naturally lifted blacks and a little less saturation with projection (a physical limitation of a projector and screen!).
Soho Screening rooms (aka mr Young’s) were great and it all worked out perfectly. I couldn’t recommend them highly enough!
-
Looks like we’re doing it at Soho Screening rooms (aka mr Youngs) for £125 per hour which is reasonable. Question is do I feed it rec709 or try the DaVinci XYZ transformation or use a LUT that was posted here before (can’t remember by who but people said it was good). As far as I know the projector hardware/server will handle the transformation from 709 well (as it does with hdcam sr decks as input etc)
-
little info lost with redlogfilm prores4444 if the debayer settings are good, especially at 2K.
-
‘now that the GTX590 runs on both platforms’
Does it? With all 1024 Cuda cores recognised in OS X? How!? Would love to know so I can upgrade my 480 in my hackintosh (-:
-
Personally I’d ask for the red files decoded to prores 4444 with camera settings and full res premium debayer BUT in Redlogfilm for gamma, and have any major exposure or colour temperature issues addressed during that stage on a scene-wide basis. The vfx should also be able to be delivered in redlogfilm. Ideally you would use a display LUT (either loaded in the lut page of the config tab or in the track section of the color tab)and grade ‘in’ log. This allows your conversions at the end for deliverables to be very high quality (specifically for print or DCP which have a wider gamut than rec709).
Good luck!
If you have the money get a RedRocket and grade from the R3D’s.
-
Thanks all. I’m aware of the transfer bottleneck for 4K. I’m still grading in 1080p timelines though so resolves caching with 1080p DPX is very handy (-; I can wait for the 4K master renders/output when I do them.
Thanks again.
-
Of course. My bad. I’ve just built two of these systems lol. 4×4 is good (-:
-
it’s triple channel, so get 3x8gb or 3x4gb.