Tom Evans

Thank you Bruno. Is it the file "Core Library v1.0.9 – .zip .tar.gz" that I should download? Any information about how to implement it? I'm not so very techy when it comes to anything that is harder to install than Red Giant plug-ins ment for the average user.

Built in?

Thank you, hopefully they take care of this in the next build. It has happened some times now and it's pretty annoying. 

I need to do basic VFX in After Effects on some Alexa RAW log footage. What is the best workflow for this? Can I load the original clip and apply a log to linear display LUT, work on that and remove it before I render? Do I need to set up the project in a specific color space? 

Have you experience the error message "Failed to encode video frame" when rendering from Davinci Resolve? 

I like the fact that the color correctors implement composing tools and other online features. My impression is that they are leaning more towards Mistika. Curious to see if BMD will implement Fusion or if they they develop the code further to implement parts of it in the exisiting tool.

Colorist (mid + experience ) wanted in Mumbai. Send work samles to amit.mishra635@gmail.com

I have five timelines in a project, and when I imported some additional clips to a bin - one of the clips applied itself to the end of each timeline. Any idea why this happened?

Dailies Colorist
Shed
Los Angeles, CA
Posted: September 5, 2017
(via Entertainment Careers)

Full Time Job

Job Description:
The position requires both technical skills and artistic skills. In addition, the colorist serves as the face of the company and frequently deals directly with clients in challenging situations; accordingly, a professional demeanor and diplomacy are also critical. The Dailies Colorist is responsible for providing dailies services and deliverables to clients of Shed.

Job Duties and Expectations:
Operate Color Correction Systems and related technical facilities to ensure efficient and accurate completion of assigned tasks 
Ingesting of camera original picture and sound via mags, cards, drives etc..

Data Management skills
Sync audio to picture 

QC image and audio and check against camera, sound, and script supervisor reports
Spot soft focus, exposure problems (Report to DOP and Dailies Producer)

Look for digital artifacts, missing frames, missing picture, failed checksums
Check against notes from supplied reports
Proficient with vector scope and waveform monitor to recognize exposure concerns
Communicate concerns with above processes to Dailies Lab Supervisor and Dailies Producer

Communicate with clients as necessary before and after sessions to ensure customer satisfaction with work performed.

Personally ensure the technical accuracy and quality of work produced in the session.

Email session reports as assigned by Studio, Production, Editorial and Dailies Producer deemed required for on location workflow.

*Client satisfaction level with the work performed

*Dailies deliverables and workflow
*Strong multi-tasking abilities and priority assessment skills

*Full understanding QC Procedures

*Creation and understanding Editorial files - avid bin, Flex Files, ALEs, QC Reports 

*Knowledge of how to read camera reports and sound reports

*PC, Linux, and Mac Office Tools and file transfer tools

*Filmlight (Daylight), Codex, Colorfront OSD, Resolve, Redcine-X, Avid, Final Cut Pro

*Experience with USB, Firewire, eSata, Thunderbolt, Codex, card reader, audio SD card, Alexa SxS card, and RED memory card

*Understanding of archive procedures with LTO LTFS

*Working knowledge of the PIX upload procedures

*Familiarity with imaging concepts, and other related troubleshooting methodologies.

*Ability to work under pressure and meet deadlines

*High level of people skills to interact with clients

*Able to work with in house production staff

*Analytical and problem solving skills 

*Effective organizational skills

*Effective written communication skills

http://www.entertainmentcareers.net/Shed/Dailies-Colorist/job/240826/

Hi Marcelo. Just curious, how do you feel Bamboo helps you when working with DR? 

There are many reasons to use look up tables, mostly because of the production environment with many departments and artists involved to make sure everyone is seeing the same.

Another important use is look development and on-set use to establish a direction early in production. 

And of course calibration and log to linear transforms.

That said, in a grading session with first access to the footage, meaning no pre-look is applied or direction is set, I find it much easier and faster to manually dial in colors. But, having your controls behave the way they do with a pre-applied gamma curve correction could be difficult to accomplish without the help of a look up table. For a very experimented colorists the curve data can be set pretty accurately for further enhancement, but for a newbie - the look up table can be of great help. 

Any progress on this?

