This IS the Avid L2: 3/24/13

Friday, March 29, 2013

Re: [Avid-L2] Resolve Integration to Avid and a surge in Resolve requests?

Scratch too. In fact, your color grading system is lame if it can't.

On Friday, March 29, 2013, oliverpetersvidy wrote:

> **
>
>
> > ksirul wrote:
> > Friggin cool though!
>
> Agreed. FWIW - Adobe SpeedGrade can also do this.
>
> - Oliver
>
>
>

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

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Re: [Avid-L2] [OT] - Humor - Mr. Promo Approval Guy

On Mar 29, 2013, at 3:45 PM, Gary Berendsen wrote:

> Got that b-roll?

Oh… we got that b-roll!
http://hershleder.com/content/we-got-b-roll

>
> --gb
>
>
> On Mar 29, 2013, at 8:20 PM, Benjamin Hershleder <Ben@ContactBen.com> wrote:
>
>>
>>
>> Another "Friday Funny"… 'cause you all deserve it!
>> From the same talents that gave us
>> "Miss I Don't Know How To View a Rough Cut Lady"
>> comes this this lesser known spoof-spot:
>> http://hershleder.com/content/mr-impossible-promo-approval-guy
>>
>> Have a good weekend everyone!
>>
>> B
>>
>> PS - In care you haven't heard "Miss I Don't Know How To View a Rough Cut Lady":
>> http://hershleder.com/content/miss-i-dont-know-how-to-view-a-rough-cut-lady
>>
>>
>> ----
>> Benjamin Hershleder
>> Book: http://tinyurl.com/avidmc-book
>> Site: http://ContactBen.com
>>
>> Wear It In Post!
>> Fun T-shirts, mousepads, mugs & more
>> for Post Production Professionals
>> http://www.WearItInPost.com
>>
>>

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

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[Avid-L2] Baselight - opinions?

> I see that Baselight has a 5-pack deal for their Avid plug-in for academic use (that's me, these days). I'll get the trial but are there any views on tI see that Baselight hasThanks a 5-pack deal for their Avid plug-in for academic use (that's me, these days). I'll get the trial but are there any vi
> s on tI see that Baselight has a 5-pack deal for their Avid plug-in for academic use (that's me, these days). I'll get the trial but are there any views on t
>
> I see that Baselight has a 5-pack deal for their Avid plug-in for academic use (that's me, these days). I'll get the trial but are there any views on this? Good or bad?

Thankss.

With best wishes,
Roger Shufflebottom
+44 7973 543 660

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

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Re: [Avid-L2] [OT] - Humor - Mr. Promo Approval Guy

Got that b-roll?

--gb

On Mar 29, 2013, at 8:20 PM, Benjamin Hershleder <Ben@ContactBen.com> wrote:

>
>
> Another "Friday Funny"… 'cause you all deserve it!
> From the same talents that gave us
> "Miss I Don't Know How To View a Rough Cut Lady"
> comes this this lesser known spoof-spot:
> http://hershleder.com/content/mr-impossible-promo-approval-guy
>
> Have a good weekend everyone!
>
> B
>
> PS - In care you haven't heard "Miss I Don't Know How To View a Rough Cut Lady":
> http://hershleder.com/content/miss-i-dont-know-how-to-view-a-rough-cut-lady
>
>
> ----
> Benjamin Hershleder
> Book: http://tinyurl.com/avidmc-book
> Site: http://ContactBen.com
>
> Wear It In Post!
> Fun T-shirts, mousepads, mugs & more
> for Post Production Professionals
> http://www.WearItInPost.com
>
>
>
> [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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[Avid-L2] Re: Resolve Integration to Avid and a surge in Resolve requests?

> ksirul wrote:
> Friggin cool though!

Agreed. FWIW - Adobe SpeedGrade can also do this.

- Oliver

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[Avid-L2] [OT] - Humor - Mr. Promo Approval Guy

Another "Friday Funny"… 'cause you all deserve it!
From the same talents that gave us
"Miss I Don't Know How To View a Rough Cut Lady"
comes this this lesser known spoof-spot:
http://hershleder.com/content/mr-impossible-promo-approval-guy

Have a good weekend everyone!

