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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Color/Final Touch - lots of heavy bugs and issues.

The Seq was changed to none, bins are all none..

Made a new Seq set to none to start with.. all fine.. seems changing it isn't working :-/

try this if you get a second.

Uncompressed project.. do a dissolve from a blk to white frame.

Export as Prores HQ

I get lines going across the whole screen on certain portions of the clip :-/ eek.
 
flameop said:
The Seq was changed to none, bins are all none..

Made a new Seq set to none to start with.. all fine.. seems changing it isn't working :-/

try this if you get a second.

Uncompressed project.. do a dissolve from a blk to white frame.

Export as Prores HQ

I get lines going across the whole screen on certain portions of the clip :-/ eek.
Click to expand...

When you change clips in a bin to 'none', it does not change instances of those clips that already exist in a timeline. You need to change the properties of timeline clips as well as the timeline itself. I have not found any easy way to do this to all clips in a timeline in one hit. The only thing I can think of is to export the sequence as XML, then edit the XML in a text editor.
 
roryhinds said:
Hey Lucas

Final Touch was a full screen app as well, I have no idea why Apple decided to change this.

I'd say the biggest issue with Scratch not being on Mac OS X is that having a One System that you can do the Offline, Online, Effects, Grade, DVD blah blah blah... has alot of advantages.

I'm hoping with AMD owning ATI and Nvidia wanting to get closer to Intel things will finally get sorted for Mac Pro graphics... so hopefully Nvidia SDI support is around corner.

Regards
Rory
Click to expand...

Rory,

Lack of SDI support is not the only issue, but that would go a looonnng way towards helping out.

And I agree that the One-System-To-Rule-Them-All is a very attractive approach.

Lucas
-----
ASSIMILATE, Inc.
LA, CA, USA
 
Nick Shaw said:
I have not found any easy way to do this to all clips in a timeline in one hit. The only thing I can think of is to export the sequence as XML, then edit the XML in a text editor.
Click to expand...

Does Paste Attributes work for this particular bit of metadata?

EDIT: After a quick check, no. Bugger.
 
It is one area where FCP shows its video (DV really) heritage. It assumes by default that all footage in a format which can be interlaced is interlaced.

I just did a test of editing XML, and that works. If my programming days weren't so far in the past, I would write an application which modified the XML to set the sequence and all clips in it to 'none'. Maybe it could be done with Textedit and Applescript.
 
flameop said:
edit. Tried a find and replace in txt edit > worked.. but imported the XML and no change :-/
Click to expand...

Are you sure? Just did it here, and it worked for me. Don't forget, when you import the XML back into FCP, the modified sequence won't open automatically, so the sequence you see open will be the un-modified one. If you look in the browser you will see two identically named sequences – one original, one modified. To make it easier, I modified the sequence name in TextEdit (it's in there twice) as well as replacing every occurrence of 'upper' with 'none'.
 
Are any of you monitoring your "color" grading on an apple display? From what I've read it is impossible to do accurately, even if I colour calibrate my monitor. I know about the Matrox MXO, and it's a clever piece of kit, but if you are not grading interlaced media (RED's progressive yeah), and not wanting to output to tape, it's seems overkill to buy it just to calibrate a monitor...:wacko: Also, what if I want to grade for digital projection?
The whole RED project is great because its about making the impossible possible. It just weird that monitoring colour grading on an apple display is impossible when professional photographers use such displays all the time to correct and print their photos..
I'm sure all you learned people will tell me why I'm crazy...:waaa:

((I think I should move this to it's own thread))
 
Just capturing 720P 59.94 and FCP6 record canvas window is lagging after about 3mins.. its about 12 frames behind.. Output to broadcast monitor is ahead :-/ wierd.. another bug ?

Capture seems fine.. no dropped frames reported..
 
fergus said:
The whole RED project is great because its about making the impossible possible. It just weird that monitoring colour grading on an apple display is impossible when professional photographers use such displays all the time to correct and print their photos..
I'm sure all you learned people will tell me why I'm crazy...:waaa:
Click to expand...

Apple Cinema displays are not acceptable out of the box. Mine for instance has a very distinct pink hue until I calibrate.

The problem with many monitors like the Cinema Displays is that there are colors that fall beyond their gamut and no amount of calibration will enable them to display colors that they physically cannot create.

Are they good enough? Well... that's up to the user to decide.
 
thanks Gavin, I've moved my post to it's own thread, I saw that this thread is really for reporting "fcp color' bugs

apologies to all..:innocent:
 
flameop said:
Just capturing 720P 59.94 and FCP6 record canvas window is lagging after about 3mins.. its about 12 frames behind.. Output to broadcast monitor is ahead :-/ wierd.. another bug ?

Capture seems fine.. no dropped frames reported..
Click to expand...

The live display during capture is never necessarily accurate - for example when capturing HDV it will be up to several seconds out of sync with the live outputs from the deck/camera.

