Re: Reality or ??? > RE: [Avid-L2] OT: When did the U.S. get too backlit?

I didn't realize there were CCD chips that early.  I googled to remind myself it was Saticon tubes in the HL-79 and later Diode Gun Saticons.  Just the name "Diode Gun Sat" is so much cooler than Log-C, V-Log or S-Log.  There ain't no Log gonna touch my Diode Gun Sat!!!  Oh wait I smell the tar pit it's time for me to go home.


On Sat, Feb 22, 2020 at 10:21 PM, Keoni Tyler wrote:

You know you are fortunate in our field when you instantly know THOSE premium model numbers.

 

I would like to extend on John's observation, and how about just saying "Lit?"  And I don't mean the Gen Z or Gen Y Millennials' slang for "that was cool, rad, dyno-mite!"

 

It started with RCA Broadcast's implementation of putting the first CCD chips into their portable camera in 1980, and when that national political convention had the lights go out, NBC could still make out a relatively clear picture in darkness.

 

I had heard stories of 40s, 50s and 60s TV talent "melting" under TV studio lights for a black and white picture, and so when technology allowed things to go the other way, that was great.

 

Until...

The day a set design company in 2005 installed the new stage for a division of Fox Sports where I was Sr. Editor.  Walking onto the set, you felt you were nearly in a dark parking garage.

 

I thought I got there too early and no one turned on the grid.  I turned to the monitor and the set was lit like the morning sun was right on it, and couldn't believe my eyes that I was in that same set.

 

That was the day I never wanted to run a studio camera in that situation again, if asked to.  If the monitor can't match our what our naked eyes see side-by-side...

 

 

-Keoni Tyler

Kitchen Table Editorial | Hollywood

 

 

 

 

 

Sent from my MetroPCS 4G LTE Android Device

 

 

-------- Original message --------

From: John Moore <bigfish@pacbell.net>

Date: 2/22/20 20:08 (GMT-08:00)

To: Avid L-2 Groups IO <avid-l2@groups.io>

Subject: [Avid-L2] OT: When did the U.S. get too backlit?

 

Back when I started editing we had incredible camera crews of an ENG style.  They were amazing what they could do with an HL-79 Iki and BVU-200.  After shooting endless travel specials across the Globe one of our premiere camera persons came back once and said, "That whole country was too backlit!"  We had a good laugh at the time.

 

Tonight working on an exterior scene I'm tempted to say the U.S. has now fallen into the same category and it is clearly too backlit.  Don't they have meters for this is the field or a magic scrim they can use.  There's only so much lift I can do!!! 

 

So clearly what was true in the 80's in foreign lands has come home to Southern California.  How's the backlit on the East Coast?  It might be time to move.  ;-)

 

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

_._,_._,_

---

Groups.io Links:

You receive all messages sent to this group.

View/Reply Online (#134060) | Reply To Group | Reply To Sender | Mute This Topic | New Topic

Your Subscription | Contact Group Owner | Unsubscribe [administrator242.death@blogger.com]

_._,_._,_

Reality or ??? > RE: [Avid-L2] OT: When did the U.S. get too backlit?

You know you are fortunate in our field when you instantly know THOSE premium model numbers.

I would like to extend on John's observation, and how about just saying "Lit?"  And I don't mean the Gen Z or Gen Y Millennials' slang for "that was cool, rad, dyno-mite!"

It started with RCA Broadcast's implementation of putting the first CCD chips into their portable camera in 1980, and when that national political convention had the lights go out, NBC could still make out a relatively clear picture in darkness.

I had heard stories of 40s, 50s and 60s TV talent "melting" under TV studio lights for a black and white picture, and so when technology allowed things to go the other way, that was great.

Until...

The day a set design company in 2005 installed the new stage for a division of Fox Sports where I was Sr. Editor.  Walking onto the set, you felt you were nearly in a dark parking garage.

