Saturday, March 22, 2014

Re: [Avid-L2] Avid/Resolve levels question

 

"Personally, grading in Symphony without external scopes would drive me nuts... the images are just too small for these late-40s eyes."

The thought of doing it with early 50s eyes was enough for me to spring for a Tek. scope.  I never want to look back.  ;-)

P.S.:   Am I just too nerdy and unaware that when I hear people running Resolve without an external scope for broadcast work I cringe?  I'm told those internal scopes are accurate and at one place I work they built a Resolve with no scope and brought in a Davinci operator for a few projects who used the internal scopes and the Panny monitor waveform/vectorscope to do a few shows.  I'm not a fan of this trend but do I need to be more open minded?

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Re: [Avid-L2] I hope you enjoy this interview as much as I did "12 Years a Slave" editing master class!

 


Unfortunately, he didn't win the ACE Award either. Still a great editor and a beautifully cut film.

On 18 mrt. 2014, at 05:59, Steve Hullfish <steve4lists@veralith.com> wrote:

Joe Walker, who was nominated for an Oscar for Best Editing for "12 Years a Slave" and won the A.C.E Award for Best editor for it.

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Re: [Avid-L2] Avid/Resolve levels question

 

I think we're meant to call ire IEEE these days.

On 23 Mar, 2014, at 12:55 am, Patrick Inhofer <elists@fini.tv> wrote:

 


On Sat, Mar 22, 2014 at 12:46 PM, Patrick Inhofer <elists@fini.tv> wrote:
On Sat, Mar 22, 2014 at 12:27 PM, Roger Shufflebottom <rogershuff@yahoo.co.uk> wrote:
But it would be nice to see super white and sub black excursions before correcting them.  So, we live with, what to me, look like wrong values?

IME, clipped levels are evident looking at the scopes.

Although,

Now that I think about it... I would like to see about 10% above 100IRE to help me peek if there's any relevant detail I'd like to pull back without having to perform that maneuver.

- pi

- -
Patrick inhofer
Colorist / Finisher / Owner, Fini.tv
Trainer, Tao Of Color.com
Subscribe to my free weekly Color Grading Newsletter!

Reel: http://www.fini.tv/demo.html

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Re: [Avid-L2] Avid/Resolve levels question

 
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Re: [Avid-L2] Avid/Resolve levels question

 


On Sat, Mar 22, 2014 at 12:46 PM, Patrick Inhofer <elists@fini.tv> wrote:
On Sat, Mar 22, 2014 at 12:27 PM, Roger Shufflebottom <rogershuff@yahoo.co.uk> wrote:
But it would be nice to see super white and sub black excursions before correcting them.  So, we live with, what to me, look like wrong values?

IME, clipped levels are evident looking at the scopes.

Although,

Now that I think about it... I would like to see about 10% above 100IRE to help me peek if there's any relevant detail I'd like to pull back without having to perform that maneuver.

- pi

- -
Patrick inhofer
Colorist / Finisher / Owner, Fini.tv
Trainer, Tao Of Color.com
Subscribe to my free weekly Color Grading Newsletter!

Reel: http://www.fini.tv/demo.html

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Re: [Avid-L2] Avid/Resolve levels question

 


On Sat, Mar 22, 2014 at 12:27 PM, Roger Shufflebottom <rogershuff@yahoo.co.uk> wrote:
But it would be nice to see super white and sub black excursions before correcting them.  So, we live with, what to me, look like wrong values?

IME, clipped levels are evident looking at the scopes. But what you see on the external display is precisely what the final signal looks like. You're not looking at wrong values. Again - Resolve's scopes show you the signal as its processing internally, not what those values need to be remapped to when writing out to file or sending to the display. Black is black. White is white. Life is good.

You could send in a feature request to the Resolve team for their built-in scopes to show some amount of over/under excursions. If it was an option I'd still run with the full sized scopes... since that's where I'm balancing and the portion of the signal I'm actively working.

SpeedGrade does something similar to what you're asking, where the scopes auto-scale as excursions occur. The problem is that the scopes are constantly changing their values as the user expands / contracts the values. I get sea-sick watching it. The solution there is to stick the Broadcast Safe filter on a top level adjustment layer - which clips the signal and keeps the scopes from scaling but defeating what you're asking.

Personally, grading in Symphony without external scopes would drive me nuts... the images are just too small for these late-40s eyes.

