Posts Tagged ‘Terrence Curren

29
Jan
10

rumorama – adobe moving to 64bit (?)

Hot off the FCP-L presses, Terrence Curren of AlphaDogs in Burbank, CA posts:

Steve Hullfish and I just spent a couple days under NDA at Adobe. Obviously
there is a lot I can’t say. But we are allowed to comment on anything that
has been posted publicly. So let me say to the 5 of you using Premiere out
there… you are going to be very happy. We saw the mercury stuff that has
been mentioned and it is very impressive.


Important note to Adobe product users!!!!! Don’t buy any 32 bit hardware or
system software if you plan on upgrading to the next version whenever it
ships! And check the site for graphics cards before you make those purchases
also.

click for adobe moving to 64bit system advice

proactively • reposting • peter

Disclosure, to comply with the FTC’s new rules

None of the manufacturers listed above are paying Peter Salvia to write this article and, so far, none have sent him any samples or demonstration items.

16
Dec
09

how long to grade a show using apple color?

For the quick answer, scroll to the end of this post.  For the narrative thread, read on…

Kerry Soloway of Nightingale Editorial in Ringwood, NJ started a great thread on Steve Hullfish’s ColorList:

Subject: [ColorList] How much additional time will it take to round-trip a show in Color?

Although I have Color and use is on occasion, I have stayed away from it because of my perception that it adds a great deal of time to my edits as opposed to using the three-way color corrector within FCP.

The color corrector is one of the only reasons that I ever opt to online on an Avid Symphony rather than in Final Cut, since I can do all of my work in the timeline.

For those of you that use it regularly, can you estimate the amount of additional time that it adds to onlining a project? Also, how much additional storage space is required.

At the moment, I am editing mostly half-hour SD shows being edited either in DVCPro50 or PreResHQ, depending on the system that I’m on.

Kerry

Terrence Curren of AlphaDogs in Burbank, CA responded first:

We do a fair amount of that workflow. It is not so easy to come up with a number here. First, you have to prep your sequence correctly before sending to Color which can include a lot of “baking in” by exporting elements and reimporting to make them the same codec so that Color is happy.
After that going out to Color takes very little time, but you do have to render everything at the end before returning to FCP. So you will need as much addition al storage space as your entire show plus handles in whatever codec you are using.
At this point, any changes you want to make require bouncing out to Color, rendering, and coming back again.  If you don’t have external panels, you are greatly slowed down by trying to handle everything via mouse which limits you to one operation at a time. If you have access to a classically trained Colorist, he will be able to fly through the color correction process with the proper setup. If you treat the whole thing like the classic tape based daVinci approach, it makes more sense. Send a locked master to Color, and get a color corrected master back for titling.
The workflow is nowhere near as efficient as the Symphony approach, but the toolset is better. Symphony still has the advantage of keeping you in the timeline so you can do more than one thing at the
time. You can also listen to audio for any timing cues you may need. And you have source side correction which is a major timesaver in the hands of someone who knows how to use it.
On the flip side Color has a more powerful toolset and the ability to use the external interfaces I mentioned above.

And then Patrick Inhofer of Fini in NYC added a great follow up:

RE: Storage Space
Color re-renders all your shots and then generates an XML that’ll link to those newly rendered shots in a timeline in FCP. So… multiply the per second data rate of the codec you’re exporting out of Color times the number of seconds of your timeline. That’ll give you your additional storage needs.
RE: Time to round-trip
Are you wondering how much longer the prep for Color roundtrip takes? Anywhere from 2 – 12 hours, depending how much prep work you need to do (baking in speed ramps, removing 3WCC filters, simplifying timelines, media managing, etc).
If you’re wondering how long it takes to color correct a show in Color? When I was mouse-only, about 15 minutes of show content a day in a not-too-fast-paced sequence. With a control surface, double that. With a control surface not only will you double your throughput, you’ll find you can also get more in-depth in forming the image with masks, curves, hue curves, etc. A control surface is one of those rare exceptions where you get more done in less time with better results.
I didn’t chime in on the thread (too busy with work at the time), but I would offer up a couple points of emphasis and additions from my experiences (click my friend above for a link to my blog post describing the posting of Travel Channel’s America’s Scariest Halloween Attractions 3).
First of all, you cannot underestimate overestimate how long it will take to conform your project for Color.  Offline to online workflow time aside, there are many ways to conform your timeline so that it will work well with Color and how you choose to do this will effect how you grade your show.  Do you want to first send all of your speed effects to Motion to take advantage of motion blur?  Do you want to make individual sequences to grade footage with picture in picture (or windowed) effects?
My number one recommendation is to shed all color correction filters and export a self contained quicktime of your entire show (or individual acts) and go from there.  Obviously I could really get into the weeds on this, so I won’t.  I’m sure you’re getting the idea.
Secondly, take a look at the show you’re going to grade ahead of time.  The above timeline averaged approximately 125 shots per 4 minutes, or even more approximately  1375 shots for a 44min show.  With slightly fuzzy math, at a 1min-per-graded-shot pace, you’re looking at almost 23 hours to plow through it all (3×8 hour days or 2×12 hour days).  And then you get to render it out.
I never had the luxury of a using control surface on either of the 44min shows I graded for Travel Channel.  Scott Simmons wrote a great review of the Tangent Wave and Patrick Inhofer wrote a great review of the JL Cooper Eclipse CX.  I’ve personally met with the guys at Euphonix and they seem to have a great product with the MC Color but I haven’t got my hands on it to test it out yet.  Mr. Inhofer summed up best the advantage of using a surface, stating:
a typical session [speeding up] from 2-5 days down to 1-3 days…
Price points and form factors aside, it seems that adding a control surface should a) increase your speed and quality and b) up your rate.  Remember: “fast, good, cheap; pick two.”
Personally, not having seen a show, I start my color correction quote at 5 days for a 1 hour show and then we go from there.  That includes conform, grade, and render.  I do work remotely, so if I can help you out drop me a line.
proactively • grading • peter
01
Jun
09

