Bruno Mansi

Just to add my 2 cents into this discussion... If you are intending to set the format to scope (which has already been explained as 2048x858) I would also set the DCP to use Interop packaging as this is the most compatible with the majority of older projectors. Also I would dial-down the Max bite rate to something around 200 Mbits as I've heard that some projectors can struggle with data rates of 250 Mbit/sec.

You could also try 'difference' mode, which is really good for seeing slight mismatches in sizing or motion effects.

No one ever said owning a Baselight system was cheap! I'm afraid I've no experience of the hardware on a linux-based Baselight system. You could also try posting on the Lift Gamma Gain forums and see if anyone can help. Ideally, you should stick to what Filmlight recommend, as they cannot guarantee correct operation if you decide to install your own unsupported hardware. Setting up Linux systems can be trickier than your usual Mac or PC systems, and there may be driver issues with unsupported cards that will prevent the system functioning correctly.

I would have thought a quick call to Filmlight would answer your question. The 780Ti was released in 2013, so by today's standards it's nowhere near the performance of modern cards like the RTX2080. As a comparison, here's a link to a site that compares graphic cards... https://gpu.userbenchmark.com/Compare/Nvidia-RTX-2080-Super-vs-Nvidia-GTX-780-Ti/4050vs2165

When I'm teaching Avid to my students, I start with a short presentation about how most features and long-form drama is edited on Avid. The question I'm often asked is why? My answer is that it's not necessarily to do with the editing itself, but the handling of metadata and the media management. The workflows with Avid are long-established and work reliably.

Interesting watch. They made it clear how carrying the additional metadata across to editorial is so important and mentioned ALE files, so I guess the normal route is to use these ALE files with Avid Media Composer. I'm wondering how they would get this extra metadata across with an editing app like Premiere Pro?

It's not always easy to judge a shot from a grabbed still, but it doesn't look particularly underexposed to me. It looks as if the dungerees he's wearing might be a bit black crushed, but I quite like the look of the rest of the shot. The cyanish backboard seems to complement his flesh tones nicely, and I'm not sure what you mean about it being too stylised. I'm guessing he's wanting some parrticular style for his video, and it's difficult to advise without knowing what look he's going for. The lens flair is probably the one thing I'd want to remove from this shot. This shouldn't be too much of a problem (especially if it's a locked-off shot) since there's plenty of background you can use to paint it out. If you become a Lowepost premium member there are many tutorials and case studies available that will help you understand the creative approach that many top colourists use in their daily work.

I'm astounded that a post house in India that's working on a feature, doesn't have one person who speaks English! I've found that in many Indian companies, the proportion of English speakers is quite high, and most Indian people regard learning English as essential if you want to get ahead in business.

I've seen this course and I think it's fine for those who are starting out. It's more of an overall perspective, including interviews with working directors. There's even a lesson where both the colourist and director take their cameras out, shooting video in a park, whilst talking about general issues with dynamic range, clipping etc. It's not so much about the theory of colour, but more about a personal approach to the problems one might experience as a colourist. Although Ollie Kenchington is seen working on Resolve, It's not really a course specifically designed to teach you on how to use the software. If I remember rightly, he even talks to a couple of colourists working in high-end, London (UK) facilities. For the experienced colourist, it might be interesting to see how a fellow colourist approaches a job, and the working relationship with his clients.

It's coming Friday.

This Nahimic service has also been reported on the Adobe forums as causing problems with Premeire Pro. I believe it's supposed to give some sort of surround sound through normal stereo audio channels.

Just posting this on a few forums as it may effect you if you're running previous versions of Premiere etc for compatibility with older projects. Rather than repeating what's been written, here's a link to an article by Daz Wallace. https://dazwallace.wordpress.com/2019/05/08/the-great-adobe-purge-of-19/

These are pretty standard requirements. I think broadcasters know that it can be quite difficult to suppress certain 'spikes' and make allowances for this. The BBC specs (shown below) are very similar to Adstream.

Did you talk to him in person? I didn't see any mention of this in any of the demos or press releases.

I've been wondering for a while if Avid would be retiring the Symphony option, and incorporating it into the whole Ultimate/Enterprise versions. But looking at the 'What's new for MC 2019', I read the following... "With the Symphony option (included in most licensing options) you can now create SMPTE Standard 2067-21 IMF packages..." So their philosophy still seems to be to have additional features (the advanced colour correction and IMF packaging) as a distinct option. It makes you wonder if there's more to come on the Symphony front ... i.e. DCP creation?