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Old 04-21-2016, 06:36 PM   #1
Claire
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Default Primary Color Correction

The new Primary Color Correction tool in Edius 8.2 seems to work more or less as in Davinci Resolve, so less reason to go there now! Well done GV! Having spent some time with it over the last few hours I have three questions.

1/ How do I key frame Lift, Gamma and Gain to cope with changing levels?

2/ Our existing small scopes...
Now that we can grade more precisely the scope could do with some improvement. To optimize the footage I often focus on 0 and 100 markers but have to use the scope's zoom levels to see information that is not visible without it. So I zoom to 100 level but can't see the 0 line anymore and vice-versa. After all these years would a re-sizable scope be too much to ask?

3/ Now we can precisely adjust RGB, will we eventually get an RGB parade scope? The lack of which was a major surprise to me.

Also, thanks for fixing GV Browser which shuts down cleanly for me now.
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Old 04-22-2016, 03:03 PM   #2
mojo43
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If you click on the scope it should zoom in. That should help with getting 0-100 I think?
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Old 04-22-2016, 04:36 PM   #3
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Quote:
Originally Posted by More4K View Post
I don't know what are all these LOG formats etc doing in destination tab (these are acquisition "formats"). These are not for delivery
Maybe for if you plan to deliver not to a customer but to a co-worker, who still needs log formats? E.g. you do the first rough color grading in terms of brightness/saturation, but with clean natural colours. Then you deliver to another artist, who does only the colours (for creating film look with certain blue-ish, red-ish or whatever look).

Don't know if that makes sense in terms of practical use. It might just be an option to choose in rare cases, not something every editor uses every day.
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Old 04-22-2016, 04:43 PM   #4
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Quote:
Originally Posted by mojo43 View Post
If you click on the scope it should zoom in. That should help with getting 0-100 I think?
I already said I do that.
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Old 04-22-2016, 04:46 PM   #5
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Great to hear!
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Old 04-22-2016, 05:55 PM   #6
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Quote:
Originally Posted by mojo43 View Post
If you click on the scope it should zoom in. That should help with getting 0-100 I think?
If you left click in zooms in, right click zooms out. If you are running at 2560x1600 or above, you will definitely have a problem. The scopes need to be resizable, as should all of the panels.

Clair, try using the Blend filter to keyframe your lift etc. It's not perfect, but it works.
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Old 04-22-2016, 07:18 PM   #7
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Smile

Hi Jerry, please re-read my post, I clearly stated I do use the scope's zoom levels.

Just normal size desktop here. Blend filter would be more work, will just squint harder.
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Old 04-22-2016, 07:51 PM   #8
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How was that aimed at you? It was a general comment about the operation and issue with high resolution displays.

The second part was addressed to you. Obviously, it wasn't worth my time to comment.
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Old 04-22-2016, 10:07 PM   #9
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I have start to test the new color corrector filter with both 10bit ProRes UHD 25p GH4 v log l Shogun footage, but also with slog3 UHD 50p FS7 XAVX footage. The FS7 footage is recognized automatically, the v-log l must be adjusted manually in the color space.

Fine so far.

But what I see here is that the luminance range is blown up for both footages. You have to take back the whitepoint with the gain function at a huge amount to bring that back to IRE100. That is not so great I think.

But beside that the camera LUTs seems to work find, the filter is doing what it has to do. Comparing that with the handling with Catalyst Prepare I miss a contrast function but that can be done with the other functions too. What is missing by now is the capability to apply third party LUTs, but that is wellknown. I like also the playback performance of ProRes with the plugin applied, while XAVX is weaker compared to that (and needs a reduction of 50% or to bring down the project settings from UHD 50p to HD 50p).

So all together it is s great improvement I think.
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Old 04-22-2016, 10:57 PM   #10
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Quote:
Originally Posted by More4K View Post
Auto detection is only possible when you use footage straight from camera with all metadata in headers.
When you convert to other format than (in 95% cases) you loose all metadata and for Edius it becomes "normal" rec.709 UHD/HD footage, which needs manual settings. Not much what GV can do about it.
Yes, this applies to everyone, and as you say, it has nothing to with GV. For the best part though, I would hope that most people dealing with Gamma tweaked footage would understand what they are doing and how file meta data would associate a given Lut.

Something that's interesting, not that I use much Gamma tweaked/log footage. If you do a straight transcode of the footage, even to 8bit and h.264. While it would be flagged or assumed as baked in 709, you can still manually apply the associated 709 decoder Lut and it will look really good. In fact, GoPro use a tweaked Gamma for ProTune and that's only 8Bit h.264

Not that I'm a big fan myself of such workflows for most production outputs. As most of what I tend to see that's shot with the various Gamma tweaks, looks hardly much different after being 'graded' back into a 709 space, compared to being shot with a well setup camera shooting 709.

Quote:
Originally Posted by More4K View Post
It's because LUTs are made based on perfect recording. They will never give perfect results with every footage. If you don't expose properly than Sony LUT will give you way from perfect result. Use it with understanding and caution.
Pro colourists don't really use these LUTs- they grade from LOG footage.
They are still useful in some cases.
You raise a good point. All this technology won't forgive badly shot footage, even raw has its limits.
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