B

PS - In care you haven't heard "Miss I Don't Know How To View a Rough Cut Lady":
http://hershleder.com/content/miss-i-dont-know-how-to-view-a-rough-cut-lady

----
Benjamin Hershleder
Book: http://tinyurl.com/avidmc-book
Site: http://ContactBen.com

Wear It In Post!
Fun T-shirts, mousepads, mugs & more
for Post Production Professionals
http://www.WearItInPost.com

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

------------------------------------

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[Avid-L2] Re: Resolve Integration to Avid and a surge in Resolve requests?

Friggin cool though!

--- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@...> wrote:
>
> > ksirul wrote:
> > Regarding the notching from an EDL,
>
> Automatic cut detection. DaVinci has been doing that for over 20 years. With or without EDLs.
>
> - Oliver
>

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[Avid-L2] Re: Resolve Integration to Avid and a surge in Resolve requests?

> ksirul wrote:
> Regarding the notching from an EDL,

Automatic cut detection. DaVinci has been doing that for over 20 years. With or without EDLs.

- Oliver

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[Avid-L2] Re: Resolve Integration to Avid and a surge in Resolve requests?

One of many corporate missteps that could have been easily been avoided.

Sadly, I expect to see more of the same next week.

However, I hope to be proven wrong.

--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
>
>
> --- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@> wrote:
>
>
> <<Unfortunately Avid's attention to color correction has become a cruel joke.>>
>
>
> Just think, if they had listened to me about this issue over the last 15 years they would own the market. But regime after regime has found "color correction is so unimportant"....
>

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[Avid-L2] Re: Resolve Integration to Avid and a surge in Resolve requests?

Regarding the notching from an EDL, I loaded Resolve on my DS system for a test. There are a few technical issues but i just wanted to sit down in front of Resolve and see it for myself. It can look at a flattened movie file and add edits based on cuts in the movie. Sounds incredible and it isn't 100% perfect but it does somewhat work and is pretty impressive.

KEN

--- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@...> wrote:
>
> Welcome to the new reality. No color correction workflow right now is as good as an integrated color correction tool or even the FCP7/Color workflow. Unfortunately Avid's attention to color correction has become a cruel joke.
>
> Everything you discovered is correct. The roundtrips with Resolve using XML, AAF or FCPXML are all about the same and depending on how the sequence was prepped, have the same issues. The safest bet is a flattened file with an EDL to notch the cuts. You will have similar issues with other correctors as well.
>
> The actual quality of the correction is really subjective and if you look at how colorists work in Resolve, some do curves or sliders, some do wheels and some love lots of nodes. Ultimately good colorists will get to the same place using a variety of different toolboxes within Resolve. And they'll also get there using a variety of different color correction systems.
>
> Unfortunately you are going to run into Resolve more and more, because producers will put in their own systems - attracted by the free to $1K price tag.
>
> - Oliver
>

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[Avid-L2] Re: Resolve Integration to Avid and a surge in Resolve requests?

--- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@...> wrote:

<<Unfortunately Avid's attention to color correction has become a cruel joke.>>

Just think, if they had listened to me about this issue over the last 15 years they would own the market. But regime after regime has found "color correction is so unimportant"....

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[Avid-L2] Re: Resolve Integration to Avid and a surge in Resolve requests?

Welcome to the new reality. No color correction workflow right now is as good as an integrated color correction tool or even the FCP7/Color workflow. Unfortunately Avid's attention to color correction has become a cruel joke.

Everything you discovered is correct. The roundtrips with Resolve using XML, AAF or FCPXML are all about the same and depending on how the sequence was prepped, have the same issues. The safest bet is a flattened file with an EDL to notch the cuts. You will have similar issues with other correctors as well.

The actual quality of the correction is really subjective and if you look at how colorists work in Resolve, some do curves or sliders, some do wheels and some love lots of nodes. Ultimately good colorists will get to the same place using a variety of different toolboxes within Resolve. And they'll also get there using a variety of different color correction systems.

