Render, Render, Render

I got into a discussion with someone on the Epic-W page on FB about if a RRX works or not with Helium footage.  Well I can say without a doubt that no it does not, at least not on a Mac (I don’t have a TB3 enclosure or a pc laptop to test it out on.  I do have my desktop that I can throw the RRX in later to do a final test on).

Here’s what Jarred Land says on fb:

Here’s what RED says, officially, on their own site:

screen-shot-2017-02-01-at-3-26-03-pm

Now, what does high-performance GPU mean exactly? Well I have a maxed out trashcan (mac pro) and here’s what I was getting for render times on 8KWS footage 7:1 set to 1080 ProResLT (this btw is a realistic look at what your render times on set will be, I don’t know any editor who wants 4K DPX files delivered to them).

Here’s my specs, just so you know what I’m working with here:

screen-shot-2017-02-01-at-3-23-26-pm

Here’s the footage I’m working with, as per RCX:

screen-shot-2017-02-01-at-3-12-47-pm

The footage is on my desktop and also rendering directly to my desktop also, it’s the 500gb flash storage option for reference. Here’s the R/W speed from Disk Speed Test, also so you know what I’m working with:

Screen Shot 2017-02-01 at 3.53.18 PM.png

And finally, here’s the export settings I used:

Screen Shot 2017-02-01 at 3.55.05 PM.png

Here’s the render time for 1 minute of footage set to 1080 ProResLT (I have 2 exports because there’s no “completed in” section, so you look at the start time for both exports) WITHOUT a RRX:

screen-shot-2017-02-01-at-3-29-59-pm

It’s about 2:37 per 1 minute of footage, not terrible but not great.

And here’s the same footage WITH the RRX enabled, the RRX screen up to prove the point that it’s enabled:

Screen Shot 2017-02-01 at 3.42.43 PM.png

Again, it’s about the same time, actually slightly longer render time of 2:42 with the RRX enabled.

There you go, real testing done here, no alternative facts 😉

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Epic-W 8K,7K,6K, all the Ks

Recently I found myself as an owner of a Epic-W (specifically #434) and I’ve been shooting a bit with it in conjunction with my Leica Summicrons, and I have to say I’m pretty excited about this camera.

img_5234

As a DIT I have to be camera indifferent, I can’t have a sway to one or the other due to the fact that you could work with any camera at any given time (I worked with the F55 for 6 months on Vinyl), but you do have to know every camera as well (and it’s pluses and negatives) in how to work with it best and to give advice to DPs.

And I have to say that Red knocked it out of the park with the helium sensor.  It’s a phenomenal sensor and FINALLY the magenta issue has been fixed from the days of the dragon (as well as some clean high ISO scenarios).

That being said, I went ahead and shot some resolution tests to showcase all the different FOV options with the resolution differences.

I shot these on a 25mm at 2′, 800ISO, 3200k, T2.

IMG_5287.JPG

These are set to the entirety of the scale in which they are set (no frame guides) and is set to RedColor2/RedGamma4 (btw really excited about the new color science coming soon). I didn’t move the camera at all, just used fool control to change it all btw.

FYI if you click on the photos you can see them in full resolution.  I definitely don’t recommend doing that if you’re looking at this on cellular data (wifi only!).

8K FF (8192 x 4320)

a010_c002_1109pd-0000000

8K 2:1 (8192 x 4096)

A010_C003_11097I.0000000.jpg

8K WS (8192 x 3456, I actually chuckled at this one)

A010_C004_1109VO.0000000.jpg

8K HD (7680 x 4320)

A010_C005_1109OA.0000000.jpg

8K 3:2 (6480 x 4320)

A010_C007_1109A9.0000000.jpg

7K FF (7168 x 3780)

A010_C008_1109P7.0000000.jpg

7K 2:1 (7168 x 3584)

A010_C009_110940.0000000.jpg

7K WS (7168 x 3024)

A010_C010_110904.0000000.jpg

7K HD (6720 x 3780)

A010_C011_11099Y.0000000.jpg

6K FF (6144 x 3240)

A010_C012_11099U.0000000.jpg

6K 2:1 (6144 x 3072)

A010_C013_11098B.0000000.jpg

6K WS (6144 x 2592)

A010_C014_1109CO.0000000.jpg

6K HD (5760 x 3240)

A010_C015_1109PY.0000000.jpg

6K 3:2 (5760 x 3840)

