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  1. Past hour
  2. I will try the workaround as you mentioned @Orash Rahnema Let's see how v16 behaves with the same settings. Will report any findings.
  3. Yesterday
  4. 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.
  5. Last week
  6. Grading controls bites different on different footage. I'm used to how the image react when swinging the controls on the most common camera formats, and Sony feels strange. Just never liked working on it and the look of it. Not a very scientific answer I know.
  7. Thanks Thomas, for your answer. What is it about the XAVC that you don't like? R.
  8. Robert, you are asking if anyone have experience with the XAVC and R3D. I have, and I like R3D better. My system works faster with R3D, and it gives me access to the RAW data controls of the files. This might not be the answer you are looking for, but I don't know how to answer this question more objective. You also ask if shooting R3D is a better choice than shooting XAVC. 16 bit and less compression is good but as Amanda states; what is a better choice boils down to what you prefer really but usually you want to have access to as much data as possible.
  9. Hi Amada, thanks for your answer, and your insights. I was asking for a more objective viewpoint than just liking something or not. Maybe re-read my example when I talk about shooting with Alexa vs RED cameras. You are right to point out there are a lot of other factors involved in making a decision about what camera to use. This is just another one. Rob
  10. 16 bit is better than 12 bit, which is better than 10 bit. Technically. Colorists are more familiar with RAW, 3rd, ProRes than XAVC. I have worked with XAVC and I hate it. But I know a guy that like it. Do you want an objective answer, go read a pixel tech review. This is personal because today all modern formats are technically good enough for everything, but some feels better and is a better starting point for whatever you want to achieve. Sit down with the director and post and make your camera choice based on everything else than the format.
  11. Hi Nicolas, Thanks for answering. Indeed choosing between cameras is personal, but I was asking a simple question - which system offers more flexibilty - not asking which system looks better. When shooting I also prefer working with Alexa over RED cameras, but I do know that RED offers more shooting versatility. I can take a step back and have an objective viewpoint. What do you think about the idea that .r3d files are 16 bit linear, which is comparable to 12bit log encoding used in Prores? Thanks again, best Rob ps yes working on an Indian feature is not always easy.
  12. With all the respect, choosing between RED, Alexa, Sony IS a personal matter. I would not go for Sony either because I personally don't like the images coming from the camera. 16 bit holds more information than 10 bit and most grading suites are optimized for eating r3d files. XAVC is a stranger for many, but it will probably not be an issue at all. Working with post house where nobody can speak the DOPs language sounds like a joke, but I guess you have your reason - or no choice.
  13. Hi Amado, you did say you didn't like Sony, but I was asking for a more objective viewpoint. Shooting Alexa is not an option for me, neither is shooting 16bit RAW on the Venice. Shooting Prores on the Venice is for HD proxies only. My post house is in India, and they don't speak English. Thank you, Rob
  14. I said I don't like the look of Sony and that I would go for Alexa. You can shoot 16bit RAW with Sony Venice, and you can shoot with ProRes compression. No idea why you would go for XAVC. You should consult the post house prior to shoot a full feature. It's much more to consider than compression when you are into the choice of going for one camera or another.
  15. Thanks Amado. So in your experience the .r3d files have more flexibility than XAVC 10bit? best Rob
  16. This is more a question of what look you are going for. Personally, I prefer Alexa because it renders skin tones better than Red. It's also better in low light. If I had to choose between Red and Venice I would go for Red because the Sony sensors are too clean for my taste and the images looks too "digital". Any experienced colorist knows how to get the most out of the 3rd log file.
  17. Hi all, I'm a cinematographer put in the position of having to choose a camera for a feature by tomorrow, without any testing. The project requires a heavy grade and I was wondering if I was stating the obvious by thinking that shooting 16-bit (linear/log?) 5:1 .r3d files is a better choice than opting for XAVC 10bit. Knowing Sony quite well I think the Venice will hold up better with over/underexposure than the RED Helium, so will give a better image out of the box. And I know the XAVC codec is quite robust... Does anyone have any experience working with either Venice (internal) footage vs RED Helium footage? Thank you, Rob Wilton DoP | London
  18. Hi guys Any one tried Benq W5700 Projector .. is this projector suitable for DCI p3 Grading?
  19. The Loader tool is native, as well as OCIO Colorspace. However, with the OCIO Colorspace tool, you'll need to download the OCIO config file and load it into the tool. The config files are here: https://opencolorio.org/index.html#
  20. You'll have to RMB-click on the clips in the Media tab, choose Replace Footage, and browse for the missing image sequences.
  21. Thanks Hendrick for the reply, So this is one for the Blackmagic engineers to sort out.
  22. Thanks so much for your speedy response Lee. I'll give what you've suggested a go. There's definitely something wrong with the .png interpretation but beyond that the background is still not behaving properly and this is a background created in Fusion. I have managed to get it looking somewhat normal by applying a Gamut tool and then changing the input colour space and gamut in the actual background tab. Is the Loader tool native to Fusion or does this require a third party plugin. Also is the OCIO Colourspace tools one of the ones within Fusion natively? Thank you so much for your help.
  23. iDealshare VideoGo can convert DaVinci Resolve exported files to MP4, AVI, WMV, MOV, ProRes etc. It also can convert AVCHD, MTS, MXF, AVCHD, MP4, RMVB, H.265, FLV, MKV etc to DaVinci Resolve more supported video format.
  24. im running Resolve Studio 16 as well. The Image sequences do not appear to link
  25. Hmm. Unfortunately, I am running Resolve Studio 16 but not the Fusion Studio 16 standalone. Are you unable to open the .comp files or is there some element of the motion tracking or node network that is not working?
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