- -
Patrick inhofer
Colorist / Finisher / Owner, Fini.tv
Trainer, Tao Of Color.com
Subscribe to my free weekly Color Grading Newsletter!

Reel: http://www.fini.tv/demo.html

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Re: [Avid-L2] Re: Avid/Resolve levels question

 

OK - that's what I've been doing - just wondering. Thanks all who replied.

 With best wishes,
Roger Shufflebottom
+44 7973 543660

On 22 Mar 2014, at 14:21, "Keith Rollinson" <keith@sector550.com> wrote:

 

Roger wrote:

 

"I know some folk on here use Resolve. I've got a question about the inbuilt Waveform Monitor in Resolve Lite (Mac). I've been using AAF exports from Media Composer to Resolve. As a test I included some EBU 75% bars imported as usual from the Avid Supporting files folder into MC using the 601/709 16-235 setting. These show up correctly in the Avid CC WFM. In Resolve, they read out at Black=0, White=1023 on the 10-bit scale, instead of what I'd expect, which is 64-960. I've set the clip attributes to 'video' (64-960). The bars read correctly on the vectorscope. Oddly, when exporting back from Resolve to Avid, the levels seem to be OK and read correctly in MC. Please don't beat me up for not using external scopes - this is testing prior to introducing Resolve to students. I've had a look at the Blackmagic forum and this question has been asked there but with no satisfactory replies as far as I can see. Anyone?"

Same oddness here. None of our Resolve stations have external scopes…yet. But it is "correct" – just trust grading to full swing in Resolve, and it will translate nicely back to Rec.709 in Avid.

 

Keith Rollinson

503.295.0551

 

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Re: [Avid-L2] Avid/Resolve levels question

 

But it would be nice to see super white and sub black excursions before correcting them.  So, we live with, what to me, look like wrong values?

 With best wishes,
Roger Shufflebottom
+44 7973 543660

On 22 Mar 2014, at 16:01, Patrick Inhofer <elists@fini.tv> wrote:

 


On Sat, Mar 22, 2014 at 11:13 AM, <tcurren@aol.com> wrote:
"set your blacks to 0 and your 100% white to 1023."

What about your 101% whites? :-0

Since Resolve processes at 32-bit float, all above 1023 excursions are maintained and can be recovered in operations 'down the node tree'... the only exception is if you activate the Hard/Soft clips... then those over-100% excursions are actually clipped and can't be recovered downstream (unless you use one of the speciality Parallel / Layer nodes and reach before the Soft Clip and grade those excursions back in).

It's pretty tough to generate illegal Luma excursions in Resolve when you leave it in its default settings.

- pi

- -
Patrick inhofer
Colorist / Finisher / Owner, Fini.tv
Trainer, Tao Of Color.com
Subscribe to my free weekly Color Grading Newsletter!

Reel: http://www.fini.tv/demo.html

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Re: [Avid-L2] Avid/Resolve levels question

 


On Sat, Mar 22, 2014 at 11:13 AM, <tcurren@aol.com> wrote:
"set your blacks to 0 and your 100% white to 1023."

What about your 101% whites? :-0

Since Resolve processes at 32-bit float, all above 1023 excursions are maintained and can be recovered in operations 'down the node tree'... the only exception is if you activate the Hard/Soft clips... then those over-100% excursions are actually clipped and can't be recovered downstream (unless you use one of the speciality Parallel / Layer nodes and reach before the Soft Clip and grade those excursions back in).

It's pretty tough to generate illegal Luma excursions in Resolve when you leave it in its default settings.

- pi

- -
Patrick inhofer
Colorist / Finisher / Owner, Fini.tv
Trainer, Tao Of Color.com
Subscribe to my free weekly Color Grading Newsletter!

Reel: http://www.fini.tv/demo.html

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[Avid-L2] Re: Camtasia Screen Recording for use in Media Composer

 

Pretty cool Jeff.  I've always used Camtasia's editor to render out a quicktime file, which is a very slow and IMO dodgy process.  Your method will save me tons of time.

George



---In Avid-L2@yahoogroups.com, <rockinjeff@...> wrote :

Hi there, 
Again, from the DS List, there was a question about Screen Recording for use in Media Composer and Camtasia. 
The conversation turned to the "proprietary" format of .camrec and here is how I use it.

Camtasia and the .camrec format is actually a envelope format that contains all the files in their native formats which are supported by Avid AMA or import. 
I "threw together"step by step instruction list on how it Camtasia works with Media Composer.. or DS  I've been on Camtasia for 3 years and they have developed the software quite a bit.  It's never failed me and is well worth the $$

Here is google site link to some instructions.
expand your window full screen for best viewing.

