[Todd Heyman]

thanks gentleman you’ve been a big help..wish me luck..
it’ll be up on my site in a week or so

https://www.toddheymandirector.com/

cheers…
t

[Todd Heyman]

thanks oliver..

i asked nick about that and he pointed out this in his read me:

Important Note:
Since the plug-ins use 8-bit versions of the 16-bit LUTs supplied by ARRI, they are suitable only for previewing and for dailies/editorial use. They are not suitable for use as part of a finishing pipeline.

[Todd Heyman]

thanks Oliver..
i thought it was the keyframes and tried removing them but I couldnt find the in out points..ill figure it out. I think you’re right about it correcting from logC which limits saturation. I was told it had tremendous latitiude..how does it happen with 35mm film which essentially originates in the transfer process the same way.

Fred, I checked out the glue website..that seems like it would be a great tool..but wouldnt you have to remove that when heading to color like you do with Nick Shaws LUT…? again, how is 35mm handled

one stupid question..Im working in only one monitor but I’d like to see the viewer in a larger view for the details..is there a way to do this without setting it for dual display and moving them around to view..really hard to toggle while watching a full screen view..can only see partial image..

thanks for the info

[Todd Heyman]

so oliver you havent heard of this locked secondary issue? color seems to be working in every other way..

im making a little headway with curves..ill see where that takes me..

[Todd Heyman]

sorry, i forgot to mention, yes it started out flat and muddy, much like the onelight transfers I would get when I shot my spots on 35mm..(see Nike under SPOTS on the site below..we got a great color correct on that one)

i start with an autobalance in the primary room, then adjust till i get a decent primary correct. I then go into the secondaries and adjust lighting on the first few, then skintone, then any colors i want to isolate either by keying or adjusting the hue and saturation on that approximate color…

also i have a problem when i create a secondary with keyframes, i cant disable it or even reset it. it stays locked even if i choose reset all secondaries

thanks

todd
https://www.toddheymandirector.com/

[Todd Heyman]

hi Gary..

i do have logC footage – it is apple pro res 4444..

it was shot in multiple conditions by a top notch DP that i often work with and one of the best crews in northern california.

having a few problems..
im having trouble keying footage (selecting certain colors) in my secondary and isolating that color and getting a nice smooth blur to correct that color. it always ends up looking like an impressionistic (seurat) painting or paint by numbers..

also having trouble maintaining sharpness and clarity

heres the rough cut with just nick shaw’s LUT before i removed it and started correcting.

https://dl.dropbox.com/u/2614696/Florastor_v2_noGFX1_logo.mov.zip

[Todd Heyman]

im exporting with quicktime conversion not quicktime movie

[Todd Heyman]

dont have an AJA card so i dont know what to pursue..

it now looks fine in the timeline, i switched to match legacy quicktime gamma adjustments, but the export is still washed out

[Todd Heyman]

https://www.toddheymandirector.com/sequence.jpg

i acquired it from the transfer house not capture but FCP 6 adjusts your sequence if it doesn’t match so im sure the settings are the same as above

[Todd Heyman]

hi josh
im exporting uncompressed 8 bit 4:2:2 millions .. my sequence in FCP is CCIR 601 ntsc
(original on left)

https://toddheymandirector.com/still2.jpg

it looks like this in AE so its not about the export from AE..its something to do with the import from the quicktime movie into AE