A010_C017_1109YH.0000000.jpg

5K FF (5120 x 2700)

A010_C019_1109BG.0000000.jpg

5K 2:1 (5120 x 2560)

A010_C020_1109U1.0000000.jpg

5K WS (5120 x 2160)

A010_C021_1109E0.0000000.jpg

5K HD (4800 x 2700)

A010_C022_1109W8.0000000.jpg

4K FF (4096 x 2160)

a010_c023_1109io-0000000

4K 2:1 (4096 x 2048)

A010_C024_1109FP.0000000.jpg

4K WS (4096 x 1728)

A010_C025_11091A.0000000.jpg

4K HD (3840 x 2160)

a010_c026_11099a-0000000

3K FF (3072 x 1620)

A010_C027_1109IX.0000000.jpg

3K 2:1 (3072 x 1536)

A010_C028_1109G3.0000000.jpg

3K WS (3072 x 1296)

A010_C029_1109RY.0000000.jpg

3K HD (2880 x 1620)

A010_C030_1109LP.0000000.jpg

2K FF (2048 x 1080)

a010_c031_1109e7-0000000

2K 2:1 (2048 x 1024)

A010_C032_1109J6.0000000.jpg

2K WS (2048 x 864)

A010_C033_1109YR.0000000.jpg

2K HD (1920 x 1080)

A010_C034_1109VM.0000000.jpg

And then here’s all the different versions in a row.

FF (8K, 7K, 6K, 5K, 4K, 3K, 2K respectively)

a010_c002_1109pd-0000000
A010_C008_1109P7.0000000.jpg
A010_C012_11099U.0000000.jpg
A010_C019_1109BG.0000000.jpg
a010_c026_11099a-0000000
A010_C027_1109IX.0000000.jpg
a010_c031_1109e7-0000000

WS (8K, 7K, 6K, 5K, 4K, 3K, 2K respectively)

A010_C004_1109VO.0000000.jpg
A010_C010_110904.0000000.jpg
A010_C014_1109CO.0000000.jpg
A010_C021_1109E0.0000000.jpg
A010_C025_11091A.0000000.jpg
A010_C029_1109RY.0000000.jpg
A010_C033_1109YR.0000000.jpg

And finally HD (8K, 7K, 6K, 5K, 4K, 3K, 2K respectively)

a010_c005_1109oa-0000000
A010_C011_11099Y.0000000.jpg
A010_C015_1109PY.0000000.jpg
A010_C022_1109W8.0000000.jpg
a010_c026_11099a-0000000
A010_C030_1109LP.0000000.jpg
A010_C034_1109VM.0000000.jpg

Setting up the Teradek COLR to work with the Bullet M2

I’m currently writing a review on my experiences with the Teradek COLR (will update this post to link to that) but I’ve had some questions about how to set up a network to be able to work with it, and I’ve had some difficult issues with it and have finally settled on how best to set this up so I figured I’d write something up on this.

I’m not going to go into detail about the COLR unit and functions itself, as that will be for the review, as I am mainly focusing on how to set up the COLR network and how to troubleshoot it (and my experiences troubleshooting also).

I’m going to start by suggesting my current setup in which I came to the conclusion of what works for me in my on set setup.  I had a different configuration to start with, and I will go over that later on in case people are having issues with getting a different brand of router to work, however for the purpose of this post this will focus on what I finally got to work with no hiccups.

Before I start, I want to give a big thanks to fellow DIT Tom Wong for helping me figure a lot of this out.  I had issues out the wazoo and bombarded him with questions, and he really helped me troubleshoot.  Thanks Tom!

Also a slight disclaimer: I suck at IT.  I came to this conclusion based off of what I wanted to accomplish and figured it out on my own.  You may have a better way to do this but this is what worked for me and I just wanted to share my findings.

Also, this setup works on a 2.4GHz frequency.  The reason for that is most video transmitters work on the 5GHz frequency and won’t cause interference with the COLR, in theory.  You can use a 5GHz band if you’d like but I ended up not going that route for this guide as I didn’t want to cause problems with the TX/RX and the COLR.

 

On to the setup then!

 

THE EQUIPMENT

Feel free to click on each item as I’ve included the links to Amazon, or you can click HERE and it’ll take you to the wishlist that I’ve created for this specific setup.  Either works.