 I hope it helps someone someday.
Cheers
Jeff

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Re: [Avid-L2] Avid/Resolve levels question

 

Patrick writes:


"set your blacks to 0 and your 100% white to 1023."

What about your 101% whites? :-0

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Re: [Avid-L2] Avid/Resolve levels question

 


On Fri, Mar 21, 2014 at 11:10 AM, Roger Shufflebottom <rogershuff@yahoo.co.uk> wrote:
These show up correctly in the Avid CC WFM. In Resolve, they read out at Black=0, White=1023 on the 10-bit scale, instead of what I’d expect, which is 64-960. I’ve set the clip attributes to ‘video' (64-960).

Essentially,

Avid is showing you the bits that it'll be writing out to file based on SMPTE file delivery specs, where 64=black and 960=white.

Resolve is showing you the scopes based on its internal processing where 0=black and 1023=white. When Resolve renders, your codec choice tells it if it needs to remap to 64/960 or maintain 0/1023. 

When everything is working properly, what you're seeing is proper. And when grading in Resolve, set your blacks to 0 and your 100% white to 1023.

Make sense?

- patrick

- -
Patrick inhofer
Colorist / Finisher / Owner, Fini.tv
Trainer, Tao Of Color.com
Subscribe to my free weekly Color Grading Newsletter!

Reel: http://www.fini.tv/demo.html

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[Avid-L2] Re: Avid/Resolve levels question

 

Roger wrote:

 

I know some folk on here use Resolve. I’ve got a question about the inbuilt Waveform Monitor in Resolve Lite (Mac). I’ve been using AAF exports from Media Composer to Resolve. As a test I included some EBU 75% bars imported as usual from the Avid Supporting files folder into MC using the 601/709 16-235 setting. These show up correctly in the Avid CC WFM. In Resolve, they read out at Black=0, White=1023 on the 10-bit scale, instead of what I’d expect, which is 64-960. I’ve set the clip attributes to ‘video' (64-960). The bars read correctly on the vectorscope. Oddly, when exporting back from Resolve to Avid, the levels seem to be OK and read correctly in MC. Please don’t beat me up for not using external scopes - this is testing prior to introducing Resolve to students. I’ve had a look at the Blackmagic forum and this question has been asked there but with no satisfactory replies as far as I can see. Anyone?”

Same oddness here. None of our Resolve stations have external scopes…yet. But it is “correct” – just trust grading to full swing in Resolve, and it will translate nicely back to Rec.709 in Avid.

 

Keith Rollinson

503.295.0551

 

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[Avid-L2] Re: Camtasia Screen Recording for use in Media Composer

 

oh yes, and I know that Camtasia supports .avi native, but that format limits Camtasia's abilities if you want to use other Camtasia features. .camrec is the only format that supports all the Camtasia tools. 


On Sat, Mar 22, 2014 at 9:08 AM, Jeff Krebs <rockinjeff@gmail.com> wrote:
Hi there, 
Again, from the DS List, there was a question about Screen Recording for use in Media Composer and Camtasia. 
The conversation turned to the "proprietary" format of .camrec and here is how I use it.

Camtasia and the .camrec format is actually a envelope format that contains all the files in their native formats which are supported by Avid AMA or import. 
I "threw together"step by step instruction list on how it Camtasia works with Media Composer.. or DS  I've been on Camtasia for 3 years and they have developed the software quite a bit.  It's never failed me and is well worth the $$

Here is google site link to some instructions.
expand your window full screen for best viewing.

 I hope it helps someone someday.
Cheers
Jeff

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[Avid-L2] Camtasia Screen Recording for use in Media Composer

 

Hi there, 
Again, from the DS List, there was a question about Screen Recording for use in Media Composer and Camtasia. 
The conversation turned to the "proprietary" format of .camrec and here is how I use it.

Camtasia and the .camrec format is actually a envelope format that contains all the files in their native formats which are supported by Avid AMA or import. 
I "threw together"step by step instruction list on how it Camtasia works with Media Composer.. or DS  I've been on Camtasia for 3 years and they have developed the software quite a bit.  It's never failed me and is well worth the $$

Here is google site link to some instructions.
expand your window full screen for best viewing.

 I hope it helps someone someday.
Cheers
Jeff

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