dermot.shane

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About dermot.shane

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  1. there's a few choices, this is the one i went with: https://www.drastic.tv/productsmenu-56/test-and-measurement/4kscope i used BMD's Ultrascope before the Drastic scope, they run on the same minimilist hardware / both have error logging i do love the vector scope display in ScopeBox, but i love the confidence of sending clean masters even more....
  2. i think there's a gulf between what makes for a pass in a TVC, and what makes for a pass from a "class A faclity".. ie: Technicolor, Deluxe, Photokem, and a pass from a "class A faclity" is what is in the delivery spec's i deal with typicaly a delviery service checkbox does not apply to QC reports unfortuantly, either you have program content or you have a QC fail, full stop, no checkbox to check here the most common QC fail is chroma excursions, even tho it's based on an out dated standard, it's written into the delivery spec's and the QC facility have to make sure the show meets that, no wiggle room, and no admiting current reality exists.... end game is to make sure to meet the delivery spec's and if "broadcast safe" is the spec, then you have to have content in every frame, and you have to control chroma excursions, and not live in the hope that the delivery partner has a checkbox to check, as not all do....
  3. i certainly will be passable with a more subtle approach in Resolve i use the gamut OFX, and if it's touching other parts of the image without issues, put it inside a qualifier sometimes less common is to use log highlights/shadows + softclip per channel + a node set to HSV with ch1&3 bypassed to control sat in shadows/highlights with the log wheels... those were the tools of choice a few years ago, when that was all that was avb, i find gamut mapping is faster and creates less collatrial damage i would love to have the good stuff in ScopeBox, but the drawback of no live error logging rules it out for my workflow
  4. i have a somewhat diffrent experience from Amada's i deliver to distb's who run shows through QC process, and yes they care very much about chroma excursions etc.... local tv deliveries have variable standards to meet, but i treat them the same as going to a top tier streaming service if you have a chroma excursion in your master timeline, then you will have that in a delvierable of any sort, ProRez, DPX whatever... if the broadcaster does not care, then happiness abounds if the broadcaster runs the show through a error logging software, then you will have to care, and repair to meet deliverable spec, or the broadcaster will fix it and send the bill to the producer, but it will not run if it fails QC should note i have a fair amount of buisness fixing other colorist's QC fails for a network, when the filmmaker and the colorist cannot deliver a master that passes QC also note running QC costs the producer around 5k USD for a feature, you will not want to be responcable for a second fail.. the first one is allowed for, a second fail is usualy not budgeted for, not in terms of delvierables deadlines, or charges... a second fail is a good way to lose a client, it costs the producer too much, and end game is it's cheaper to pay more up front to get a QC pass and deliver on time... bank charges on the money tied up in a film near delivery are substaintial, the producer does not get their MG paid out until the QC report says "PASS"... like a new BMW's worth of bank charges every month.... so yea, i watch my error logging like a hawk looking for dinner.... and i pass QC on the first go usualy, the only fails i've had recently have been for doggy VFX, and that's out of my hands i flag any area's of technical concern, and what i have done to minimise them, and area's where a creative choice has been made that effects image quality,and send these notes to both the producer's and the QC facility, that helps getting the show through cleanly as well this is an area where experience and a proven track record can really help when pitching your services to a producer, and possibaly allow you to account for a higher day rate when billing,and it's a hard train to get onto as typicaly you need to have the street cred to even get the gig, or charge so little that there's room in the post budget to fix the errors, and pay the bank charges when the show is not delviered .. a three day delay to get through a second round of QC and the calander flipping to a new month during that time means the producer just threw away the price of a new car for your errors... you really do not want to be that guy... and there's some things that are not really obvious that will create fails.. the first frame of a fade up from back cannot be 0% black, QC will fault the show for the content being too short... i typicaly put a bit of noise there so something shows up on a scope.... something i would not expect local TVC's to have an issue with for example
  5. best bet is not to do that in the first place instead grade in 709, and hire a gradeing theatre for a trim pass you likely will not gain anything with P3's wider gamut anyway
  6. i use scopes with real time error logging, and keep a close eye on those never , ever, never use the "broadcast safe" lut on export, never....
