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About dermot.shane

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  1. thanks Rakesh, i've had great support from HP in the past, but that was all about hardware issues, our local support in Vancouver Canada is amazing top to tail, but not able to help on this file now an update: i got RGS working, painful and tedious, but working... after setting RGS to easy login, restarting the machine (not mentioned in the manual) i got it to work inside the firewall at the studio, the machines need a static IP, already had that, but worth mentioning then we needed to set up a VPN to get through our firewall from my suite at home, and my MBP good stuff after an hour with it: -it's fast - as in i see 24Fps playback without dropped frames playing Resolve's UI on my laptop in a local cafe with a crap connection, far, far better than Teamviewer, have both on the MBP so could run them one after an other, the diffrence is quite noticable -far better image quality than Teamviewer can offer as well, by a long shot bad stuff: - supremely user unfriendly to set up - need to manualy enter IP addy, machine name, and password EVERY time, every single has no list of approved / safe machines - no scaling options - it’s only 1:1 making navigation a needless pita with a smaller screen - yes Mr MBP, i’m looking at you… - need to give anyone you want to share a screen with your VPN addy, machine name and password! Ekkkkk! like that’s gonna happen… in the last three days on my machine i’ve had clients approveing VFX / editor sorting conform issues / Assist transferring DRP and checking - all logged on with TeamViewer and every time i reset the password after they logged out i’m not going to re-set the machine name and password endlessly, not to mention i have to restart the machine for windoze to accept a user name change every time... ouch.... HP support got back to me, they are esclateing, but that was before i got it going, still going to ask question to make sure i'm understanding the login process, and see if there's a way to have a cleint/assist/ VFX artist whomever log on without needing to give them access to the machine permently Jason Myres @ LGG suggested looking at "NoMachine" so i'm leaning toward haveing both NoMachine for cleints to log on, probbaly on the z800, and me to use from my laptop so it can scale, and RGS between machines both at the studio and at home, where i'm comfortable that i can keep the IP / user name / password info under control any machine can be accessed from the z800 via RGS so the z800 serves as a hub and a one year subscription to NoMachine costs less than a month of TeamViewer one thing's for sure, i'll be dropping TeamViewer when the yearly contract runs out.... the same resources could pay for a year of Kognat, NoMachine, upgrade BCC to current and more....
  2. has anyone got it working? i wanted to test it, installed sender/receiver on four HP z class machines, and receiver on my MBP, set all senders to easy logon, and get the same error message on all machines as i've entered correct ip / machine name / password, and made sure RGS passes through the firewall, i'm thinking it might be #2... i've read the manual, and no help that i can see there i've reached out to HP support forum, no answers i've emailed support and they sent me the manual, and have ghosted me since i've asked local HP tech's and they deal with hardware only TeamViewer yearly contract is up at the end of the month, i'd love to eval RGS, but can't get connected to even take a peek at it any help appreacated
  3. there's a few choices, this is the one i went with: 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....
  4. 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....
  5. 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
  6. 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
  7. 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
  8. 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....
  9. if you work in ACES chk out Paul Dore's PFE.. an elegant and flexiable answer
  10. 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
  11. 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....