| | | | Re: Create DCP directly from DaVinci? + sound?
by Jonathon Lee on Jun 18, 2012 at 11:02:41 pm
in the DaVinci Resolve Forum
2 cheap and easy...
Cheapest...
1) DoReMi Labs has an FCP plugin for $1000 that does unencrypted DCP authoring.
2) DigitAll in australia has a PC based player that plays unencrypted DCP SMPTE and Interop for $250
Better
Fraunhofer has a | | | | |
| | | | Re: Ikegami TM20-17R setup
by Joseph Owens on Jun 13, 2012 at 4:42:45 pm
in the DaVinci Resolve Forum
Sometimes the moderators will cross reference a thread so that it will appear in multiple fora, but this particular one may not progress much further, as it really represents an extinct approach.
As far as describing a particular monitor as being | | | | |
| | | | Film Festival Deliverables - Video on Youtube
by James Gardiner on Jun 11, 2012 at 10:14:26 pm
in the Digital Delivery Forum
See
http://youtu.be/ih26StPA5wk
Film Festival Deliverables is a presentation that will help you understand how to deal with the new era of Digital in Film and what you need to know to Present (Cinema Owner), Produce (Film maker) and arrange (Fest | | | | |
| | | | Re: Ikegami TM20-17R setup
by Joseph Owens on Jun 11, 2012 at 6:24:21 pm
in the DaVinci Resolve Forum
[Robert Houllahan] "Basically the Test pattern has colors and patches of black and white so you can set color balance and contrast."
"Blue-Only" is hardly scientific, at least IMHO, but for a down and dirty, why not?
Contrast is set with PLUGE | | | | |
| | | | Re: Hyperdeck shuttle my views
by Rob Manning on Jun 6, 2012 at 8:00:13 am
in the Blackmagic Design Forum
Hi Folks,
Am I being confused?
This off of the HyperDeck 2 promo page:
"Compressed or Uncompressed
Now you have the freedom to work in both compressed and uncompressed video depending on the needs of your project! Uncompressed video will | | | | |
| | | | @Barry Goch
by David Jahns on Jun 6, 2012 at 6:18:16 am
in the COW - Tutorials Forum
Thanks, Barry!
Yeah - I discovered the SMPTE 120 wipe trick, too! Helps a bit, but it would be much easier if a static oval was the default "Wipe". I actually wrote to them after NAB and made some suggestions - static oval wipe (with defaults co | | | | |
| | | | Re: Smoke: A Journey and a Look Ahead
by Barry Goch on Jun 6, 2012 at 6:00:13 am
in the COW - Tutorials Forum
Nice article. Very comprehensive. One trick that I do is to change the default wipe from "1" to "120" (doing this from memory) which is a smpte oval which gives you a starting point for a vignette or to create a mask for a face for example.
I've a | | | | |
| | | | SPACEMAN needs assistance
by SPACE MAN on May 25, 2012 at 1:07:24 pm
in the Adobe After Effects Forum
SPACEMAN has returned to play due to the release of CS6.
SPACEMAN requires assistance regading codecs so the games may begin.
SPACEMAN needs information on IMX50 codec (smpte D10)
SPACEMAN must use MXFs.
SPACEMAN missed you all and will be h | | | | |
| | | | Timecode in a MPEG2 file
by Simon Roughan on May 24, 2012 at 9:45:59 am
in the Adobe After Effects Forum
Hi everybody.
I got a HD TIFF sequence that I have to master with SMPTE bars and a peep tone. They also want exact timecodes. that is to say, file starts at 09:59:50:00, Bars and tone until 09:59:57:00, 3 seconds black. programme starts at 10:00:00: | | | | |
| | | | Re: Normal / Full Range
by Jack Jones on May 21, 2012 at 2:38:32 pm
in the DaVinci Resolve Forum
Nucoda gives you the option of working in a SMPTE or Full Range (CG) project - As well as Log and Video Log.
