Tuesday, June 27, 2017

Re: [Avid-L2] Slog3 and Symphony

 

There are other ways of accomplishing just the same. Use a matte box and filters. And / or bring some lamps / flags.

To be honest:
I've never tested this with the more expensive cams, so I can't comment on those.

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 27 Jun 2017, at 15:39, Mark Spano cutandcover@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


The whole point of shooting Log is to force the hard-to-capture low and high ranges closer into the camera's sweet spot so that you can preserve/recover extreme low and extreme high details. It has little to do with making ANYTHING better except that. And few cameras out there now can properly take advantage of this latitude - most that offer Log shooting don't really have a plan, they just do math. Arri Alexa family and Sony's higher end F55/F65 can do it well. Lower tier stuff should stick to RAW if they can or linear space.

The bottom line is that the camera/codec has to be of sufficient quality in order for any real benefit from shooting Log can be realized in post.

On Tue, Jun 27, 2017 at 5:52 AM, Bouke bouke@editb.nl [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

Got a shooter friend with a Fs7, and we toyed around.

Using various LUT's, experimented with a color card and Resolve automated correction based on that card.
We never had an image as good as properly white balanced / decent exposed material.

We have had this before, and I still stand by it:
The Emperor's New Cloths.

Just for fun, let your shooters do the same. Same shot, one normal, one LogC, see if you can get it to match, and tell me where LogC is indeed better.
(Hint, it's NOT in the colors…)

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 26 Jun 2017, at 23:52, RRF Avid rrfavid@hotsprocketfilms.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


Do I use the Source LUT as a starting  point and then apply CC?
Or just bring it in with no LUT, and use CC to make everything right?

Depends.  Generally we use LUTs to translate the color for creative editorial, review copies of dailies, etc.  For grading, we strip our the LUTs and grade from scratch.

- Rich

On Jun 26, 2017, at 2:45 PM, Curtis Nichols curtisn@pcsproductions.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


Since the productions boys got a Sony FS7, I've been trying to figure out the best way to use the files in MC/Symphony. They are very excited to give me XAVC-Slog3.
If you have links for me to go read, please post them, but my main questions are about getting the video to look "right".  I'm told that they can't do white balance anymore because that's disabled in the mode they shoot in. So when I have Source Settings using the default Sony LUT, so I'm having to make a white balance adjustment to everything anyway.

Do I use the Source LUT as a starting  point and then apply CC?
Or just bring it in with no LUT, and use CC to make everything right?
Does Symphony CC provide access to the full range that Slog3 is intended to provide?


Curtis Nichols




              








__._,_.___

Posted by: Bouke <bouke@editb.nl>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (7)

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Re: [Avid-L2] Slog3 and Symphony

 

The whole point of shooting Log is to force the hard-to-capture low and high ranges closer into the camera's sweet spot so that you can preserve/recover extreme low and extreme high details. It has little to do with making ANYTHING better except that. And few cameras out there now can properly take advantage of this latitude - most that offer Log shooting don't really have a plan, they just do math. Arri Alexa family and Sony's higher end F55/F65 can do it well. Lower tier stuff should stick to RAW if they can or linear space.

The bottom line is that the camera/codec has to be of sufficient quality in order for any real benefit from shooting Log can be realized in post.

On Tue, Jun 27, 2017 at 5:52 AM, Bouke bouke@editb.nl [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

Got a shooter friend with a Fs7, and we toyed around.

Using various LUT's, experimented with a color card and Resolve automated correction based on that card.
We never had an image as good as properly white balanced / decent exposed material.

We have had this before, and I still stand by it:
The Emperor's New Cloths.

Just for fun, let your shooters do the same. Same shot, one normal, one LogC, see if you can get it to match, and tell me where LogC is indeed better.
(Hint, it's NOT in the colors…)

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 26 Jun 2017, at 23:52, RRF Avid rrfavid@hotsprocketfilms.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


Do I use the Source LUT as a starting  point and then apply CC?
Or just bring it in with no LUT, and use CC to make everything right?

Depends.  Generally we use LUTs to translate the color for creative editorial, review copies of dailies, etc.  For grading, we strip our the LUTs and grade from scratch.

- Rich

On Jun 26, 2017, at 2:45 PM, Curtis Nichols curtisn@pcsproductions.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


Since the productions boys got a Sony FS7, I've been trying to figure out the best way to use the files in MC/Symphony. They are very excited to give me XAVC-Slog3.
If you have links for me to go read, please post them, but my main questions are about getting the video to look "right".  I'm told that they can't do white balance anymore because that's disabled in the mode they shoot in. So when I have Source Settings using the default Sony LUT, so I'm having to make a white balance adjustment to everything anyway.

