Amada Daro

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  1. Amada Daro
    Normal procedure would be to import both videos in the media pool, insert them into a sequence, set in & put points and render them on the delivery page. The only reason I can think about if you experience media offline when rendering is that the media is moved to another folder on your machine. Then the reference is broken and that will result in a media offline message. The fix is to simply re-import the clip.
  2. Amada Daro
    Amélie (2001)!
  3. Amada Daro
    Clear, didn't see that first.
  4. Amada Daro
    As long as you use "print" it will be clear what you are referring to. Film only could refer to negative and that could lead to some confusion.
  5. Amada Daro
    I have the same issue with Sony MXF.
  6. Amada Daro
    Luminance mapping bends the top end of the curve.
  7. Amada Daro
    Can't you just import them directly to the gallery without going the timeline route?
  8. Amada Daro
    Why does the transform clip? Isn't D65 to D55 a highlight color difference?
  9. Amada Daro
    In still gallery/powergrades
  10. Amada Daro
    That is true. The LUT is made to make your footage look nice while a simple color space transform is made to take your footage from one color space to another non-destructively. Look at the curves below to see the difference.
  11. Amada Daro
    A7S will never look like the Alexa but start by balancing out both shots, and match the contrast. Converting from S-log to C-log will not set the Alexa signature on the footage when the starting point is so radically different.
  12. Amada Daro
    This is discussed here https://lowepost.com/forums/topic/859-saturation-vs-channel-mixer/
  13. Amada Daro
    Thought of those but I have seen so many with uniformity issues, and therefore I'm not convinced that they are a best-buy at the moment for that amount of money. How about the QLED-series?
  14. Amada Daro
    Would you be so nice and suggest a home TV for me? Great image is a must but it also have to be very flat as I want to mount it on the wall.
  15. Amada Daro
    I guess I will have to run some more tests. My workflow has been to render HQ files and bring them into Adobe Media Encoder or Sorenson Squeeze to do the encoding and that is a slow and unnecessary process.
  16. Amada Daro
    I think that Emily is right, but I would change the timecode of the reference clip instead because any XMLs etc could be dependent of the timeline numbers.
  17. Amada Daro
    Do you know if it is possible to "read" a LUT to see if it is based on data from another LUT?
  18. Amada Daro
    Is the same thing happening with the K5219 LUT that comes with Resolve? Most of those available are simple copies of previously generated ones. I will look into this.
  19. Amada Daro
    Good point, not that precise for small increments but should be able to map each channel and the global control to four knobs.
  20. Amada Daro
    There are no printer light UI in DaVinci Resolve, but Offset are similar controls and gives control over both density (brightness) and the individual color channels. I might misunderstood the questions?
  21. Amada Daro
    Correct, except that brightness is a single global density control (all channels ganged together) while offset also offer individual color channel control. care to expand on that thought? Lift, gamma and gain is local controls who target specific tonal ranges, while offset controls is the only tool that adjust the entire signal.
  22. Amada Daro
    The quality of the mp4 h264 rendering in DaVinci Resolve is not good in my opinion. Any setting that can improve the render? I'm used to Adobe Media Encoder that output video in very high quality with the option of setting as high bitrate as I want. I know that DaVinci Resolve is built for high quality render of other formats but sometimes it would be great to output mp4 h.264 for clients, directors and others for previews etc.
  23. Amada Daro
    Have some of you tested the Adobe RAW converter against DaVinci Resolve?
  24. Amada Daro
    Old tech but the only primary controls with full tonal range control.
  25. Amada Daro
    Hi @Andy Minuth and thank you for the explanation. Does the ARRI Photometric DRT eliminate the need of the regular LogC to Rec709 LUT provided by ARRI? Does the Truelight Film 1 LUT mimic the film stocks precisely? You wrote that the DRT output the image a bit flat. Does that mean it will only transform the image 'halfway' to the IRE range known as within the REC709 standard?