 

TP-Link TL-R600VPN Router

Ethernet cables x2 (any will work, this is just what I had purchased)

Ubiquiti Bullet M2

8db Antenna

POE adapter for M2 (Power Over Ethernet)

If you have multiple items that use POE you could get a switch instead of the above adapter, but for me I personally only have 1 thing that needs POE so it wasn’t worth it.  Maybe in the future I might switch over to POE but for now this works.

Here’s how I have the M2 and 8db Antenna mounted on my 8020 cart.

IMG_3355

The router that I use is mounted behind my monitors there (behind the sign that I “acquired” from a set on Vinyl) only because previously before I used the M2 setup I was running a wireless router as my AP (access point), which you can see below (this is right after I installed the M2, so the ASUS router was still installed).  I needed the hight for the ASUS router and I only had 2 days to prep for Odd Mom Out Season 2 so I didn’t have a chance to re-run the cables into the cart itself.  I’ll take care of that once this show is over to stream line it a bit.

IMG_3201

 

SETTING UP THE ROUTER

Static is King.  You want static IPs for pretty much everything connected to the router so you always know the IP addresses offhand (You’ll end up memorizing them all at some point, it’s bound to happen).

For me I have the following set up:

192.168.0.1 – Router webUI

192.168.0.120 – BULLET M2 webUI

192.168.0.150 – BMC Smart Video Hub

192.168.0.243 – A CAM COLR (last 3 numbers are the same as the serial number on the unit)

192.168.0.251 – B CAM COLR (last 3 numbers are the same as the serial number on the unit)

SETTING UP THE M2

Setting up the M2 as an access point is pretty straight forward if you know what you’re doing,  I had no clue, so it was a bit frustrating at first.  What I wanted to do was be able to have the router be the hub for everything to connect to (for the M2, my mac mini, and my SmartVideoHub), let the M2 be the AP in which the COLRs communicate with, and still be able to access internet through the wifi / phone hotspot when I need to, without disabling the M2 to be able to access internet (to be able to send emails or write this post for example).

The ASUS router I used first had a default gateway of 192.168.1.1, that caused problems for me to be able to connect to the M2 and internet at the same time, so I changed the gateway to 192.168.0.1 (which is default for the TP-Link btw).  You can change this to whatever you want, I just found 192.168.0.1 to work best for me.

EDIT: When doing research online for the M2 I read that people were having a hard time changing the password.  If you click the KEY icon next to ADMINISTRATOR USER NAME (Under the SYSTEM tab) you can change the password to whatever you want.

Screen Shot 2016-03-18 at 5.56.13 PM

Here are the settings I ended up with to get the M2 to work on my LAN (I have since changed the M2 IP to 192.168.0.120 as I stated above)

IMG_3270

The main thing to take away from this is that you want the M2 to be setup as a BRIDGE and that you want the Gateway and Primary DNS to be the same (secondary DNS is set to Google by default).  This allows your M2 to work on the same network as the router, so that when you connect the COLRs to the M2 AP then it will still show up in LiveGrade at the specified IP address that you configured it for.  Otherwise you’d have to have the M2 plugged directly into the computer you want to use it with, this way you at least can run additional units on the same router if need be (expandability!)

One thing you absolutely HAVE to do is disable airMAX.  For some reason it just doesn’t work if you have it enabled, something to do with their proprietary devices or something like that (they even say in their own documentation to disable it!) and it’s turned on by default.

Screen Shot 2016-03-18 at 1.02.29 PM

Under the WIRELESS tab, here is how it looks for me:

Screen Shot 2016-03-18 at 1.03.22 PM

You have the WIRELESS MODE as Access Point, you have the SSID to whatever you want, and then down below you can set your SSID password to whatever you want.

One thing to note: You can set the Frequency MHz to AUTO if you want (it’s this way by default) or you can specify it.  This dictates what channel the COLR is set to in their UI.  In NYC there’s a LOT of WiFi interference everywhere so I tried them all out and found that 2452 (channel 9) works the best.  you can change this to whatever you want if you’d like.  If you’re having issues or congestion you can see what channels other WiFi devices are around you by going to the top right dropdown menu labeled TOOLS and selecting SITE SURVEY.

Screen Shot 2016-03-18 at 1.11.31 PM

Screen Shot 2016-03-18 at 1.12.30 PM

You can set your frequency to something other than what is commonly used to avoid any issues if you need to.