Do I use the Source LUT as a starting  point and then apply CC?
Or just bring it in with no LUT, and use CC to make everything right?
Does Symphony CC provide access to the full range that Slog3 is intended to provide?


Curtis Nichols




              





__._,_.___

Posted by: Mark Spano <cutandcover@gmail.com>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (6)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Slog3 and Symphony

 

And a reminder to all those shooters - tell the editors what you have done in the camera! We just had some Lumix GH5 UHD footage and it turned out to be 10-bit which Avid and Resolve could not handle.
 
With Best Wishes, Roger Shufflebottom +44 7973 543 660



From: "Bouke bouke@editb.nl [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Avid-L2@yahoogroups.com
Sent: Tuesday, 27 June 2017, 10:52
Subject: Re: [Avid-L2] Slog3 and Symphony

 
Got a shooter friend with a Fs7, and we toyed around.
Using various LUT's, experimented with a color card and Resolve automated correction based on that card.
We never had an image as good as properly white balanced / decent exposed material.

We have had this before, and I still stand by it:
The Emperor's New Cloths.

Just for fun, let your shooters do the same. Same shot, one normal, one LogC, see if you can get it to match, and tell me where LogC is indeed better.
(Hint, it's NOT in the colors…)

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 26 Jun 2017, at 23:52, RRF Avid rrfavid@hotsprocketfilms.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


Do I use the Source LUT as a starting  point and then apply CC?
Or just bring it in with no LUT, and use CC to make everything right?

Depends.  Generally we use LUTs to translate the color for creative editorial, review copies of dailies, etc.  For grading, we strip our the LUTs and grade from scratch.

- Rich

On Jun 26, 2017, at 2:45 PM, Curtis Nichols curtisn@pcsproductions.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


Since the productions boys got a Sony FS7, I've been trying to figure out the best way to use the files in MC/Symphony. They are very excited to give me XAVC-Slog3.
If you have links for me to go read, please post them, but my main questions are about getting the video to look "right".  I'm told that they can't do white balance anymore because that's disabled in the mode they shoot in. So when I have Source Settings using the default Sony LUT, so I'm having to make a white balance adjustment to everything anyway.

Do I use the Source LUT as a starting  point and then apply CC?
Or just bring it in with no LUT, and use CC to make everything right?
Does Symphony CC provide access to the full range that Slog3 is intended to provide?


Curtis Nichols




    alt          






__._,_.___

Posted by: Roger Shufflebottom <rogershuff@yahoo.co.uk>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (5)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Re: [Avid-L2] Slog3 and Symphony

 

Got a shooter friend with a Fs7, and we toyed around.

Using various LUT's, experimented with a color card and Resolve automated correction based on that card.
We never had an image as good as properly white balanced / decent exposed material.

We have had this before, and I still stand by it:
The Emperor's New Cloths.

Just for fun, let your shooters do the same. Same shot, one normal, one LogC, see if you can get it to match, and tell me where LogC is indeed better.
(Hint, it's NOT in the colors…)

Bouke

Edit 'B / VideoToolShed.com
van Oldenbarneveltstraat 33
6512 AS  Nijmegen
+31 6 21817248

On 26 Jun 2017, at 23:52, RRF Avid rrfavid@hotsprocketfilms.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


Do I use the Source LUT as a starting  point and then apply CC?
Or just bring it in with no LUT, and use CC to make everything right?

Depends.  Generally we use LUTs to translate the color for creative editorial, review copies of dailies, etc.  For grading, we strip our the LUTs and grade from scratch.

- Rich

On Jun 26, 2017, at 2:45 PM, Curtis Nichols curtisn@pcsproductions.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


Since the productions boys got a Sony FS7, I've been trying to figure out the best way to use the files in MC/Symphony. They are very excited to give me XAVC-Slog3.
If you have links for me to go read, please post them, but my main questions are about getting the video to look "right".  I'm told that they can't do white balance anymore because that's disabled in the mode they shoot in. So when I have Source Settings using the default Sony LUT, so I'm having to make a white balance adjustment to everything anyway.

Do I use the Source LUT as a starting  point and then apply CC?
Or just bring it in with no LUT, and use CC to make everything right?
Does Symphony CC provide access to the full range that Slog3 is intended to provide?


Curtis Nichols




              




__._,_.___

Posted by: Bouke <bouke@editb.nl>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (4)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Monday, June 26, 2017

[Avid-L2] Re: Slog3 and Symphony

 

Yes that's right. Use the LUT for the offline work. Then strip the LUT to enable the Grade to access all the additional latitude assuming they are shooting correctly to gain that latitude! Mostly from what I see they don't.