This sets all the pivot points where they need to be, and there is a great option for scaling CG for monitoring and force clipping on SMPT | | | | |
| | | | Sony PVW2800 to KL box to Kona LHe - wiring issue?
by John Romein on May 19, 2012 at 6:58:31 am
in the AJA Kona - PC Forum
I know that I have the wiring from the LHe to the KL box correct as there really isn't any other way to wire the 60 pin cable and the triple BNC cables (well labelled).
I'm using the 2800 to transfer Betacam tapes to the PC. So, I connected the 3 | | | | |
| | | | Re: Dell U2711 for low budget ref monitor
by Joseph Owens on May 18, 2012 at 4:44:18 pm
in the Apple Color Forum
Search for threads with Michael Cinquin and this topic, and here is a URL for some "starter" information:
http://www.michaelcinquin.com/tools/profiles_for_color
The basic problem with graphics displays is that they are built to display text. T | | | | |
| | | | apch codec in vegas
by Rodney Thompson on May 18, 2012 at 2:57:58 am
in the Sony Vegas Forum
Guys
I am having trouble with one particular kind of QT file (.mov) that I have been sent via ftp sites. These are very hi res broadcast quality music videos that we insert into our show weekly. (Syndicated Crook and Chase) Vegas 10 won't pl | | | | |
| | | | Re: "Smart Rendering" in Premiere
by Bernhard Grininger on May 17, 2012 at 4:26:40 pm
in the Apple FCPX or Not: The Debate Forum
[Jeremy Garchow] "You know AVC-Intra belongs to Panasonic, right?"
This is the crucial question here. Does AVC-I really belong to Panasonic?
- It has been standardized by the SMPTE.
- Furthermore it is an encoding variant of the H.264 profile Hi | | | | |
| | | | Capturing Files Too Large
by Lynette Gilbert on May 16, 2012 at 2:09:44 pm
in the Apple Final Cut Pro Forum
Hi everyone - I need some guidance here. Since getting a new computer at work about two years ago, FCP captures at this incredibly high rate. It's ridiculous, and I keep running out of room on my computer. When I first got the new computer, I ment | | | | |
| | | | Re: "Smart Rendering" in Premiere
by Bernhard Grininger on May 16, 2012 at 7:46:34 am
in the Apple FCPX or Not: The Debate Forum
Hello,
don't care too much about these reactions!
You simply have had addressed Premiere's biggest weakness,
so the reactions are psychologically quite understandable...
This weakness is the lack of a high-end intermediate codec.
But Adobe | | | | |
| | | | Re: Editing and shooting questions using a Panasonic HMC40
by Dave Haynie on May 12, 2012 at 9:30:23 pm
in the Sony Vegas Forum
[Dave Petteruto] "1. What is the best way to copy the video files from the video camera to the computer?"
Being an expert computer and digital video guy, I basically just concatenate sequential segments from the SD card to my HDD. That works just | | | | |
| | | | Rendering MPEG2 file issues...
by damien lawson on May 10, 2012 at 5:33:47 pm
in the Adobe Media Encoder Forum
Hey Everyone!
I have a video file that needs to be rendered immediately for a deadline, and I am running into so many issues that I have no clue how to fix. Any insight would be beyond appreciated... This is what I'm being told to send as the fina | | | | |
| | | | Re: Audio output for Australian broadcast from FCP
by Michael Gissing on May 8, 2012 at 1:27:00 am
in the Apple Final Cut Pro Forum
Yes Australia has a weird setup of -20 dbfs 1khz tone which is the SMPTE standard and maximum peaks to -9dbfs which is the EBU standard.
Loudness is another matter. FCP really hasn't got decent compressor limiters so you are better off finalising | | | | |
| | | | Re: vegas 11 text position keyframe with video
by neal tate on May 7, 2012 at 9:46:39 pm
in the Sony Vegas Forum
I know creativecow says not to respond to your own post I think.
But I think I figured out the problem, yet my Vegas 11 crashes during the attempt.