  7. if you work in ACES chk out Paul Dore's PFE.. an elegant and flexiable answer
  8. if you can run 1/4rez then the disks subsystem is fast enough for any debayer setting debayer will soon be on GPU, i would wait a week or more, and see if the expected gains are real, if so.. a GPU upgrade may be the better choice
  9. it's on all windoze machines, no matter the cpu/gpu etc etc super e-z workaround is to make the folder with the os, does not effect me much as i use a fixed folder structure already, so any folder i need is more than likely already there dev's know about it, hopefully it gets sorted sooner or later, but there's bigger bugs to sort first IMHO, like ACES on all os's after 15.2.2 needs some lurve they know about that as well....
  10. not really what we had to deal with, but thanX the XML's we tried would show the same issues even when opened in another FCX as noted above Nucoda, FC7 and Pp were also tried, with the same resualt we did try X-2-7 to get the XML into 7, no joy i have since conformed three more features in Resolve with out any issues, two from MC, one from Pp this is more like the kinda typical workflow in 2019 my machines are not an issue either, unlike the trashcan in the BMD thread, i run HP workstations with dual Xeons, Dual GPU's, 128gig sys ram, 64Tb NAS on 10gigE + 32Tb each SAS local storage.... solid and supported machines
  11. thnx Brian, that link is very VERY basic, and was all followed to the letter in the first place, as it could be lifted from my decades old cheat sheet that i send to any editor basic good clean workflows are needed, but really no one involved in this is a beginner, the network's online editor was a scanner op in 2006, we worked on projects together back then i was gradeing his scans, one example of the depth the crew involved have under their collective belt i've been conforming shows since the days of 2" machines with an Ampex ACE, and convergent s90 used for offline, read the late 1970's.... it takes a fair bit to screw up something that i can't un-screw up by now, we even got this sorted, mainly by eyematching with the editors help as he could read out the correct tc/file name from FCX, shot-by-shot... all 90 min it really comes back to FCX, and the lack of support -or- information on what the weak links are, how to sort or avoid far beyond the basic's but that's a solid document, well worth haveing peak if you are not used to doing a handover to sound and picture, every union assist are super solid on this file, and that's who i normaly get handover from
  12. we tired that, but unfortunatly garbage in ( the XML) = garbage out, it did the same job as exporting an EDL from Resolve or Nucoda, all avenues we could think of were tried, and personaly i was not hopeful on that one anyway, so not disapointed 😉 and many thanks to you, Brad, Thomas, and everyone else who tried to help moveing forward, if there is ever a bullet proof FCX editor's cheat sheet floating around ti would be loverly to have access to that, so "issues" could be headed off before they become "issues"... something beyond the endless "press this button to make an XML, and everything will be perfect" drivel spread everywhere on the interwebs, it seems to be a disservice to spread the message that it works when in reality it is far from working beyond a very simple demo timeline i really was hopeing for some thoughts from the editor, but he's done with FCX, not interested in touching it again, so has zero intrest in sorting the weak links for future use, and has his hands full catching up on all the stuff he dropped to sort this in the last two weeks, he did not budget his time for this either the issues center on not being able to de-compose the mutlicam, and de-composing compund clips did not actualy de-compose all the clips, only some, and when it did de-compose, it did it incorrectly... all this is about FCX and not about creating the XML or any system that injests the XML not intrepreting it correctly Apple support was somewhere just slightly less than zero, he got a canned reply and that's all... on the good side this film is going to get some visability, opening night gala film at a rather well known festival in the fall, so i'm kinda reluctant to mention the name and have it turn up in a google search.. and the editor did an awesome job crafting the story the only failing was not allowing time and budget to get a clean turnover, the sched was pushed back from gradeing just after Christmas to piclok on Feb10, but the hard deadline was still Feb 20 to hand over my CTM to finishing.... would be possiable without drama with Pp, MC on and on... was barely possiable, and at that only with massive drama for both sound and picture