Pat Horridge

__._,_.___

Posted by: Pat Horridge <pat@horridge.org.uk>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (3)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

__,_._,___

Solution: Re: [Avid-L2] What are the rules of media sharing?

 

Ok, finally got it figured out.  After a crazy ton of testing with different systems and drives and all sorts of settings on the server and the tool doing the data copy, I finally figured it out.  And it was so simple that I simply overlooked it.


So, this is a 3D project and we are going a full 3D post.  So all the effects are being rendered out in 3D.  The system in question had Stereoscopic set to Off under the Format tab.  Once I turned it on and then set the view to Moonscape Left then all the rendered effects came on-line.  TA DA.  (grumble grumble).

Back to it.

Jay



On Jun 1, 2017, at 3:45 PM, Jay Mahavier jay_mahavier@earthlink.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



Usually, or at least they should be, but not always.  And I've tested rendering and doing mixdowns to different workspaces and doing sync copies to the stand alone system to different attached storage, and each time, regardless of where the renders and mixdowns are originally done to and then copied to the pattern is the same.

Once copied to the Nexis system it's all available.  On the stand alone system only the master clip media shows up, but not any of the render media.

Jay


On Jun 1, 2017, at 3:15 PM, Bogdan Grigorescu bogdan_grigorescu@yahoo.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



are the effects rendered originally to a separate workspace?

BG



From: "Jay Mahavier jay_mahavier@earthlink.net [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Avid-L2 <Avid-L2@yahoogroups.com>; Dom Q. Silverio <domqsilverio@gmail.com> 
Sent: Thursday, June 1, 2017 1:02 PM
Subject: Re: [Avid-L2] What are the rules of media sharing?

I thought about that and have done what I can to check those things.  But I can't figure out how that could single out MXF media from renders and not effect imported media and mixdowns?  It seem like if if sync process would cause problems with all the files, bus someone it's just exclusive to media generated by rendering effects.  So what's different about that media from master clip media?  Is it something different in the MXF file?  Or how it's listed in the database file?  Or something to do with how Media Composer reads database files?  Is there something special about it being in an ISIS / Nexis / Unity environment that lets system play nice with render media from other workstations?  So many strange questions.

I've got more testing to do.  I think I'm going to set up a separate standalone system and see if I can take rendered media from stand alone system to stand alone system.  

This feels like something that an engineer at Avid would be able to address and fix, but I'm not even sure how to get the request to that level.  I'm doubtful I could even get support at Avid to even understand what the issue is much less get them to escalate it.

Jay


On Jun 1, 2017, at 1:38 PM, 'Dom Q. Silverio' domqsilverio@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



Maybe the metadata of the MXF render files at the OS level are being modified during transfer (modified data, creation date, etc.)?

Also, make sure the computer clock are in sync.

Dom Q. Silverio

On Thu, Jun 1, 2017 at 2:27 PM, Jay Mahavier jay_mahavier@earthlink.net [Avid-L2] <Avid-L2@yahoogroups.com>wrote:
I'm trying to figure out the rules of media sharing between media composer systems when it comes to rendered effects.  Like when, and why, are rendered effects sometimes online and sometimes not and have to be re-rendered.

So on the current show we have a bit of a strange setup.  We have our primary location where we have 4 system connected to an ISIS system.  When one of us renders effects in a sequence they are online for everyone at the primary location.  We have a secondary location that has 3 systems connected to a Nexis.  We have a separate system that it's singular purpose is to sync media between workspaces on the ISIS with workspaces on the Nexis.  Each workspace is mirrored between the two locations.  That includes the .mdb and .pmr files.  So at the location with the Nexis they are not rebuilding media database files, they are using the ones that copy over from the ISIS.  And likewise, the ISIS workspaces that are sync copies of the Nexis, we are using the database files from the Nexis.  And between the two locations all the rendered effects are online.

Then we have a third location.  It's a singular standalone system.  It's using local storage.  All the media form the ISIS and Nexis is being sync copied over to the local storage.  And like we are with the ISIS <-> Nexis sync we are maintaining folders on the local storage that have copied mdb and pmr database files so they are not being rebuilt by the standalone system.  And that's working great for any master clip media.  Like imported files, transcoded media, mixdowns, etc.  But when it comes to rendered effects they are all offline and have to be re-rendered, and I'm trying to figure out why.

Any ideas?

Thanks,
Jay



------------------------------ ------
Posted by: Jay Mahavier <jay_mahavier@earthlink.net>
------------------------------ ------

this is the Avid-L2
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Posted by: Jay Mahavier <jay_mahavier@earthlink.net>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (11)

Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

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