Unfortunately you are going to run into Resolve more and more, because producers will put in their own systems - attracted by the free to $1K price tag.

- Oliver

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[Avid-L2] Re: Not strictly Avid, but... CF card format recovery?

Yes, there are many apps in this space (both free and paid).

I have had good results with Lexar's solution:

http://www.lexar.com/products/lexar-image-rescue-4-software

--- In Avid-L2@yahoogroups.com, Tim Selander <selander@...> wrote:
>
> Bitten in the butt by the tape-less age we live in, once again.
>
> Our data wrangler formatted two CF cards that had not yet been
> off-loaded. Shot with and formatted by Canon XF305. Have not been
> touched/recorded to since the format.
>
> Other than a re-shoot, what are my best options for recovery of
> the material on the cards??
>
> Thanks,
>
> Tim Selander
> Tokyo, Japan
>

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Re: [Avid-L2] Resolve Integration to Avid and a surge in Resolve requests?

You might want to look at Baselight AVX instead of Resolve for your needs.
Stay entirely in Avid and still overcome the limitations of Symphony.

There is a trial version available that is fully functional.

On Friday, March 29, 2013, John Moore wrote:

> **
>
>
> In the past few weeks I've been receiving more interest in Resolve from my
> client base. I just worked on a project that had jumped on an in house
> Resolve Avid workflow without fully understanding how to set it up
> properly. I was brought in to deal with the Avid side of the online and
> offer workflow suggestions and there were two Resolve colorists sorting out
> issues on the Resolve side. The general consensus seemed to be that round
> tripping is fraught with gotchas even on this relatively effect free show.
> Various resizes would sometimes only partially conform with the AAF to
> Resolve and forget about keyframed effects used to add a hand held feel to
> shots. Now I know there are people on these lists who have worked through
> the bugs and found ways to strip off problematic effects to make the round
> tripping work with little to no translation problems. The prepping of the
> sequence before aaf''ing to Resolve seems very similar to workflows
> involving
> FCP7 and Color. The conclusion we came to was it would be safer and way
> more efficient to treat the Resolve workflow like a tape to tape
> conventional workflow only using files and an EDL/AAF. I know people on
> this list who have also come to this conclusion on some projects. On the
> project I was brought into a major reason for the Resolve was to access the
> R3D files from Red Epic so they could perform blow ups in the neighborhood
> of 200% in Resolve and not be limited to a 1920x1080 source file. While in
> theory this makes sense in practice they found they still had to add
> sharpening in Resolve for these extreme blow ups. Also we found for more
> moderate blow ups up to 40ish percent a DNX 175X file as a source coming
> from Resolve looked okay with the resize being applied in Avid. All this
> leaves me with the opinion I already had which is to intergrate Avid
> onlines to Resolve for color correction it's most practical to create a
> final QT or
> video mixdown to send to Resolve and then have Resolve send back a
> completed file to be output from Resolve and brought back into Avid for
> titling and final outputs to tape. It is my understanding the "Power
> Grading", I think that's the term, where you output directly to tape from
> Resolve is problematic on the basic $999.00 Resolve even with extra GPU
> power, hence the need to bring the final file from Resolve back into Avid.
> I would like to know what others think about these conclusions and what
> others are doing.
>
> Another concern I have is I have clients that are suddenly wanting to
> throw Resolve at shows we've been delivering straight from Symphony for
> years. I know Resolve is a more powerful tool for color correction than
> Symphony is but for the standard Reality/Documentary fare I deal with there
> is little need for advanced secondary color correction and use of power
> windows. Nor is there time in the budget to start going these extra miles
> for something that isn't all that noticeable. I realize I probably have a
> bias after years of Symphony color correction and doing everything I can to
> take full advantage of the relational color correction speed bump. I feel
> that the non relational color correction of Symphony offsets a fair amount
> of the speed picked up with a Davinci and it's full tilt panels when it
> comes to overall time for color correction. I still feel a seasoned
> Davinci operator can do the color grading on a shot per shot basis faster
> but I'm
> curious with what those with more Davinci chops than myself feel. Also
> how much does the color correction speed differ with smaller panels like
> Avid Artist Color or Tangent Wave compared to what can be done with the
> full tilt Resolve panels. I'm trying to be open minded here but my gut
> tells me for the factory style Reality onlines I do the Resolve will
> ultimately lead to more online time and a more complicated work flow
> especially with all the last minute changes I always see.
>
> John Moore
>
> Barking Trout Productions
>
> Studio City, CA
>
> bigfish@pacbell.net <javascript:_e({}, 'cvml', 'bigfish%40pacbell.net');>
>
> [Non-text portions of this message have been removed]
>
>
>