Once you have it all set up it should look something like this (I have the COLRs connected already on my system, and this is the STATIONS tab selected btw)

Screen Shot 2016-03-18 at 1.02.20 PM

 

SETTING UP THE COLR

There are a few different ways you can set up the COLRs: Set them to AP mode (Access Point) and connect to the WiFi via your computer or phone (the WiFi name will be COLR and the last 4 digits of the serial number, so COLR0243 in my case), direct Ethernet connection, or USB. The nice thing is the COLR UI will tell you what the IP is on the screen with whatever your choice of connect is.  Personally I like USB as it’s always 192.168.100.1 and you can keep your settings the same if you want.  You will need a laptop or tablet that has a USB port on it FYI.

Once you connect to the COLR you’ll be greeted with this screen:

Screen Shot 2016-03-18 at 1.40.08 PM

For the purpose of this guide I will only be dealing with the “NETWORK SETTINGS” section of the COLR, the rest will be covered in my full review.

When you select Network Settings, you see this screen.  This is how it looks for me since I have the COLRs already set up on my system.

Screen Shot 2016-03-18 at 1.41.52 PM

To work with the COLR you want to select INFRASTRUCTURE and then select BROWSE next to the SSID.  A screen will pop up and you can select the SSID of your M2.  From there, select the security measure you want (WPA is what I did), enter the password and then you set your IP address.

Here’s where you want to set the COLR to STATIC and then set the IP of the address to whatever you want.  I suggest setting it to the last 3 of the serial number for ease of troubleshooting later on (such as the A camera one for me is 243 and the B camera one is 251, easy to remember which is which when looking at the IP address).

Screen Shot 2016-03-18 at 4.55.17 PM

Once you set everything, and hit apply, it should take about 15-30 seconds for it to connect to the network and then you’ll be able to see it display on the COLR UI like so:

IMG_3375

Once it’s on the network you can go into LiveGrade, click DEVICES, select ADD DEVICE to the slot you want, and then select ADD TERADEK DEVICE

Screen Shot 2016-03-18 at 4.32.55 PM

Screen Shot 2016-03-18 at 4.37.54 PM

And now it should show up in your device slot

Screen Shot 2016-03-18 at 4.37.12 PM

if you hit CONFIG you will see this screen which will allow you to see the IP address, the serial number, the state of the COLR, and allow you to disconnect it as well as go to the webUI (which just launches a new window with the same IP address).

Screen Shot 2016-03-18 at 4.37.20 PM

Congratulations! Hopefully everything worked for you the first time, if not, then we move on to my not-so-favorite part….

 

TROUBLESHOOTING

The very first time I used the COLR I used an ASUS router and a 5GHz band.  It worked for the most part but had some dropouts due to the Paralinx also being on the 5GHz spectrum.  So I switched to the 2.4GHz band and didn’t have any dropouts.

Then I was having range issues with the ASUS being more than 50′ away and through walls.  So I decided to do some research on other APs and a friend who works in IT suggested the M2.

I ordered everything above (minus the TP Link), got it all set up on my cart, and everything worked great when I was at the rental house (which it always does).  I ended up just using the ASUS router as is without using the WiFi aspects of it (I actually couldn’t find a way to disable the wifi at all, would have preferred that and I suppose that caused some of my issues but I decided to just purchase the TP-Link right out as that’s what Tom had suggested, since that worked for him).

IMG_3204

DAY01 went off without a hitch, up until hour 10, then I started having weird disconnect issues.  The COLR would connect to the M2 but wouldn’t assign an IP address for some reason,

Screen Shot 2016-03-10 at 12.40.34 PM

I tried kicking it off the network, but then it would connect and still have the same issue.  I did a factory reset on the COLR but it still wouldn’t assign an IP address on the device.

The only thing that worked was connecting to the COLR via USB, connecting to another network, then reconnecting to the M2.  Was super odd. I thought that kicking it off the network would have fixed it but then it still continued to happen until I could reset it manually via USB.

That worked for a while until it did it again randomly, this time BOTH cameras did it.

Screen Shot 2016-03-10 at 12.44.55 PM

I was going nuts.  I could see the cameras connected to the network but I couldn’t access it in LiveGrade

Screen Shot 2016-03-10 at 11.58.21 AM

Screen Shot 2016-03-10 at 7.52.12 PM

I tried everything I could think of, tried updating the firmware on the M2, replaced the antennas on the COLR itself, nothing worked.

So I ordered the TP-Link to see if it was a router issue.

