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Or your render cache files are gone.
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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.
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ACES otd - REC709 to SRGB (Davinci Resolve)
Thomas Singh replied to Orash Rahnema's topic in Workflow
Interesting. - Last week
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Media offline, player window - DaVinci Resolve
Orash Rahnema replied to Tom Evans's topic in DaVinci
That's strange. It's either a big or maybe, do you have an external matte that is offline? Maybe activated by mistake in the timeline level? Just thinking out loud -
Never seen the highlight button do that to a timeline! Sounds like a bug. Are you working on v14 by any chance?
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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!
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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.
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This was my old suite: I put it together myself, but don't have it anymore, since I don't do any grading anymore :-) .
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Here is a straight line ramp (Gamma 2.4), the resulting difference is equivalent: I would avoid sRGB and instead use Rec.709 Gamma 2.2
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Well, that's wrong... And why is there an 'S' profile to the curves? sRGB and Rec709 are pure power law. (but as I don't know how the graphs were created I'm probably missing something). Steve
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In Resolve the transforms are different:
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Scopebox experience?
Jorge Ferraro Martín replied to Nicolas Hanson's topic in Color Grading and Editing
Very customizable, affordable, you can even use it as an external recorder. I feed mine via a Blackmagic MiniRecorder box. Works great! -
I quite like It. You have the choise or lots of different scopes and layout. Its rather precise and very cheap to bè an external scopes. The down side is that with resolve you must run it on a separate Mac computer.
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ACES otd - REC709 to SRGB (Davinci Resolve)
Orash Rahnema replied to Orash Rahnema's topic in Workflow
Hi @Steve Shaw Yes, exactely, i know, in fact my original question was why in aces (davinci resolve) seams like the gamma change is a lot stronger and have a stronger effect in the Shadow area. I work around It not changing the odt but Just changing the output gamma -
Just so you know the ONLY difference between Rec709 and sRGB is Rec709 is (nominally) gamma 2.4, and sRGB Gammas 2.2. There is no other difference. Steve
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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.
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I see that Lowepost got a Scopebox software discount going from next month. Do you have any experience with it?
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I'm not quite sure what problem you're describing. Did all the clips appear in the media pool when you originally brought in the AAF? Are these clips still there, but your sequence has now become unlinked to these clips?
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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?
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I don't want to judge if you are ready to apply for job in a high-end post production house, but it's easy to read your taste and level of experience based on what you have put on your site. Joining one of the big houses is always a good idea for gaining more experience and learning from the best.
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nucoda Digital Vision is proud to announce the release of Nucoda and Phoenix 2017.1
Ildus gabidullin replied to Patrick Morgan's topic in Nucoda
Yes You are right The main Horse is Baselight HDR Tools Baselight 5, perfect for this project , although ALogic started on Nucoda - Earlier
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I can't trust any display that can't be user calibrated - ever. Having to add a LUT box to Sony display to calibrate them (regardless whether that is because of poor factory calibration, or die to display drift, as they ALL suffer) is just not acceptable in any professional display. We have not tested the v2 Sony X300, but the v1 versions we tested we not gamut accurate. But, I trust Juan's ability to test and verify any display - he really does know what he's doing! Steve.
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Thanks Margus
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Hi all, I wanted to ask a question and I thought the best way was first to show my work. So here's my website, I have updated it pushing on top what I like the most (I might be wrong and choose them based on feeling or difficulties, and something else is better to be shown first) anyhow: https://www.orash.it/ Now, I'm currently a freelance colourist based in Milan, Italy. I'm getting to the point where I need "bigger challenge" and learn more. Being a freelance in a small market makes it hard to find mentors and learn deeper technical and creative stuff. Having said so I'm thinking more and more to apply to big colour houses (in London as everywhere else I will have a visa problem). My question is, based on my work, do you think I am ready? How you think is the market right now, is it a smart move to go to some of the big house and become an assistant colourist? I would be happy to assist and learn for how long is needed, at the same time I'm starting to be a little old (37) and I wonder is it's a wise thing to do. Also, for the people in this forum that are already working in places like that, is it really that difficult as everyone says to get a foot in the door? cheers, Orash
