Marc Fisher

Im curious why posts like this focus more on the Dolby License than the actual conversion of SDR to HDR color. The biggest misconception I've run into, is that folks think there is a 1 button solution to convert sdr.. I haven't seen one yet, and i've been diving in deep on several sites like this..
So please, if you have a solution for the actual color conversion, I'd like to hear it. 

So are you offering people work? i thought this board was for jobs being offered, not for people looking to post resumes and reel.. otherwise, we'll all be posting here.

Drove me nuts too.. I'd love to hear how to straighten these out and not have bouncing objects.

10 hours ago, Thomas Singh said:

Nope, I started using DS when the first Avid DV versions were introduced. I'm suprised that I'm still with Avid but I know it inside our after all these years and I'm probably to lazy to start learning anything else. 

Sorry Thomas, your post is a it confusing, or maybe I'm not awake..
You say DS, but then reference Avid DV. And if you are still using DS, then Bravo sir. Thats awesome. I wish more shops in Post would've found there way to it, and stuck with it. But most believed in Avid's marketing and sales pitches. 

Avid DS. (which they bought from Softimage) and could do anything and everything all the way up to 8k. was EOL in 09. No longer available.

Avid Symphony. the "big" brother to Composer, really only difference was the color corrector and the "universal" output.

Avid Media Composer. the editing worlds bane of existence. Premiered in the early 90's after Avid killed Matador and a few other products. Avid DV is a derivative of this. As was Newscutter and Avid Free.

(Avid Film Composer). Disappeared sometime in the late 90's.

On 5/3/2017 at 5:08 AM, Bruno Mansi said:

I'm not sure what you think I said that the Prime Focus compositors would disagree with.

You said Serious Compositors.
some of the best are Fusion Compositors by choice.

On 5/4/2017 at 4:37 PM, Thomas Singh said:

I've worked with DS since the first Avid DV versions back in 2003 and it's an amazing piece of software. I can only imagine where it would have been today if someone else had the responsibility of the developing and marketing. I'm a little bit pissed off as I have been very loyal to Avid all these years, but their lack of development is almost non-exising, they only talk about PhaseFind and ScriptSync, features most people don't use. The thing with them is that they just develop their product until it works, and that's it. Look at the interface, look at their color correction and title tools. That is not good enough today, and that is one of the reasons DS died. I think that will be the reason Avid dies as well. That said, I hate that I need to start learning Premiere or the BMD editor when it gets good enough. I know the day will come.

you mean the first Avid DS versions? that was in 2000/2001. Not Nitris. just to make sure we're on the same page.
The color corrector was way better in DS, even though it was the same as Symphony. there was no Jumpy bumpy in DS, like Symphony.
And, you could composite with color..so there was unlimited things you could do.. not like this goofy Step In/Out stuff Avid MC and Symph have held onto for so long..
Seriously, still using Hi-Cons and Matte fills, and can't properly read and display an Alpha Channel, what year is it?

On 4/28/2017 at 3:27 AM, Bruno Mansi said:

I'm guessing that's why most serious compositors choose Nuke. Also Fusion costs virtually nothing, whilst Nuke costs thousands of dollars, and that pays for a lot of development.

 

Hmm. I don't think any of the compositors at Prime Focus in Hollywood would agree with you. And just because Black magic made it free, doesn't mean it's not as good as Nuke. Eyeon suffered from being a small company without the resources to market itself like The Foundry did with Nuke.

The first time I used Fusion on a TV series, it cost $3500. and it did wonders for the show. And the Post house that bought it. Nuke at that time, Also cost 3500.

On 4/27/2017 at 1:34 AM, Abby Bader said:

It looks like they're heading in that direction, and they will probably try to integrate Fusion or parts of its functionality. I guess speed and reel-time issues is the reason they haven't done so already.

If you never had the chance to work on DS, which i did for 10yrs. It was stellar. (For all those who weren't Avid Fanboys and stuck in their ways.) I worked on so many 2k and 4k features..in 2004-2010, before 4k was a household name.  How the West was Won, was remastered in 6K on the DS. It had the tools, and the speed. And in the right hands, there wasn't anything it couldn't do (ok, except 3D animation-unless you had XSI) The closest thing now to it is Flame. And even then, Flame is not as user friendly. And certainly not as fluid.
I'm dying for the day when BMD gets Fusion inside Resolve, and there will no longer be the need for the Multi-App approach. again. 

Sadly, Avid had a jump on everybody.

Avid DS in 2009 is pretty much where Resolve 14 is getting close too.. granted, things like the collaborative stuff, and the plugins weren't there, But High level Compositing, Sub frame Audio, Color grading, editing, output, remote render stations.. all were there. Resolve needs that compositing built in yet, then it'll be a 1 stop shop.

Hopefully, they won't kill Resolve in a few years because they don't know how to market it like Avid did.