Nicolas Hanson

And while I'm at it, it looks like another clip has a "retime frame" attribute, what is "retime frame"?

Hello. I got an XML with some speed ramp data that I want to transfer from the actual clip to a duplicated clip (same clip with effects applied). Can that be done? 

1 hour ago, Jussi Rovanperä said:

Resolve 14 b7:

PIZ 19.5fps

DWAA 45  15fps

DWAB 45 13.5fps

I tried different compression options between 0-45, but the files Resolve wrote are all similar in size, so something is wrong I guess...

Maybe @Peter Chamberlain can have a look at this?

EXR also runs slow on my system and I tend to ask for DPX if VFX want to deliver image sequences. I don't know how Resolve extracts EXR data, but in Lustre you need to apply a Float LUT to access out of range information.

Thank you Bruno, but I was probably not clear enough; The AAF was exported from Premiere, and imported into Avid. It's in Avid the media appears offline.

I have a sequence (AAF) exported from Premiere and imported into Avid. The files appears all media offline, even though I have all the source media in the Avid MediaFiles folder. Why doesn't it link to my media? These are two different machines, but I thought the AAF would link to the media even though it probably was inside an other Avid MediaFiles folder on the Premiere machine.

Local Hero Post is a filmmaker-centric boutique post house that specializes in Digital Intermediate for feature films. We specialize in getting the most professional quality image out of today’s digital cinema cameras using Raw codec formats with end-to-end color management. Our services cover everything from on-set dailies and editorial systems, through conform, color, visual effects, mastering and deliverables.

The Digital Intermediate Conform Artist assists the Digital Intermediate process through every step of the process, from conforming camera original media to the final edit, preparing color timelines, rendering versions and mastering final picture. The position supports the Senior Colorist, Technical Supervisor and DI Producer in the needs of the projects at the facility. 

Position is freelance with potential extensions or full time hire. Salary will be commensurate with experience. Email a resume and cover letter to jobs@localheropost.com


Responsibilities:
 

• Perform basic and advanced conform functions (online editing), matching the camera raw footage to the edited program.
• Set basic color metadata settings for optimal use of camera Raw formats.
• Color grade, rename, sync sound and render conversions of dailies material.
• Work with compositing tools such as After Effects to re-time shots and perform basic clean-up.
• Render and transcode any material required for film, video versions, web, and digital cinema.
• Create preview Quicktimes, DVDs and Bluray discs as needed.
• Work with the mastering artist to complete and QC tape layoff masters and DCP screeners.
• Ensure proper setup of the equipment and projectors in the DI suite.
• May require client contact/interaction as needed.
• Communicate with the DI Producer and Technical Supervisor the status of the work as well as clearly define any issues that may arise.
• Any other duties as required.

Requirements:
 

• 2+ years experience in color correction with high-end software. DaVinci Resolve required, Assimilate Scratch a plus. Great potential if you have experience with Baselight, Pablo, Mistika or others.
• 5+ years experience with the common editing software platforms: Avid, Final Cut, Adobe Creative Cloud
• Basic experience with re-timing and manipulating shots in After Effects or other compositing tools (Smoke, Nuke)
• Strong interpersonal skills; ability to interface with clients regularly and maintain excellent working relationships.
• Must be able to work independently with little supervision.
• Adaptable to change, reliable and dependable.
• Strong technical background, able to troubleshoot system and connectivity glitches.
• Basic understanding of color correction, with a good eye for a quality image.
• Knowledge of film and color science.
• Must have thorough knowledge of various digital imaging file and data formats.
• Knowledge of the DaVinci Resolve software platform
• Must be able to maintain flexible schedule to meet production requirements; ability to work day or night shifts as needed.
• Ability to see detailed imaging issues or technical problems.
• Strong communication and leadership skills.
• Creative problem solver, able to troubleshoot a software behavior and find workarounds.
• Resourceful and flexible with sound judgment and integrity.
• Must be a team player who can work with the needs of other operators at the facility.
• Demonstrate initiative and willingness to learn.

I have the same experience with the PVM-series. I know it's not supposed to be a Grade 1 standard, but they were next to unusable and very experienced calibrators had lots of issues with them. We moved them over to our offline suites, and got them replaced with Eizo's.

I see that Lowepost got a Scopebox software discount going from next month. Do you have any experience with it?  

Since it looks this forum got some very experienced Avid users I hope to get an answer why my system freezes when starting Avid after upgrading to 8.9. The error message says 'Avid, initializing ACPL effects - GPU Support Enabled'.

The  GTX 690 card runs the 21.21.13.7878 driver from 23.02.17 
The Quadro 4000 card runs 21.21.13.6909 driver from 01.08.16

Both worked well with Avid 8.5.

Is Rec/BT 709 and sRGB the same thing?

Great, I will have a look at it. It is not so important to me that it's OLED, but I've registered that many colorists got DM 240 and DM 250 thought I would check out what's the benefit of choosing the "best one - 250" compared to the other.

Thank you Bruno, I am thinking about the DM range. It seems like that is the most popular series amongst the colorists. 

What is the main differences between the two entry-level monitors from Flanders?

On 6/18/2017 at 10:18 PM, Mitch Paulson said:

We ended up using 60 hours to complete that DI. 

The lowest I usually get is movies that want to be done in about 60-65 hours. Those never have 3D or HDR pass to worry about. Movies like Rouge One, which had all the formats, took me months to complete and ended up using about 300 hours. So, it really can vary. 

That must have been a very efficient process as that's not many hours considering creative processes often include inputs and involvement from many creatives. Did you feel 60 hours was 'enough' or did you face any budget limitations on Sicario?

 

The DeckLink 4K Extreme features two full frame DCI 4K inputs and outputs via 12G-SDI. You need something like that, but I agree with Bruno as you will never come close to theatrical screening that way. 

Great observation!

Have you settled with a choice? 

On 4.7.2017 at 8:49 AM, Emily Haine said:

Facilis Technology got shared storage solutions that works well. TerraBlock is the most common and is used at many facilities to connect both audio system like ProTools, editing systems like Avid and Premiere and grading and finishing softwares. 

Thanks Emily!

On 1.7.2017 at 0:45 PM, Bruno Mansi said:

Are you referring to online/near-line/archival storage solutions or the types of interface?

A solution that lets two or more users work on the same projects across different systems like ProTools and DR.

Can the perception of a typical 70's look vary from geography and background? 

Nothing to consider, simply use the standard AAF workflow used in both Avid and Premiere. 

I just watched Kill Bill again and in one of the fighting scenes it switches from color to B/W with burned out and glowy whites. Do you know the reason why they did that? 

Can you help me get an overview over the most common external hardware storage solutions? 

https://my.avid.com/mcfirst

I got some GoPro inspire footage (DNG sequences) that I need to convert to something eatable for Avid.  I will use the same files for grading so it needs to retain all the information needed. Could I run this through DR or should I convert it with some other software?