I thought I got there too early and no one turned on the grid.  I turned to the monitor and the set was lit like the morning sun was right on it, and couldn't believe my eyes that I was in that same set.

That was the day I never wanted to run a studio camera in that situation again, if asked to.  If the monitor can't match our what our naked eyes see side-by-side...

-Keoni Tyler

Kitchen Table Editorial | Hollywood

Sent from my MetroPCS 4G LTE Android Device

-------- Original message --------

From: John Moore <bigfish@pacbell.net>

Date: 2/22/20 20:08 (GMT-08:00)

To: Avid L-2 Groups IO <avid-l2@groups.io>

Subject: [Avid-L2] OT: When did the U.S. get too backlit?

Back when I started editing we had incredible camera crews of an ENG style.  They were amazing what they could do with an HL-79 Iki and BVU-200.  After shooting endless travel specials across the Globe one of our premiere camera persons came back once and said, "That whole country was too backlit!"  We had a good laugh at the time.

Tonight working on an exterior scene I'm tempted to say the U.S. has now fallen into the same category and it is clearly too backlit.  Don't they have meters for this is the field or a magic scrim they can use.  There's only so much lift I can do!!! 

So clearly what was true in the 80's in foreign lands has come home to Southern California.  How's the backlit on the East Coast?  It might be time to move.  ;-)

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

[Avid-L2] OT: When did the U.S. get too backlit?

Back when I started editing we had incredible camera crews of an ENG style.  They were amazing what they could do with an HL-79 Iki and BVU-200.  After shooting endless travel specials across the Globe one of our premiere camera persons came back once and said, "That whole country was too backlit!"  We had a good laugh at the time.

Tonight working on an exterior scene I'm tempted to say the U.S. has now fallen into the same category and it is clearly too backlit.  Don't they have meters for this is the field or a magic scrim they can use.  There's only so much lift I can do!!! 

So clearly what was true in the 80's in foreign lands has come home to Southern California.  How's the backlit on the East Coast?  It might be time to move.  ;-)

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

Re: [Avid-L2] This Man Has No Codec?

You probably forgot to clean the heads.

_._,_._,_

---

Groups.io Links:

You receive all messages sent to this group.

View/Reply Online (#134057) | Reply To Group | Reply To Sender | Mute This Topic | New Topic

Your Subscription | Contact Group Owner | Unsubscribe [administrator242.death@blogger.com]

_._,_._,_

Re: [Avid-L2] This Man Has No Codec?

I have the file I gave to be uploaded.  Perhaps something happened in the upload.  I always feel like it's a cop out to blame transmission but perhaps that is where the error was generated.  I just keep finding different network servers and play out devices have peculiar needs and sometimes a file that is viable on every platform I have access to ends up failing on their end.  Usually it's the pre sniffing software and not the actual server.

If I get the file back I'd like to check it's tracking and RF envelope but alas they don't have that any more.  If only there was a file based tentelometer?  ;-)



On Thu, Feb 20, 2020 at 03:15 PM, Marcel B. wrote:

Hi,

I'd get it back just to be able to figure out what's the problem.

Marcel

On 20/02/2020 17:48, John Moore wrote:

Today's episode of QC corner involves the automated "sniff" test.  I deliver a secondary version of our show master that has one title graphic change.  The master passed but the secondary version master didn't something about a sniff test and or the file has no codec.  Well on my end it's DNX 115 when ama linked into Avid, in QT Pro 7 and when I put the file into Media Info software.  I checked my render path and the new element is indeed rendered to DNX 115.  So WTF???  We are waiting to hear back from the producer's portal for clarification.  What is it with all these network workflows that seem to have individual quirks specific to their servers or infrastructure.  I want my SR deck back.

 

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

_._,_._,_

---

Groups.io Links:

You receive all messages sent to this group.