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

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[Avid-L2] Re: Not strictly Avid, but... CF card format recovery?

If Recuva doesn't work google for photorec and testdisk.

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[Avid-L2] Resolve Integration to Avid and a surge in Resolve requests?

In the past few weeks I've been receiving more interest in Resolve from my client base. I just worked on a project that had jumped on an in house Resolve Avid workflow without fully understanding how to set it up properly. I was brought in to deal with the Avid side of the online and offer workflow suggestions and there were two Resolve colorists sorting out issues on the Resolve side. The general consensus seemed to be that round tripping is fraught with gotchas even on this relatively effect free show. Various resizes would sometimes only partially conform with the AAF to Resolve and forget about keyframed effects used to add a hand held feel to shots. Now I know there are people on these lists who have worked through the bugs and found ways to strip off problematic effects to make the round tripping work with little to no translation problems. The prepping of the sequence before aaf''ing to Resolve seems very similar to workflows involving
FCP7 and Color. The conclusion we came to was it would be safer and way more efficient to treat the Resolve workflow like a tape to tape conventional workflow only using files and an EDL/AAF. I know people on this list who have also come to this conclusion on some projects. On the project I was brought into a major reason for the Resolve was to access the R3D files from Red Epic so they could perform blow ups in the neighborhood of 200% in Resolve and not be limited to a 1920x1080 source file. While in theory this makes sense in practice they found they still had to add sharpening in Resolve for these extreme blow ups. Also we found for more moderate blow ups up to 40ish percent a DNX 175X file as a source coming from Resolve looked okay with the resize being applied in Avid. All this leaves me with the opinion I already had which is to intergrate Avid onlines to Resolve for color correction it's most practical to create a final QT or
video mixdown to send to Resolve and then have Resolve send back a completed file to be output from Resolve and brought back into Avid for titling and final outputs to tape. It is my understanding the "Power Grading", I think that's the term, where you output directly to tape from Resolve is problematic on the basic $999.00 Resolve even with extra GPU power, hence the need to bring the final file from Resolve back into Avid. I would like to know what others think about these conclusions and what others are doing.

Another concern I have is I have clients that are suddenly wanting to throw Resolve at shows we've been delivering straight from Symphony for years. I know Resolve is a more powerful tool for color correction than Symphony is but for the standard Reality/Documentary fare I deal with there is little need for advanced secondary color correction and use of power windows. Nor is there time in the budget to start going these extra miles for something that isn't all that noticeable. I realize I probably have a bias after years of Symphony color correction and doing everything I can to take full advantage of the relational color correction speed bump. I feel that the non relational color correction of Symphony offsets a fair amount of the speed picked up with a Davinci and it's full tilt panels when it comes to overall time for color correction. I still feel a seasoned Davinci operator can do the color grading on a shot per shot basis faster but I'm
curious with what those with more Davinci chops than myself feel. Also how much does the color correction speed differ with smaller panels like Avid Artist Color or Tangent Wave compared to what can be done with the full tilt Resolve panels. I'm trying to be open minded here but my gut tells me for the factory style Reality onlines I do the Resolve will ultimately lead to more online time and a more complicated work flow especially with all the last minute changes I always see.

John Moore

Barking Trout Productions

Studio City, CA

bigfish@pacbell.net

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