editing for editors, by editors

Two awesome videos have popped up in recent FCP-L posts talking about editing from an editor’s perspective.  Firstly, BBC World News America‘s Bill McKenna has been named ‘Editor of the Year” by the White House News Photographers Association.  Mr. McKenna was asked to edit a video to be shown at the event. It offers a rare glimpse into his world to reveal what inspires a top TV picture editor.

bill mckenna 3

Twicely, Joy Moeller (Creative Director/Editor, 19 Below) gives us the do’s and dont’s of edit suite etiquette.

And if that wasn’t entertaining enough, the stories FCP-L’ers shared kept the laughs (or tears) rolling:

I worked with a producer who always kept track of downtime. She considered anything as downtime, including the editor re-doing an edit. She considered only the finished edit was payable. She had a stopwatch and it was always going.  At the end of the day, she would total it up and ask that it be taken off the edit time for that day.  Remarkably, she had a very successful career as a producer that lasted for many years. It’s just as well I was a producer at the time and not an editor, as I would have cheerfully strangled her.

Bill Affleck / Wasteland Productions, Inc.

Back in the linear days, I had a client who sat with a stop watch and actually clicked it on and off for anything. Go to the bathroom, click, call someone to come to the bay, click, get a drink of water, click. Man that was irritating. I always rounded down for clients anyway, but not this guy.
Also in the linear days, I had the finger snapper one time and it was late and I was tired, I finally stood up, offered him my chair and said he get more accurate edits if he ran it himself. Actually cured him and he requested me from there on out.

Terrence Curren / Alphadogs

You can see more of Terry Curren alongside industry veteran editors Billy Weber, Glenn Morgan and Carol Streit on Studio Daily extemporaneously discussing war stories, battle tactics, and all the things they learned on the job that really have nothing to do with editing but are crucial to the job of an editor.

proactively • ediblogournalising • peter

***UPDATE***

Swung over to Shane Ross’ Little Frog In Hi Def blog and found this gem.  Falls under the “nothing to do with editing but crucial to the job” category.  Enjoy!

18
Sep
08

apple color – work with R3D files natively?!

Just posted by Terrence Curren of Alphadogs fame to the FCP-L:

>From the Color list:

<< Hi there,

I was at the FCPUG Supermeet in Amsterdam and the first presentation was a
working
new Version of Color featuring R3D support. You can edit your footage in FCS
with the proxy
files created by the camera – send to Color and Color will access the R3D
files. First light will
be done in a new advanced tab in the primary in room!
I know that there are already screenshots about the new features floating
around.
But this was a working version!
No infos about release date.

Cheers,

Holger
>>

Simultaneously, Mike Curtis is reporting similar news over at pro video coalition:

Apple Color support – same way last year there was a demo of Redcode import into FCP, they are demonstrating native R3D support in Color. You can work with up to 2K resolution from 4K footage (only extracting the 2K layer from the wavelet). You can then work with that footage at 2K, 1080, 720, 480, whatever res you want that is below the 2K source extraction. But YES, you can bring your 4K Redcode RAW files into the future version of Apple’s Color and work with the full frame, but only at up to 2K deliverable. You can also access the source RAW metadata, just like on camera and in Red Alert/Redcine, to adjust Saturation, Exposure, Tint, Black Level, Exposure, RGB gains, etc. (No Brightness (gamma really) or Contrast (S-curve really), but you can do those with Color’s tools). Merely a technology demo, no ETA on ship date from Apple – so I’d GUESS in next major release, which could be what – NAB next year? Dunno, my guess, not based on hard data.

Red One Redcode RGB mode is still under development – read that two ways if you will – pessimistic – “darn, still not done/shipping!” or optimist – “GOOD – they are still working on it, it IS coming.”

If you’ve got links to screenshots please post, my hasty google searches have proved fruitless thus far…

proactively • ready to grade some R3D right now • peter




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