Saturday, March 24, 2012

[Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

 

So does that mean you could take XDCam that has been consolidated to avid mxf using ama but is still native XDCam essence and mix that with DNX 220 etc... and aaf that to Baselight and it would take all the mxf media in it's native form? How's that for a run on sentence? Glad your nose is fine if it becomes a problem I know a Doc in Beverly Hills that does wonders. ;-)

--- In Avid-L2@yahoogroups.com, "jeffsengpiehl" <jeffsengpiehl@...> wrote:
>
> It can, and will conform to more then one codec- It's actually one of the most powerful conform tools out there. Take the avid AAF, with the MXF media that comes along for the ride, and you can have it conform to ProRes 4:4:4 originals for those parts that were shot that way. Just tell it to link elsewhere and it does it.
>
> Only recent problems we've had of late have been due to Network card timeouts - have to re-kick off a render, but that's wrapped up now with some new drivers.
> We'll be testing V6 to and from Baselight shortly, and I assume Avid will have fiddled enough that the Filmlight folks will have to change something to keep it tight as hell.
>
> My nose is fine, John
>
> JDS
>
> --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@> wrote:
> >
> > Notice the us of "Modified MXF". As I have heard about Baselight, unless something has changed, everything needs to be one codec. That would be nice, but it's not the universe I play in. :-(
> >
> > --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> > >
> > > Interesting choice of word using "Hell." I hope you aren't near a wall your nose might poke it hard. There is no such thing as no problems in these kind of work flows I don't care who says it. Just the nature of the beast. No doubt Baselight is doing a really good job at it but it still isn't perfect.
> > >
> > > --- In Avid-L2@yahoogroups.com, "jeffsengpiehl" <jeffsengpiehl@> wrote:
> > > >
> > > > Chuckle- we use a Modified MXF workflow with our 3 Baselight systems to and from Avid, full roundtrip with no problems at all. Integration is tight as hell, and the folks from Filmlight are great to work with.
> > > >
> > > > JDS
> > > >
> > > > --- In Avid-L2@yahoogroups.com, op <owen@> wrote:
> > > > >
> > > > > Hi,
> > > > > Dear Avid:
> > > > > Baselight and Resolve let's go!
> > > > > Baselight in FCP
> > > > > http://www.filmlight.ltd.uk/products/editions/range_ed/index_ed.php#BaselightFCP
> > > > > Is this gonna be the NAB we hope it will be for Avid?
> > > > >
> > > > > owen
> > > > >
> > > >
> > >
> >
>

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[Avid-L2] Re: How OLED monitors work

 

"I'm adjusting and suddenly it occurs to me that the producer is off-axis. Ack!"

I'd say every producer I've worked with has been off axis in one way or another. And that's putting it mildly no matter where they sit relative to the monitor. ;-)