View/Reply Online (#134056) | Reply To Group | Reply To Sender | Mute This Topic | New Topic

Your Subscription | Contact Group Owner | Unsubscribe [administrator242.death@blogger.com]

_._,_._,_

Re: [Avid-L2] This Man Has No Codec?

Hi,

I'd get it back just to be able to figure out what's the problem.

Marcel

On 20/02/2020 17:48, John Moore wrote:

Today's episode of QC corner involves the automated "sniff" test.  I deliver a secondary version of our show master that has one title graphic change.  The master passed but the secondary version master didn't something about a sniff test and or the file has no codec.  Well on my end it's DNX 115 when ama linked into Avid, in QT Pro 7 and when I put the file into Media Info software.  I checked my render path and the new element is indeed rendered to DNX 115.  So WTF???  We are waiting to hear back from the producer's portal for clarification.  What is it with all these network workflows that seem to have individual quirks specific to their servers or infrastructure.  I want my SR deck back.

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

[Avid-L2] This Man Has No Codec?

Today's episode of QC corner involves the automated "sniff" test.  I deliver a secondary version of our show master that has one title graphic change.  The master passed but the secondary version master didn't something about a sniff test and or the file has no codec.  Well on my end it's DNX 115 when ama linked into Avid, in QT Pro 7 and when I put the file into Media Info software.  I checked my render path and the new element is indeed rendered to DNX 115.  So WTF???  We are waiting to hear back from the producer's portal for clarification.  What is it with all these network workflows that seem to have individual quirks specific to their servers or infrastructure.  I want my SR deck back.

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

Re: [Avid-L2] Is there a way to improve 8 bit artifacting when rendering to DNX_115?

But then all the DPs would whine about how their wonderful 8 bit log image, under exposed, is being messed up by Safe Color.  ;-)
P.S. Please note that is a Rec 709 ";-)" not a Vlog, LogC, Slog ";-)" The latter always look different on every monitor.  ;-0


On Wed, Feb 19, 2020 at 05:10 AM, Gowanus Canal wrote:

Safe Color should be a project setting and a standard FX. 

DQS

 

On Feb 19, 2020, at 6:19 AM, TrevorA <groups.io@siempre.free-online.co.uk> wrote:

Be really nice if Avid introduced a 'render' track that replicated John's fine Safe Color Limiter track. And would 'render open sequences after xx mins' like FCP7 used to.

_._,_._,_

---

Groups.io Links:

You receive all messages sent to this group.

View/Reply Online (#134053) | Reply To Group | Reply To Sender | Mute This Topic | New Topic

Your Subscription | Contact Group Owner | Unsubscribe [administrator242.death@blogger.com]

_._,_._,_

Re: [Avid-L2] Is there a way to improve 8 bit artifacting when rendering to DNX_115?

Safe Color should be a project setting and a standard FX. 

DQS

On Feb 19, 2020, at 6:19 AM, TrevorA <groups.io@siempre.free-online.co.uk> wrote:

Be really nice if Avid introduced a 'render' track that replicated John's fine Safe Color Limiter track. And would 'render open sequences after xx mins' like FCP7 used to.

Re: [Avid-L2] Is there a way to improve 8 bit artifacting when rendering to DNX_115?

Be really nice if Avid introduced a 'render' track that replicated John's fine Safe Color Limiter track. And would 'render open sequences after xx mins' like FCP7 used to.

_._,_._,_

---

Groups.io Links:

You receive all messages sent to this group.

View/Reply Online (#134051) | Reply To Group | Reply To Sender | Mute This Topic | New Topic

Your Subscription | Contact Group Owner | Unsubscribe [administrator242.death@blogger.com]

_._,_._,_

Re: [Avid-L2] Is there a way to improve 8 bit artifacting when rendering to DNX_115? Solved thanks to Dave H.

Thanks for that, Dave (and John for raising the issue.) Never thought about the auto v. xbit settings affecting rendered media – caveat editor!

 

Keith Rollinson