What codec are you capturing from/to? And is this over firewire or through a capture card?
 
Hi Guys,
new to these forum. I'm glad to see people from assimilate, Lucas. I've test final touch in a professionnal environement, and to my experience it sucks (tone of bug, sorry for all of you who believe apple have the entire solution to make DI possible at home. Here is my reflection about 2K workflow, 4K is acually not even an issue in term of storage and compositing, and or 3D integration. Once we believe in digital cinematography we're no longer need 35mm Lab and scanner to get into DI, right? Why don't we don't test in specific workflow, tested, well-knowed, like the 100 year's old 35mm laboratory workflow?

I dream to test a workflow and Lucas I would like you to hear this.
Red camera for shooting and record to disk in DPX 10 bit log (on server with HDSL card like bluefish or DVS) AND in the same server that record full rez data, he also record an small rez DVC pro HD for off-line editing with exactly the same 23,98 time code. This software exist allready.

So once the shooting is finished, you have small DVC PRO HD that you can edit on FCP.

For conforming, use the EDL of FCP and Scratch for conform and grading. My one million dollar question is: Is it possible to relink the ful rez media store on the server connected to scratch? If you follow me, the idea is to ingest the full rez 2K on set and conform the EDL without having to recapture media.

For people who gonna tell me why not relink media in FCP? Well to my knowledge, FCP is not good to handle frame DPX sequence, FCP is lock to work in RGB 8bit or YUV 10 bit. FCP have good 3D LUT to see footage in bit 10 log? And why conform project in FCP while you can't color correct in Color because of the bugssss? What I'm trying to say is you can work with color, if you're not post-house, taking by short delivery and schedule.

So Lucas, I actually trying to build a workflow who can work for 2K, HD SR with Scratch in the center of a conforming tool and a color grading tool. Is scratch use for this work, is scratch a rock solid conforming and grading tools? Is scratch bug? Concidering the investissement in R&D we need to do...
 
Mat@imageWork said:
I dream to test a workflow and Lucas I would like you to hear this.
Red camera for shooting and record to disk in DPX 10 bit log (on server with HDSL card like bluefish or DVS) AND in the same server that record full rez data, he also record an small rez DVC pro HD for off-line editing with exactly the same 23,98 time code. This software exist allready.

So once the shooting is finished, you have small DVC PRO HD that you can edit on FCP.

For conforming, use the EDL of FCP and Scratch for conform and grading. My one million dollar question is: Is it possible to relink the ful rez media store on the server connected to scratch?
Click to expand...

RED ONE records its own proprietary REDCODE-compressed QuickTime files to the medium of your choice on-set. It will also generate QuickTime reference files that you can use as proxies (offline resolution versions) in FCP which avoids the creation of your DVCPRO HD duplicates. Finally, SCRATCH supports (or will support, I forget) REDCODE natively, so it is a matter of bringing the FCP REDCODE project in to SCRATCH (I don't know whether SCRATCH requires an EDL or can read in XML) and blasting through your grade that way.

Far less complicated, although if you really wanted to go your route you could bring along something like a Codex recorder and a DVCPRO HD deck and a timecode and genlock distribution system, and...
 
luki said:
We have nothing against OSX, or Linux, or Solaris, or any other OS, for that matter. : ) It all boils down to what our customer base calls for, what our prospects want, and what is possible.

But to give a couple of examples:

One of the big big things that a lot of our customers do is video output from HD and 2K log data downrezzed to NTSC and PAL in realtime with linearization and burn-in. We are an almost completely GPU-centric app.

OSX does not support the SDI daughtercard from NVidia.

Another big thing that makes a difference is the ability to upgrade graphics drivers as NVidia spins new drivers. Because we are so heavily GPU-focused, new driver spins can make significant differences in performance in targeted aspects.

OSX does not easily allow for driver updates and rollbacks.

In a perfect world, we would love to support OSX and SUSE, Fedora, and Red Hat. But we are a relatively small company and have to choose carefully what we do and why. And porting complex software like SCRATCH is a big undertaking. Does that mean we will never port and support other OS? Of course not. Does it mean it's not a decision we can take lightly and there have to be really good technical and business justifications for it? Yep...

Also - SCRATCH is a fullscreen OpenGL application. Regardless of what OS it would be on, the GUI would be the same. So... at that point, why does it matter?

Discussion welcome...

Cheers,

Lucas Wilson
------------
ASSIMILATE, Inc.
LA, CA, USA.
Click to expand...


Hi Lucas,
I don't remember who it was that spent about an hour doing a demo of your system at NAB but we were very impressed with your system. Your approach is sensible and you weren't the only vendor at NAB I spoke with who was in no hurry to move to OSX for many reasons.

We'll probably end up going with the IRIDAS products for other reasons, although that's still under consideration but we do like their Look management, we're still working out just how useful that could be.

As for the One Box concept, I can't see why a production house would want this. Why tie up a grading suite doing edits?
 
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