Chris DiBerardino

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About Chris DiBerardino

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  • Birthday 04/22/1988

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    www.chrisdiberardino.com

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  1. I just put the reference on a top track in the timeline, then I set it to 50% opacity and DX it that way.
  2. One option compresses the top and low end of the signal, the other scales in a linear fashion. The option is really dealer's choice. I'd say if you are working through a LUT that already rolls off the high and low end, then turn S curve for contrast off as to not double up on the S curve. Experiment!
  3. Just guessing off the info I have, but I think that setup should be fine for doing some 4k work. HDR requires pretty beefy IO bandwidth also, not to mention a reference HDR monitor which I'll just assume you have access to. But yeah, it's probably a pretty weak setup for supervised work, but unsupervised, I think you will be able to get by.
  4. What's your processor? Also, are you doing supervised sessions on this system or working unsupervised? If unsupervised I'd say you can work on anything as long as it is capable of running the program. Then it's just a matter of what performance you can tolerate!
  5. It should be good enough to do basic color correction, a couple windows and maybe an OFX plugin. 32GB is enough RAM, but more importantly you need a decent CPU as well. It also depends on what codec you are grading. If you are grading 4k HDR DPX, you are going to need a really fast RAID. If you are grading Pro res, then your drives can be a bit slower, but then you are going to need your CPU to do a bit heavier lifting. The graphics card really only effects real time playback when adding nodes.
  6. Yes you can. Right click the clip or clips in your timeline and click generate optimized media. The settings for optimized media are in the basic project settings window. I highly suggest you read the manual, as this is an extremely basic function of the program. Reading the manual is paramount to knowing the software's capabilities. An alternative method to optimized media would be to transcode the footage to a lower resolution and relink to it via relink to media from bins. Then relink back to the full resolution media before output. This is basically the same thing, except you are doing the media management instead of Resolve doing it automatically. Good luck!
  7. Keep all your nodes enabled that need to be. Then deliver the file with the Enable Flat Pass drop down menu (video tab, advanced settings) set to Always On. This will then output a version that bypasses the node tree rendering out an uncolor corrected version.
  8. Hi everyone, I just started up an instagram to show some stills from some work I've done. If anyone is interested in following here is a link to my account. https://www.instagram.com/chris_diberardino_color
  9. If you right click in the node window, you can add an alpha output. Then key the green in a node, attach the alpha output of the node to the alpha output in the node tree, and voila. You just need to have the plate on layer 1 and your keyed footage on layer 2.
  10. Import the first edl, then import the second edl to a new track.
  11. I've been on version 5 for a long time. So long that I don't really remember how previous versions worked. That being said, I believe in version 5 there are a few enhancements to navigation. They added a filter where you can skip to a different clip in the timeline based off tape, reel, clip, source names. I'm not sure if that is in previous versions or not. Also, you can read nested baselight effects, say if it's underneath an avid effect on the same track. Also, the built in subdivide functions in the baselight plugin are now rock solid, so no need to use the avid pan and scan to subdivide.
  12. Bruno, Thanks so much for checking that out! It's nice to hear it confirmed by someone else because I was starting to think I was just really unlucky or you were incredibly lucky! I'm in the same boat where I haven't been using Baselight in Avid and doing mostly Resolve lately. I can confirm that as of right now on the latest beta, the problem is not fixed. I think it's a pretty deep rooted problem between the code of Avid and the plugin. I'm not sure on the possibility of it being fixed any time soon. The guitar is actually a knock off les paul made by Agile. I got it for like 180 used on ebay and it was the best purchase I've ever made. Plays better than any les paul I've played in a store! Thanks again for checking your setup!
  13. I'm looking forward to hearing about what you see!
  14. I'm more concerned with the fact that you are claiming to get real-time playback on your external monitor while you have the baselight interface open. I've never been able to achieve that even with no color or layers added. It must come down to individual hardware components of the system. You're the only person I've ever heard claim to get real-time playback within the baselight plugin interface while using client monitoring. So I guess your system just has the right pieces in it to make it work. One other variable is that on my z820 system I used, the output device was a Nitris DX box. I doubt that would hinder any playback, but it is a variable. That and the graphics card being a gtx780, but that was a strong card when the plugin came out and was put in specifically for the plugin.
  15. You get real-time playback on your client monitor while inside the Baselight interface? My avid timeline always gets real-time playback if in preview quality mode.