--- In Avid-L2@yahoogroups.com, Tod Hopkins <hoplist@...> wrote:
>
> The problem I have with the off-axis shifting (on all monitors where it occurs) is that it is not necessarily obvious at any given moment that you are not looking at the true pix. They shift happens gradually and affects different images more or less. Sometimes I shift position a few degrees and, "DAMN, that's not right!" Or worse, the producer is complaining and I'm adjusting and suddenly it occurs to me that the producer is off-axis. Ack!
>
> So, I guess I want plasma!
>
> Cheers,
> tod
>
>
> On Mar 24, 2012, at 2:59 AM, Terence Curren wrote:
>
> > There is a color shift if you get off axis. In my experience, that exists on everything but CRTs and Plasmas. You can get more than two people viewing it though. I would say it has a wider axis than JVC.
> >
> > --- In Avid-L2@yahoogroups.com, Dylan Reeve <dylan@> wrote:
> > >
> > > As I understand it the contrast stays correct through a wide range of view
> > > angles, but there is a distinct colour shift when you're off axis.
> > >
> > > I've heard it now from a couple of owners, and initially from the man at
> > > Sony who I'd be buying it off if I got one.
> > >
> > > Dylan Reeve
> > > http://dylanreeve.com/
> > >
> > >
> > > On Sat, Mar 24, 2012 at 1:35 PM, johnrobmoore <bigfish@> wrote:
> > >
> > > > **
> > > >
> > > >
> > > > That sure doesn't jive with experience. The fact the OLED is emissive
> > > > makes for better off axis viewing in general. Want to talk narrow view try
> > > > the JVC's you have to sit right in the sweet spot or the blacks are
> > > > elevated. I really don't think this is correct information but I'm willing
> > > > to learn more.
> > > >
> > > >
> > > > --- In Avid-L2@yahoogroups.com, Dylan Reeve <dylan@> wrote:
> > > > >
> > > > > Talking to local Sony guy he did mention one drawback of the OLED
> > > > monitors
> > > > > to me - they have a much narrower field of view. I believe his advice was
> > > > > "if you want to have more than two people in front of it you might want
> > > > to
> > > > > look at something else"
> > > > >
> > > > > Dylan Reeve
> > > > > http://dylanreeve.com/
> > > > >
> > > > >
> > > > > On Fri, Mar 23, 2012 at 7:03 AM, Rupert Watson <rupert@> wrote:
> > > > >
> > > > > > **
> > > >
> > > > > >
> > > > > >
> > > > > > I am so delighted that they kept the faith with OLED. Now all we need
> > > > is
> > > > > > for it to make it to the punter's front room. That's why I still have
> > > > an
> > > > > > sd tube telly. I want to wait til I can get an OLED telly!!
> > > > > >
> > > > > > Rupert Watson
> > > > > >
> > > > > > +44 7787 554 801
> > > > > >
> > > > > > www.root6.com
> > > > > >
> > > > > > From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On
> > > > Behalf
> > > > > > Of Terence Curren
> > > > > > Sent: 22 March 2012 16:40
> > > > > > To: Avid-L2@yahoogroups.com
> > > > > > Subject: [Avid-L2] How OLED monitors work
> > > > > >
> > > > > > Good article here:
> > > > > >
> > > > > > <<
> > > > http://provideocoalition.com/index.php/aadams/story/sony_the_non-techn
> > > > > >
> > > > ical_technical_guide_to_oled_technology/?utm_source=WeeklyNews&utm_mediu
> > > > > > m=email&utm_campaign=032212>>
> > > > > >
> > > > > > or
> > > > > >
> > > > > > http://tinyurl.com/76mme3w
> > > > > >
> > > > > > www.root6.com
> > > > > > For the latest news visit our blog http://www.root6.com/Blog
> > > > > >
> > > > > > root6 ltd
> > > > > > Registered in the UK at: 4 Wardour Mews, London W1F 8AJ
> > > > > > Tel: +44 (0) 20 7437 6052
> > > > > > Company No. 03433253
> > > > > >
> > > > > > [Non-text portions of this message have been removed]
> > > > > >
> > > > > >
> > > > > >
> > > > >
> > > > >
> > > > > [Non-text portions of this message have been removed]
> > > > >
> > > >
> > > >
> > > >
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
> >
>
> Tod Hopkins
> Hillmann & Carr Inc.
> todhopkins@...
>
>
>
>
>
> [Non-text portions of this message have been removed]
>

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Re: (Mac)[Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

Indeed I have Symphony and the CC tools are still frustratingly out-dated
in many ways. The secondaries are virtually useless given you can't soften
or tweak the matte.

And Universal Mastering is great, but also very niche.

Dylan Reeve
http://dylanreeve.com/


On Sun, Mar 25, 2012 at 1:03 PM, Steve Hullfish <steve4lists@veralith.com>wrote:

> No. What Symphony had over MC it has ALWAYS had over MC. There are no
> plug-ins.
>
> MC inherited a slightly dumbed down version of the color correction tool
> that was - for years - in Symphony only. When they migrated cc to MC, it
> got about half of the cc tools in Symphony. Sadly, even if MC had ALL of
> Symphony's tools, it would still be out of date.
>
> Really the only thing I can think of beyond that that Symphony has that MC
> doesn't are universal mastering tools that make it easy to lay off multiple
> versions/layoffs of sequences.
>
> Steve Hullfish
> contributor: www.provideocoalition.com
> author: "The Art and Technique of Digital Color Correction"
>
>
> On Mar 24, 2012, at 6:15 PM, haus wrote:
>
> > Dave -
> >
> > So I guess that means Symphony gets unique features over Media Composer?
> Something better than plug-ins that used to be free for MC but now included
> in Symph? Man, this reminds me of the Xpress days all over again.
> >
> > sw
> >
> > --- In Avid-L2@yahoogroups.com, David Colantuoni <david.colantuoni@...>
> wrote:
> > >
> > > We hear you loud and clear…
> > >
> > > Dave
> > >
> > >
> > >
> > > From: Terence Curren <tcurren@...<mailto:tcurren@...>>
> > > Reply-To: <Avid-L2@yahoogroups.com<mailto:Avid-L2@yahoogroups.com>>
> > > Date: Fri, 23 Mar 2012 01:54:08 +0000
> > > To: <Avid-L2@yahoogroups.com<mailto:Avid-L2@yahoogroups.com>>
> > > Subject: [Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!
> > >
> > >
> > >
> > >
> > > --- In Avid-L2@yahoogroups.com<mailto:Avid-L2%40yahoogroups.com>,
> Dylan Reeve <dylan@> wrote:
> > >
> > > <<But Avid already has so many of the building blocks for more advanced
> > > > correction. If they can merge the AniMatte and SpectraMatte tools
> into the
> > > > Symphony/MC correction tool then they are back in the game.>>
> > >
> > > Yep, fine-tune the panel interface and give us shapes. Great start to
> bringing it back into the game. But will it happen?????
> > >
> > >
> > >
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
> >
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at:
> http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
>
>
>


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Re: [Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

 

Does anyone have experience with Assimilate Scratch? I've been watching
their demos on Vimeo and the Avid round tripping seems pretty painless. Of
course, it is a demo, but this product really seems to solve a lot of
workflow issues on many levels.

--
Dennis Kutchera
Halifax, NS Canada

[Non-text portions of this message have been removed]

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Re: (Mac)[Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

No. What Symphony had over MC it has ALWAYS had over MC. There are no plug-ins.

MC inherited a slightly dumbed down version of the color correction tool that was - for years - in Symphony only. When they migrated cc to MC, it got about half of the cc tools in Symphony. Sadly, even if MC had ALL of Symphony's tools, it would still be out of date.

Really the only thing I can think of beyond that that Symphony has that MC doesn't are universal mastering tools that make it easy to lay off multiple versions/layoffs of sequences.

Steve Hullfish
contributor: www.provideocoalition.com
author: "The Art and Technique of Digital Color Correction"


On Mar 24, 2012, at 6:15 PM, haus wrote:

> Dave -
>
> So I guess that means Symphony gets unique features over Media Composer? Something better than plug-ins that used to be free for MC but now included in Symph? Man, this reminds me of the Xpress days all over again.
>
> sw
>
> --- In Avid-L2@yahoogroups.com, David Colantuoni <david.colantuoni@...> wrote:
> >
> > We hear you loud and clear…
> >
> > Dave
> >
> >
> >
> > From: Terence Curren <tcurren@...<mailto:tcurren@...>>
> > Reply-To: <Avid-L2@yahoogroups.com<mailto:Avid-L2@yahoogroups.com>>
> > Date: Fri, 23 Mar 2012 01:54:08 +0000
> > To: <Avid-L2@yahoogroups.com<mailto:Avid-L2@yahoogroups.com>>
> > Subject: [Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!
> >
> >
> >
> >
> > --- In Avid-L2@yahoogroups.com<mailto:Avid-L2%40yahoogroups.com>, Dylan Reeve <dylan@> wrote:
> >
> > <<But Avid already has so many of the building blocks for more advanced
> > > correction. If they can merge the AniMatte and SpectraMatte tools into the
> > > Symphony/MC correction tool then they are back in the game.>>
> >
> > Yep, fine-tune the panel interface and give us shapes. Great start to bringing it back into the game. But will it happen?????
> >
> >
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>

[Non-text portions of this message have been removed]

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(Mac)[Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

 

Dave -

So I guess that means Symphony gets unique features over Media Composer? Something better than plug-ins that used to be free for MC but now included in Symph? Man, this reminds me of the Xpress days all over again.

