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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 :)

Love and all that... Guys: BUY GLUETOOLS!

Gunleik Groven

Gunleik Groven

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Ok

this (very short) clip is my first fun with gluetools.
I now know that wrapping the DPXs with the KONA wrapper is just fooling yourself (even though I liked it a lot) this is the real beef...

Everything is overdone... bear with me. I have a new toy all over...

There were some strange bugs and gamma things going on, but that's for tomorrow. It's 4 am here...

And btw, this is not an aestetic statement, just me having fun again...


Cheers!
Gunleik

http://byacserv.com/vulture/elnaz_01.mov
 
what is glue tools? i went to the website, but i still don't understand what it is?
 
comparison - quickie

comparison - quickie

http://byacserv.com/vulture/elnaz-ProRes.mov

This is the same grade, also graded from DPX, but rednered to prores in color before web-compression.

I know thisone is bigger (so it's not fair), but the bitrate is 6000 and it just exaggerates what I've seen, blocking & banding.

Both the webfiles are same colorsampling, so I find this fun...
 
Very nice Gunleik you've become a night bird but I think you still did not get in
a right way the message from Jon Thorn, Product Manager, AJA Video Systems, Inc.

"When you are working with sequential DPX files (or Cineon) within a
QuickTime based application, you are seeing only the QT reference movie,
not the individual files - but those DPX files are actually what you are
playing back, not a proxy.

There are some real advantages to this type of workflow:
a) you can accommodate applications that only read QuickTime files and
not frame based media such as DPX or Cineon. (Final Cut Pro without
something like the GlueTools QuickTime components is a good example).
b) you can make a frame-based change(s) without re-rendering. Say one
DPX file has dust removal performed on it in an application - the
reference movie will be intact and the change present the next time you open
it - no need to re-render it - IF the file you created to replace the
old one has the exact same name and resides in the exact same
location/directory/path, etc."

About DPX as a media container or multimedia type of compression file:

"Digital Picture Exchange (DPX) is a common file format for digital film work
and is an ANSI/SMPTE standard (268M-2003). The file format is most commonly
used to represent the density of each colour channel of a scanned negative in
a 10-bit log format where the gamma of the original camera negative is preserved
as taken by a film scanner."

MORE>>>

Nobody's Fool here :) .
 
Hi Sanjin

I won't argue with the statement (AFAIK I didn't in the 1st place), but it's reallly simple to A/B the time used and how it works in color.

The workflow is quicker and the 10 bit renders in FCP counts for me.

Even when doing the AJA trick, I have been wrapping DPXs exported from RC/RA/RL. I have not made DPXs from the AJA QT as per your description, though.
That was pretty cool in color, but even better in Shake, from the RAW DPXs, which struck me as odd.

As you need the AJA codec to make the AJA trick work, it seems like the DPX files are presented to Color/FCP as an AJA codec file, with its strengths and possible weaknesses (very small, I'll give you that, if any. Just try it and make your own judgement.) compared to DPX.

As I said, this is my choice, your milage may wary :)

And from the hints on a shakeup from Graeme, maybe we'll all have RAW workflow in COLOR within a week,,,
I'll still need something to deliver DPXs, though...

Looking foreward to that comparative test!

Cheers!
 
I can understand you now that you already drop (€ 347.13) to
GlueTools that is not bad but I was talking about a solution that
you could avoid this purchase until you are really in a need.

AJA solution basically works very simple for 2K:

1. Get DPX files from whatever (Film Scanner/Recorder, PC, RA, RC, SCRATCH, AJA QTToDPX, etc...).

2. Wrap them using AJA DPXToQT.

3. Import QT wrapped DPX to FCP and cut.

4. Sent to Color and grade.

5. Sent back to FCP, export as AJA QT 10bit RGB, XML and EDL files.

6. Use Crimson for an additional confirming level.

7. Use AJA QTToDPX Translator to create sequential DPX files from Log RGB
or linear RGB QuickTime files.

Additional Notes:
Due to the flexible nature of Final Cut Pro, the timeline where the 2K files
reside during editing, can be sent to other applications
to be worked on at 2K resolution: Motion and Shake are examples.
The 2K edit in Final Cut Pro can be referred to by other applications
via XML or EDL, like Color 2K, so that the 2K DPX
files or their associated QuickTime Reference Movies may be accessed.

The best is to keep money and buy AJA Kona 3 card.
 
Thanks, Sanjin.

As I initially said, this (or a variation of it) is what I've been doing almost since the cam came in. And Gluetools is definitely not the worst money I have spent. For me and my workflow, that is :)
Sitting with hundreds of cuts, made that need, I guess. And there were some extra bonuses that I wasn't prepared for.
 
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