Hello all, I'm looking for a simple solution that would allow real-time composite a green-screen shot with a slider movement (pan only, no tilt). The BG would be 15' behind subject and likely green-sc

Can someone explain this: Yesterday I got to the hotel from a days shooting 4 x 64Gb SXS card in 29.97. The client has nicely supplied a new G tech USB C SSD and a G tech EV drive. Everything went sup

On Apr 17, 2018, at 4:06 PM, Matthew Clark <str8films1@...> wrote: Something with display port would be easiest to integrate. Love to hear your thoughts and what’s currently working for you. Anywhere

I’m probably missing something basic but I can’t see any way in R15 to set an IDT on a clip by clip basis. I used to right click either on the clip or the first node and be able to select an IDT for t

Some of you know me as a playback guy who comes in and syncs up the CRT with the camera so you don't get those ugly interference bars in the image. Bloody LCD screens kind of killed that business but

I was just watching the online press conference, a lot of CML faces there 😊 Impressive changes, incorporating Fusion seems like an incredible jump and it looks as if even I will be able to understand

Hi all, First post here and apologies if sent to the wrong area. I'm on the pinnacle of understanding how to truly work with capturing composite imagery as high a resolution as possible whilst trying

Has anyone used this for green screen? I've got an F55 shoot coming up that finishes in HD so I was going to use SStP SQ 444, but I'd like a 4K option if possible. Regular XAVC doesn't work on green s

Hi All. I’m messing around with the settings on my Panasonic TV to get it looking decent. With some settings in the right mode, it gives me the option to use BT1886 gamma curve. Should I? Is that bett

Hello folks. I have created a bash script to effortlessly set up automatic backups and automatic optimizations of DaVinci Resolve 14 Studio's PostgreSQL databases on macOS 10.12.6 systems. Enjoy! http

In editing, I didn’t notice it on Vimeo, only on a big screen in full resolution. But much of the project has this ugly video artifact of banding when there’s quick motion. I’m working on a project us

Usually “29.97” interlaced film scans are just 24 after a pulldown. Did they not just use an odd cadence? Gavin Greenwalt Seattle,WA

Currently prepping a feature that will involve a scene with face replacements. VFX is requesting their two witness cameras be able to sync up with my Alexa. My my question is if it’s possible to sync

I'm testing C200 at the moment at 2500 ISO for some covert sequences in a movie, I'm getting noise in the red channel that is pretty bad. I thought it was just the camera we had hired in for the test

Hi all- I’m using the free version of Resolve off the Apple App store (v14.3.0.3014). When I go to export a LUT CUBE from a graded clip, the process appears to work—I select “Export LUT” from the clip

Using the Sony A7sii in Yellowknife for high iso shots of the Aurora Borealis. Thank god for the full-ish moon (for the researchers faces) and I'm only pushing 32,000-40,000iso. Still seeing some gran

Formula is very simple, scale is proportional to the camera distance of the ‘full size’ object. So if the camera is 20’ and you want ½ scale, put them at 40’. If you want ¾ scale put them at 1 / ¾ = 1

Hi all! A director friend of mine is looking to do a short with forced perspective this summer, and he is wondering what might be out there in the way of technical guides, formulas etc for doing this.

Hi group, I've been a DIT since 2006 mostly for still photography but some video projects, I realize I'm not in the Movie category but I wanted to throw my 2 cents in on this hot topic... I agree some

I've also been on two jobs where the DP/photographer could not light a simple shot one was an outdoor Malibu swimming pool with a woman, this shoot a commercial had a full lighting crew 2 10k HMI's, p