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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 :)

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Aleksandr Frayman

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Hi, everybody! After filming, I do a greyding in Davinci Resolve Studio, and mounting in Premiere Pro. And I as at the owner of RED Epic w new for the first time have some questions. 1. What is OLPF Comp? 2. After painting, I take out video to Prores 4444 XQ and I import it to Premiere Pro. There I do mounting and I lift sharpness of the image by means of Unsharp mask. Whether correctly I do? In Davinci Resolve the bad tool for sharpness, and in RedCine I don't want to color. Whether there is a basic difference and what you can advise? Thanks
 
I wouldn't try to sharpen it at all. Leave it as it is, assuming the focus was good in the original.

I would also find out what kind of monitor you're using. If you're actually grading it on this display, it's got to be calibrated and you'll need a color-managed output from your computer. I don't think color-correction in Redcine X-Pro is good for anything except tests, playback, and dailies; for final color, you need real software like Baselight, Lustre, Mistika, Nucoda Pablo, or Resolve. Resolve is affordable and widely used and can work well, provided you have fast storage and a good computer.
 
Marc Wielage said:
I wouldn't try to sharpen it at all. Leave it as it is, assuming the focus was good in the original.

I would also find out what kind of monitor you're using. If you're actually grading it on this display, it's got to be calibrated and you'll need a color-managed output from your computer. I don't think color-correction in Redcine X-Pro is good for anything except tests, playback, and dailies; for final color, you need real software like Baselight, Lustre, Mistika, Nucoda Pablo, or Resolve. Resolve is affordable and widely used and can work well, provided you have fast storage and a good computer.
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For operation I use only Davinci Resolve Studio. Configuration of my computer 2 of the Intel Core processor 6700-k 4,00gh. 32GB RAM, 2x Nvidia Titan X, Hakintosh. With Davinci I save the file in 4444qx and I import to premiere from there I save in H265 8192х3456 and I look on the professional Asus 4k monitor.
 
The Asus is not a grading display -- it's just a cheap computer display. It's not really good enough to evaluate serious pictures. It's fine as a computer monitor.
 
Marc Wielage said:
The Asus is not a grading display -- it's just a cheap computer display. It's not really good enough to evaluate serious pictures. It's fine as a computer monitor.
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Хм. I read the return information, so I use calibration of the x rite display. Well. what 4k the monitor you can advise me for professional grade? Also. whether you will advise to buy one more titan x card? Whether she will help to watch real time 24fps in Davinci Resolve
 
Listen to Marc, that mon is not up to the task, before you buy another TitanX i would invest in a reliable mon and callibration,

Flanders has a good reputation at a decent price point, although i've not used one

the Sony X300 is good, as is the Dolby PR4200, those i use, as well as a Panasonic Plasma, callibration is needed for any mon

LightSpace and CalMan are popular, i use CalMan as i've had it for years now, would buy Lightspace if starting over today tho

another thing to be aware of is tha Resolve is optimised for use with a color surface like Tangent's Elements set or Artist Color/Transport, it impossiable to get the fine control needed by driveing the ui with a mouse

many many things to invest in long before anything a TitanX could bring to the table

i'd sooner workaround a lower powered machine with cacheing and have a reliable mon and responceive gradeing surface

i suspect once BaseLight Editions is avb for Pp it might prove to be a better choice
 
How did this derail into monitors. the question was sharpen before downsampling or not and the trouble to do so in a good way in resovle. For 4k finnsih I think even with helium the picture can improve with a little bit of sharpeneven though I think its better to do it before downsampling I think it should only be done with a very small wavelenght or it´s destroy more than it helps so if its only done a tad it does not matter much if done in 8k or after downsampling in 4k and it for sure render faster in 4k. So to me it´s a question of amount of material, how soft the footage is and so on. A problem shot I always try to treat in highest resolution possible.
 
yea, op helped take it a bit off course tho...

all shaprening tools are not the same... diffreent answers if you have a Flame -or- Nucoda than if you have Pp -or- Resolve ....

in Resolve, like Marc, i try to avoid it's native sharpen tools,
it´s destroy more than it helps
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seems about right ;-)

I treat it like a VFX shot and send it to Nuke
-or- grade in Nucoda and use DVO
-or- grade in Luster and use Flame's tools

lots of answers that do not involve using Resolve's native sharpen tool
 
Björn Benckert said:
How did this derail into monitors. the question was sharpen before downsampling or not and the trouble to do so in a good way in resovle.
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Here's the problem: if you're judging sharpness based on a cheap $600 computer display, the danger is that the monitor is going to mislead you about sharpness. If it's a broadcast grading display or a DCI-compliant projector, assuming they're calibrated correctly they will tell you the truth -- about color, about sharpness, about contrast, and so on.

Note that apparent sharpness sometimes boils down to a variety of factors like lens quality, exposure, contrast, diffusion in the air, and (yes) focus. Adding artificial sharpness may not actually help. The danger is if you try to focus a shot that's slightly soft: you wind up with a soft "edgy" shot that's still not really sharp. And there is also a very real risk of overenhancing, where the entire thing looks edgy and weird.

I don't have a problem with very careful selective sharpening, which I'll sometimes do with actor's eyeballs or faces in close-ups. If it gives them just a little more "pop" in a scene, it can be very effective.

To me, 4K cameras like the Red are already plenty sharp enough. And don't forget, when actors have wrinkles and bags and skin flaws, sharpness is not necessarily their friend.
 
Aleksandr Frayman said:
What is OLPF Comp?
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The OLPF that's in front of the sensor will soften the image, to prevent aliasing. The "OLPF Comp" setting will sharpen the image a little bit, to compensate the softness. It's useful, but you need to be aware that it can sometimes add aliasing to edges.
 
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