sw

--- In Avid-L2@yahoogroups.com, David Colantuoni <david.colantuoni@...> wrote:
>
> We hear you loud and clear…
>
> Dave
>
>
>
> From: Terence Curren <tcurren@...<mailto:tcurren@...>>
> Reply-To: <Avid-L2@yahoogroups.com<mailto:Avid-L2@yahoogroups.com>>
> Date: Fri, 23 Mar 2012 01:54:08 +0000
> To: <Avid-L2@yahoogroups.com<mailto:Avid-L2@yahoogroups.com>>
> Subject: [Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!
>
>
>
>
> --- In Avid-L2@yahoogroups.com<mailto:Avid-L2%40yahoogroups.com>, Dylan Reeve <dylan@> wrote:
>
> <<But Avid already has so many of the building blocks for more advanced
> > correction. If they can merge the AniMatte and SpectraMatte tools into the
> > Symphony/MC correction tool then they are back in the game.>>
>
> Yep, fine-tune the panel interface and give us shapes. Great start to bringing it back into the game. But will it happen?????
>
>
>
>
>
> [Non-text portions of this message have been removed]
>

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[Avid-L2] Re: Video file format for TV stations worldwide

 

half the US broadcast stations will want 720p/59.94, the other half will want 1080i/59.94 For what you're trying to do, you'll need 3 choices for here. 720, 1080 and 525 in SD

H264 is a nice codec- it's processor intensive to make, however. They'll need lots of power in the transcoding farm to make generation of this codec happen in a timely manner.

And you'll want a proxy format of H264 for browsing, low bit rate. Pulling a whole 1080 package to find out it doesn't have what you want, it's a bit time consuming as well.

JDS
--- In Avid-L2@yahoogroups.com, Keld von Eyben <keld@...> wrote:
>
> We are helping our parent company setting up a web based platform for
> distributing B-roll footage to TV stations worldwide. The user target
> group is journalists. Our production format in 1080i 25fps.
> The idea is to upload a single high definition video file to the system
> and then have it generate various compressions on the fly targeted at
> different requirements.
> However, we want the system to be user friendly for the journalist by
> limiting their download choices to two variabilities:
> * HD or SD resolution
> * European or US frame rate
> For HD in Europe we have found the EBU recommendation of 720p/50 with
> H.264/AVC encoding. We envision a data rate of ~ 10mbit/s.
> This could become source for the other formats.
> Any comments to that?
> Would your recommend a similar format for US? Which framerate?
> Which format would you recommend for SD resolution in Europe and in the
> US - DV, DVCPRO?
>
> Thank you for your advice!
>
> Best regards
> Keld von Eyben
> www.filmsolutions.dk
>

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[Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

 

Not sure about codec types, but I know I've sent files to a Baselight shop that included a variety of different ProRes flavors, although all the same frame rate. They just wanted an EDL and the camera-original QT movies with valid TC and reel number. Worked like a champ.

- Oliver

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Re: [Avid-L2] Re: How OLED monitors work

The problem I have with the off-axis shifting (on all monitors where it occurs) is that it is not necessarily obvious at any given moment that you are not looking at the true pix. They shift happens gradually and affects different images more or less. Sometimes I shift position a few degrees and, "DAMN, that's not right!" Or worse, the producer is complaining and I'm adjusting and suddenly it occurs to me that the producer is off-axis. Ack!

So, I guess I want plasma!

Cheers,
tod


On Mar 24, 2012, at 2:59 AM, Terence Curren wrote:

