I did have a plugin for Resolve that produced wonderful ProRes files.
Unfortunately when I went for a complete reinstall on a new machine I couldn’t reinstall the plugin. It needed to be registered to work and Apple had had a word with them and they no longer offer the plugin.
Scratch have kindly sent me a 30 day license for Scratch but unfortunately my machine doesn’t work with this license. I will chase this up once I am further down the road.
All the raw files are ready for upload, I’ve trimmed every shot to 1 second except for faces where they’re 5 seconds.
I’m waiting until Kodak get me the scans of the neg 😊
After they are all up and properly linked I’ll get back to making compressed versions, slightly compressed and very compressed.
I’ve done several of these already but I’m having second thoughts about the way I’m doing them.
Basically, decide which exposure is nearest to “correct” and mark it, then match every other take to it using offset only and only matching the grey patch on the Kodak chart.
I have been doing a timeline colour correction based on the selected frame, no exposure change but neutralising any colour shift. If anyone wants to see what it all really looks like then they can get the raw files.
The complication is that I’m doing this on the sequences lit with “real” tungsten, with the “substitute” ones I’m in two minds, I’m obviously not altering colour as we want to see the shift but do I match exposure to the one from the tungsten set or do I match all the substitute shots to the same stop as I used for the real light even though it may well be the wrong exposure?
I think that we need to see the difference.
I’ll also post a chart of each camera with exposure variation from measured and also what rating gives the most exposure for the lowest noise, i.e. the point where the waveform stops being fuzzy 😊 or, do I post the amount of NR at “correct” exposure that is needed to give a clean waveform?
Geoff Boyle NSC FBKS