I went and looked at right clicked menu on pan/crop timeline in vegas 10 and found that "Time & | | | | |
| | | | Re: 1080i color bars
by John Rofrano on May 6, 2012 at 8:25:59 pm
in the Sony Vegas Forum
[Grzegorz Kwiatkowski] "Vegas can generate only PAL ones."I'm not sure why you say that Vegas can only genrate PAL ones. Vegas has Color Bars and SMPTE Bars for both NTSC and PAL up to 4K resolution. | | | | |
| | | | Re: Gamma closer to CRT
by diego delanoe on Apr 26, 2012 at 11:42:13 pm
in the Flanders Scientific Forum
Hello Bram,
Im a bit confused with so much information so i would like to ask an expert.
If im working with hd material, thats going to be finished to HD for proyection (not cinema, just standart projector),and also end up in a sd DVD, wich color | | | | |
| | | | Re: Grading adjustment in Resolve for DCP creation
by Terrence Meiczinger on Apr 24, 2012 at 5:03:29 pm
in the DaVinci Resolve Forum
There was a period where firmware versions were all over the place. Even several of the big commercial DCP encoders had serious compatibility problems with SMPTE. The push for DCI compliance this year has improved things a lot. I am surprised you had | | | | |
| | | | Re: Grading adjustment in Resolve for DCP creation
by Juan Salvo on Apr 24, 2012 at 4:17:32 pm
in the DaVinci Resolve Forum
Hi Terrence,
It was the smpte / interop switch over. Particularly on the Dolby server, as we tested on various others and it was fine. I got burned pretty bad on that one (really, really embarrassing) and so haven't looked at OpenDCP again. This i | | | | |
| | | | Re: Desktop Monitor for Web Color Grading
by stig olsen on Apr 24, 2012 at 1:07:28 pm
in the DaVinci Resolve Forum
Hi,
I suggest you go for the BT300 Series (Panasonic).
Hang it on the wall and use it for grading and for viewing the final film with clients.
Color modes: native, BT.709, D-Cine, EBU, SMPTE-C and Custom. | | | | |
| | | | Re: Grading adjustment in Resolve for DCP creation
by Terrence Meiczinger on Apr 24, 2012 at 12:23:44 pm
in the DaVinci Resolve Forum
Juan,
I'd be interested in hearing about your compatibility issues you have experienced with OpenDCP. It's been tested successfully against all the major vendors. If it was sometime ago, you were probably caught up in the MXF Interop and SMPTE swi | | | | |
| | | | analog to sdi mini converter audio format question
by George Kuriakose on Apr 24, 2012 at 7:58:30 am
in the Blackmagic Design Forum
Hello
We are trying to use Blackmagic Design Analog to SDI mini converter with an SDI receiver (PCI card on PC).
We are able to read video frames on the receiver but not able to get audio data.
The SDI receiver assumes audio to be embedded in SD | | | | |
| | | | Re: Grading adjustment in Resolve for DCP creation
by Jack Jones on Apr 24, 2012 at 6:25:55 am
in the DaVinci Resolve Forum
With OpenDCP you have to feed it full range files otherwise your blacks will be lifted.
Full range, Rec. 709 16bit TIFF images with your chosen scaling for full, scope or flat. Do the Rec. 709 to XYZ transform in OpenDCP (which will account for th | | | | |
| | | | Re: 709 scale RGB for web
by stig olsen on Apr 19, 2012 at 3:25:15 pm
in the DaVinci Resolve Forum
I have worked at different high end post production houses and I have never seen any export 709 for web.
You will never experience 709 as pure black on a computer screen. It will look dull and flat. If the YUV SMPTE signal on your computer look like | | | | |
| | | | Re: 709 scale RGB for web
by Gabriele Turchi on Apr 19, 2012 at 3:15:57 pm
in the DaVinci Resolve Forum
Well... I guess i kind knew that i want my deliery match my seasion ...
but I disagree On that method
I stay YUV SMPTE level for web delivery , and my H264 QT on my Mac monitor match (very very closely )
my rec 709 monitor from the resolve ses | | | | |
| | | | Re: The Fog Thickens
by Craig Seeman on Apr 18, 2012 at 11:51:23 pm
in the Apple FCPX or Not: The Debate Forum
Example, Company X sells you a product for $60,000 and pulls the plug on it long before you get a reasonable return on investment. You're now faced with a huge expense.
Company Y sells you a product for $1000 and within one year you've made many t | | | | |
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