> There is a color shift if you get off axis. In my experience, that exists on everything but CRTs and Plasmas. You can get more than two people viewing it though. I would say it has a wider axis than JVC.
>
> --- In Avid-L2@yahoogroups.com, Dylan Reeve <dylan@...> wrote:
> >
> > As I understand it the contrast stays correct through a wide range of view
> > angles, but there is a distinct colour shift when you're off axis.
> >
> > I've heard it now from a couple of owners, and initially from the man at
> > Sony who I'd be buying it off if I got one.
> >
> > Dylan Reeve
> > http://dylanreeve.com/
> >
> >
> > On Sat, Mar 24, 2012 at 1:35 PM, johnrobmoore <bigfish@...> wrote:
> >
> > > **
> > >
> > >
> > > That sure doesn't jive with experience. The fact the OLED is emissive
> > > makes for better off axis viewing in general. Want to talk narrow view try
> > > the JVC's you have to sit right in the sweet spot or the blacks are
> > > elevated. I really don't think this is correct information but I'm willing
> > > to learn more.
> > >
> > >
> > > --- In Avid-L2@yahoogroups.com, Dylan Reeve <dylan@> wrote:
> > > >
> > > > Talking to local Sony guy he did mention one drawback of the OLED
> > > monitors
> > > > to me - they have a much narrower field of view. I believe his advice was
> > > > "if you want to have more than two people in front of it you might want
> > > to
> > > > look at something else"
> > > >
> > > > Dylan Reeve
> > > > http://dylanreeve.com/
> > > >
> > > >
> > > > On Fri, Mar 23, 2012 at 7:03 AM, Rupert Watson <rupert@> wrote:
> > > >
> > > > > **
> > >
> > > > >
> > > > >
> > > > > I am so delighted that they kept the faith with OLED. Now all we need
> > > is
> > > > > for it to make it to the punter's front room. That's why I still have
> > > an
> > > > > sd tube telly. I want to wait til I can get an OLED telly!!
> > > > >
> > > > > Rupert Watson
> > > > >
> > > > > +44 7787 554 801
> > > > >
> > > > > www.root6.com
> > > > >
> > > > > From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On
> > > Behalf
> > > > > Of Terence Curren
> > > > > Sent: 22 March 2012 16:40
> > > > > To: Avid-L2@yahoogroups.com
> > > > > Subject: [Avid-L2] How OLED monitors work
> > > > >
> > > > > Good article here:
> > > > >
> > > > > <<
> > > http://provideocoalition.com/index.php/aadams/story/sony_the_non-techn
> > > > >
> > > ical_technical_guide_to_oled_technology/?utm_source=WeeklyNews&utm_mediu
> > > > > m=email&utm_campaign=032212>>
> > > > >
> > > > > or
> > > > >
> > > > > http://tinyurl.com/76mme3w
> > > > >
> > > > > www.root6.com
> > > > > For the latest news visit our blog http://www.root6.com/Blog
> > > > >
> > > > > root6 ltd
> > > > > Registered in the UK at: 4 Wardour Mews, London W1F 8AJ
> > > > > Tel: +44 (0) 20 7437 6052
> > > > > Company No. 03433253
> > > > >
> > > > > [Non-text portions of this message have been removed]
> > > > >
> > > > >
> > > > >
> > > >
> > > >
> > > > [Non-text portions of this message have been removed]
> > > >
> > >
> > >
> > >
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>

Tod Hopkins
Hillmann & Carr Inc.
todhopkins@hillmanncarr.com

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Re: [Avid-L2] sata dual port card

No problem. Do it all the time with that particular card. Unlike FW800, there is no speed decrease with two hooked up versus one. That card is a great deal, unlike the crappy one generic card I had before this one. Though it does not get close to the speeds of much faster cards it's still a solid 30% faster than FW800 (measured as drive throughput) and I have had no issues with two cards in two machines for the past... well, since OWC bought Newertech.

In some specific cases, I have issues with a drive not mounting if it is connected and spinning at boot. Solution is simply to cycle the drive after boot. Does not happen often, or even 100% of the time under the same circumstance, and only on one machine of the two. Oddly, the two machines are about as identical as they can be so not sure why one and not the other except that I did not get the cards at the same time. Same drives even.

Cheers,
tod

On Mar 23, 2012, at 11:28 AM, Lou Wirth wrote:

> If you have a dual port sata card like, for example, this one:
>
> http://eshop.macsales.com/item/Newer%20Technology/MXPCIE6GRS/
>
> Can you connect different Sata drives to each port or do they have to be identical. Can I hook up an OWC 6TB Raid to one port and a GTech 6TB raid to the other port?
>
> thanks
>
> Lou
>
> Lou Wirth Productions
> 500Tamal Plaza, Suite 522
> Corte Madera, CA 94925
> www.louwirth.com
> 415-924-9411p
>
>
>

Tod Hopkins
Hillmann & Carr Inc.
todhopkins@hillmanncarr.com

[Non-text portions of this message have been removed]

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[Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

 

It can, and will conform to more then one codec- It's actually one of the most powerful conform tools out there. Take the avid AAF, with the MXF media that comes along for the ride, and you can have it conform to ProRes 4:4:4 originals for those parts that were shot that way. Just tell it to link elsewhere and it does it.

Only recent problems we've had of late have been due to Network card timeouts - have to re-kick off a render, but that's wrapped up now with some new drivers.
We'll be testing V6 to and from Baselight shortly, and I assume Avid will have fiddled enough that the Filmlight folks will have to change something to keep it tight as hell.