Can any of you recommend a hardware based scope solution for my Davinci suite? I mostly want this to improve speed.  

The problem was that I had the highlight button above the player window enabled, and therefore the player said 'media offline' even though all my clips except the first one on the timeline actually was online. Thanks anyway Bruno, always very helpful!

We are please to announce the availability of DaVinci Resolve 14 beta 7 on our support web site.
https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion

This is a no charge update for all existing customers.

Please backup your projects and database before updating and note the special items at the bottom of this notice.

New items for beta 7
Reorganized Project Settings, User Preferences and System Preferences
Added support for speaker setup in System Preferences
Added support for displaying track automation data on the Fairlight page
Added support for rendering multiple individual audio tracks
Improved Multicam playback performance
Improved scrubbing and playback performance for compressed CinemaDNG clips
Improved Fairlight timeline navigation and performance when zooming, scrolling and resizing tracks
Improved Fairlight video playback performance
Improved audio quality when scrubbing a clip in the source viewer
Dual machine servers are no longer supported on Linux
Added support for adding, deleting and modifying clip level keyframes on the Fairlight page
Added support for track properties, AudioFX and automation in nested timeline and compound clips
Added support for the Razor command in the Fairlight page
Added support for cut, copy and paste actions in the context menu in the Fairlight page timeline
Added support for displaying the composited preview in 2-Up and 4-Up modes when trimming
Improved resizing behavior for tracks and buses in the mixer
Improved viewer image quality when zooming in and out of the Color page viewer
ResolveFX Color Stabilizer is now GPU accelerated
ResolveFX Timelapse Deflicker is now GPU accelerated
Improved playback performance for 4K AVC Intra clips
Added support for decoding and encoding 32-bit float OpenEXR clips
Added support for the Metadata inspector on the Fairlight page
Added support for the Bus Assign and Bus Format dialogs in the Edit page
Improvements to the timeline compare tool including a better zoom range and the ability to show Display Names
Data Burn-In has been moved to the Workspace menu
Added a new LMT Neon Suppression CLF
Added support for viewing track layers in the Edit Index
Addressed a crash when placing compound clip on the timeline using the Place On Top command
Addressed an issue where large projects with compound clips would sometimes not playback sound
Addressed an issue where audio meter bars would sometimes not clear when switching pages
Addressed an issue with multicam playback where the embedded audio would be played instead of the linked audio
Addressed an issue where syncing a multicam by sound would not work with custom channel mappings
Addressed an issue where the Dip to Color Dissolve transition would revert to using default parameters after an AAF import
Addressed an issue where the Fairlight video player would sometimes show black frames
Addressed an issue where moving a track up/down would leave the Fairlight timeline out of sync
Addressed an issue where clips in the Fairlight page would sometimes show waveforms from the wrong channel
Addressed an issue where the automation of audio pan parameters would not work
Addressed an issue where disabled audio plugins were still available for insertion in the Mixer plugin insertion menu
Addressed an issue where trimming a clip in a layer would temporarily cause the clip to jump to the top most layer
Addressed an issue where changing an audio track format would leave the track in an inconsistent state
Addressed an issue where moving a clip to a track with a different format would not work correctly
Addressed an issue where the Track Input dialog would not display the actual track name
Addressed an issue with linear power window softness when a flip or a flop is applied on the clip
Addressed an issue with the advanced stabilizer data getting reanalyzed when parameters were changed
Addressed an issue where an offset would sometimes be created between a Power Window and the grade
Addressed a crash when disabling a node when in Highlight Mode split screen
Addressed a crash when creating a compound clip and switching to the Color page
Addressed an issue where dragging certain clips or folders into the Media Pool from the file browser would not work
Addressed an issue where selecting multiple bins in the Media Pool would make the folder view scroll to the top
Addressed an issue with incorrect timecode on some Panasonic QuickTime clips
Addressed a crash when reading some Panasonic MTS clips
Addressed an issue where the first few frames of some MTS and H.264 clips would show as offline
Addressed an issue with incorrect waveforms for some MTS clips on Mac
Addressed an issue where thumbnails would not be shown for certain CinemaDNG clips on Windows
Addressed an issue where the clip extents were displayed incorrectly for some variable frame-rate clips
Addressed an issue with the audio playback of certain mp3 files
Addressed an issue where some IMX MXF clips would not playback audio
Addressed an issue with the option to render one channel per track
Addressed an issue where the selected keyboard preset would sometimes get changed
General stability and performance improvements