My nose is fine, John

JDS

--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
> Notice the us of "Modified MXF". As I have heard about Baselight, unless something has changed, everything needs to be one codec. That would be nice, but it's not the universe I play in. :-(
>
> --- In Avid-L2@yahoogroups.com, "johnrobmoore" <bigfish@> wrote:
> >
> > Interesting choice of word using "Hell." I hope you aren't near a wall your nose might poke it hard. There is no such thing as no problems in these kind of work flows I don't care who says it. Just the nature of the beast. No doubt Baselight is doing a really good job at it but it still isn't perfect.
> >
> > --- In Avid-L2@yahoogroups.com, "jeffsengpiehl" <jeffsengpiehl@> wrote:
> > >
> > > Chuckle- we use a Modified MXF workflow with our 3 Baselight systems to and from Avid, full roundtrip with no problems at all. Integration is tight as hell, and the folks from Filmlight are great to work with.
> > >
> > > JDS
> > >
> > > --- In Avid-L2@yahoogroups.com, op <owen@> wrote:
> > > >
> > > > Hi,
> > > > Dear Avid:
> > > > Baselight and Resolve let's go!
> > > > Baselight in FCP
> > > > http://www.filmlight.ltd.uk/products/editions/range_ed/index_ed.php#BaselightFCP
> > > > Is this gonna be the NAB we hope it will be for Avid?
> > > >
> > > > owen
> > > >
> > >
> >
>

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[Avid-L2] Video file format for TV stations worldwide

 

We are helping our parent company setting up a web based platform for
distributing B-roll footage to TV stations worldwide. The user target
group is journalists. Our production format in 1080i 25fps.
The idea is to upload a single high definition video file to the system
and then have it generate various compressions on the fly targeted at
different requirements.
However, we want the system to be user friendly for the journalist by
limiting their download choices to two variabilities:
* HD or SD resolution
* European or US frame rate
For HD in Europe we have found the EBU recommendation of 720p/50 with
H.264/AVC encoding. We envision a data rate of ~ 10mbit/s.
This could become source for the other formats.
Any comments to that?
Would your recommend a similar format for US? Which framerate?
Which format would you recommend for SD resolution in Europe and in the
US - DV, DVCPRO?

Thank you for your advice!

Best regards
Keld von Eyben
www.filmsolutions.dk

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Re: [Avid-L2] Re: Standards

 

Most of my work would ended up going to international distribution for
numerous series. They ended up re-slating. For broadcasters and Discovery
was a big one for me, we would follow the specs to word or else we'd get a
kickback. Labeling was huge for them as well. (ep. 01 vs 1 vs 001 made a
huge difference)
When in doubt copy and paste from the tech spec, or confirm final specs in
email.

then you can really tell QC to shove it up their _ _ _.

I feel your pain though.

[Non-text portions of this message have been removed]

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[Avid-L2] Re: Tilt-Shift / Smallgantic Effect for MC/Symphony?

 

Thanks Alan -- yes I saw that, too.
Nice toolset.

Unfortunately, I'm dealing with motion.
But, hey, Photoshop CS6 is a video editor now!

--- In Avid-L2@yahoogroups.com, Alan Miller <ammfx@...> wrote:
>
> If you are working with stills, the new Photoshop CS6 is featuring the addition 
> of a Tilt-Shift effect. There is a demo on the Adobe site.
> Alan
>  
> Alan Miller
> 48 Hours Mystery
> CBS News
>
>
> ________________________________
> From: Jeff Krebs <rockinjeff@...>
> To: Avid-L2@yahoogroups.com
> Sent: Friday, March 23, 2012 4:05 PM
> Subject: Re: [Avid-L2] Re: Tilt-Shift / Smallgantic Effect for MC/Symphony?
>
> Here's are great example of tilt shift done in eyeon Fusion combined with
> the Frischluft Lenscare OFX
> Sam O'haire is the artist. We profiled him about a year ago.
>
> Great write up.
> http://aerofilm.blogspot.ca/2010/02/sandpit-short-film-by-aero-director-sam.html
>
> The video is here.
> http://vimeo.com/9679622
>
> cheers
> Jeff
> eyeon Software.
>
>
> [Non-text portions of this message have been removed]
>
>
>
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>
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>
>
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[Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

 

Avid has a very unique window here. I suspect that at least for the next year, only Avid and Quantel will continue to have a truly integrated grading workflow. The Baselight plug-in would have been great, but it's now in the wrong host. The shame is that Avid only has to add a few things to the existing toolset to cover many of the items people are requesting.

- Oliver

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