Important information regarding dual-server configurations on Linux
Starting from DaVinci Resolve 14 beta 7 the dual-server configurations are no longer supported. Please ensure that your system has been re-configured appropriately prior to upgrading to this version.
The legacy “Configure DaVinci Resolve” application will no longer be supported. DaVinci Resolve Preferences can now be accessed from the DaVinci Resolve application menu similar to Mac and Windows.

Important information regarding Preferences and Project Settings
Starting from DaVinci Resolve 14 beta 7 the Preferences and Project Settings have been reorganized into Project Settings, System Preferences and User Preferences. Settings such as keyboard shortcuts and panel sensitivity controls are now stored locally on the machine instead of with the project.

These settings (along with others) can now be found under the User tab in Preferences.

There is also a new user guide available with this beta update.

Hei all. I got all the clips on the timeline in Davinci Resolve perfectly conformed but the player window says that "media offline". I have tried to reload the AAF-sequence but no luck. Other sequences works fine.Any idea what is going on?

Hi Patrick, great to be reminded about Nucoda from time to time. Just because I'm curious, can you list some known shows and features that are colored on Nucoda the last year? 

Most definitely a GPU issue, try to reverse a driver update.

The HPA Awards is looking for peer judges for the following Creative Categories: Color Grading, Sound Post, Editing, and Visual Effects in Features, Television, and Commercials. 

HPA and SMPTE members with expertise in one of these areas are invited to volunteer for the following judging sessions:

Color Grading: Either Wednesday, August 23rd or Thursday, August 24th
5:45p - 11:00p (approximate)
EFILM
1146 N Las Palmas Ave.
Hollywood, CA 90038

Sound: 2 Sessions during the week of August 14th
(You can volunteer for one or both judging sessions – pre-judging and final judging)
Sony Pictures Entertainment
Thalberg Screening Rooms
10202 West Washington Blvd., Culver City, CA 90232

Visual Effects: Date TBD in late August
6:00p - 11:00p (approximate) 
FuseFX
14823 Califa St.
Los Angeles, CA 91411

Editing:
Judged in home via a secure online viewing platform.

Judges will be asked to pre-judge a pool of television entries as well as complete final judging for films, television and commercials.

We ask the following of all judges: 

• A judge must be a full-time production or post production professional with expertise in the category that they are judging.
• Be available to participate in the full judging session for whichever category you volunteer for.

Please note all judging session times are subject to change.

To learn more about the criteria for HPA Awards creative categories, please visit our website at www.hpaawards.net, call the office at +1 213 614 0860 or email info@hpaawards.net.

Interested judging volunteers should contact mrossi@hpaonline.com with their name, job title, company if applicable, e-mail address, cell phone or other contact number, an imdb link or credits list to rule out conflict of interest and the category(ies) they are interested in judging.

If you are an expert in any one of these categories, please volunteer to contribute your knowledge and time to these important awards. If you are interested in judging some of the best post production work in your industry, please respond no later than Friday, August 4, 2017.

Please feel free to pass this invitation on to colleagues who you feel would be appropriate judges, you can also send us their contact information, and we will send out a personal judging invitation.

Thank you,
The Awards Committee
www.hpaawards.net
info@hpaawards.net
+1 213 614 0860

Deluxis is looking for a Post DI /VFX Producer in NYC. Previous DI Post producing experience is preferred, but experience in VFX producing is also encouraged to apply.
Local candidates with work authorization only.

Howard.Lin@bydeluxe.com 

Would be fun to see the ad when it's done!

Does any of you have any experience with Post Haute or the other programs by https://www.digitalrebellion.com/?

If you want to adjust the attributes by points like in Houdini you should look at the 3dlut creator app. 

It's a thread about the difference between a DCI P3 monitor and a projector here 

I have some really old rolls with s16mm Tri-X film that I want to scan. Any open Labs that can help me with this near Burbank the last week in July?