Since I had already set up everything on my ASUS router to be on the 192.168.0.1 gateway the TP-Link was just plug and play since it’s default is 192.168.0.1 and I didn’t have to change anything.

The only downside to the TP-Link is it doesn’t have a way to detect static IPs on the network natively to the webUI whereas the ASUS does via it’s Network Map function (which is pretty cool).  However you can get an app called AngryIP or IP Scanner and it will do the same thing.  It’s just a stand alone app.

I switched to the TP-Link on DAY06, it’s now DAY10 and I have yet to have any dropout issues with the COLRs in the M2.  I don’t know if it’s an ASUS thing, or if it’s a issue with having the wireless enabled on the ASUS or not, but what I do know is that the TP-Link worked flawlessly out of the box, which is what I’m currently using.

For the time being I still have my IS-Minis on my cart as a backup in case things go super wrong with the COLRs but so far this week I’ve had zero issues with them, even outside in the middle of Times Square for steadicam shots.

If you’re having issues feel free to post a comment below and I’ll try my best to help or put you in touch with Teradek directly.  They’ve been a huge help in this process.

 

The full review is coming up soon.  Spoiler alert: I’m a big fan of these things. Especially CameraLink. But more on that later.

Coming Attractions

Things have been dark on this blog for good reason.  I was on HBO’s Vinyl from May to October and couldn’t talk about my involvement on that at all from a NDA perspective.

 

Now that the show is out I can officially start talking about the workflow and how everything came to pass.

So here’s a sneak peak of what I’ve been working on for this site.

 

 

Screen Shot 2016-02-22 at 10.08.22 AM

Pomfort Silverstack v5

Silverstack just released version 5 of their software which add some MUCH needed tweaks, especially in the LiveGrade LUT cross integration that I’ve been wanting for some time now (maybe now I’ll actually start to use the rendering aspect of the software that I used to pay for and never used).  I’ll be doing some tests in regards to speed and ease of use versus Resolve.  I’ll be writing up a full review and my thoughts and opinions here.

 

Screen Shot 2016-02-22 at 10.10.37 AM

Teradek COLR

Just got two of these bad boys from Teradek to test out.  I have a series of interviews in which I need to have a low profile setup so this is going to be a perfect scenario in which I can test this out.  Very excited to try these out.  I hope, if all goes well, that this will revolutionize how I do on set color by controlling the look directly from the camera side instead of down the pipeline.

 

Screen Shot 2016-02-22 at 10.12.35 AM

F55 Vinyl Workflow

We shot Sony 4K RAW for Vinyl, for the entire run of the show.  Something like 220TB of information by the end of the season.  And I was almost always wrapped and on the truck 30 minutes after they called wrap.  So how did I manage to deal with 2 cameras shooting 130MBps? More on that later.

 

Odd-Mom-Out

Odd Mom Out season 2 workflow

Dual Alexas shooting ProRes4444 HD (and more on why we chose that for season 1 as well) with changing on how we work on the fly with post.

 

oculus-rift

Virtual Reality and You

VR creates a whole new issue in regards to the role of the DIT and on set workflows.  I dive deeper into how to effectively media manage, live stitching with windows,  as well as getting into doing quick on site stitching to be able to preview the scenes just shot.

LiveGrade Version 3

Screen Shot 2015-07-15 at 1.33.54 PM

Pomfort has release it’s newest upgrade to LiveGrade, with version 3 making it’s debut today.

I’ve been a fan of pomfort’s for a number of years, especially when the only two players in town were LiveGrade or LinkColor. LiveGrade really allowed me to stay organized and be able to manage my looks over a number of projects, which was pivotal in a few circumstances.

I really thought they stepped up their game with version 2, adjusting the UI to make it cleaner, allowing the use of IS-Minis, which are my preferred LUT boxes now, adding the shades mode (which is very handy with darker lit scenes), and a lot of different small tweaks here and there that really made the experience a lot better.

As with every review that I do, I’m going to be brutally honest with my thoughts on how I feel this holds up to a real world workflow on set.

So now we have version 3. And I will have to say I’m not as impressed as I was with version 2.  There are some things that I like about this version and there are definitely things that I do not like about this version and that I will likely never use, ever.

First things first: I hate the subscription model.  I understand that everything these days is going that route to be able to provide better updates and less costs to the user (in theory at least, I still feel that the subscription method actually costs the user more over the corse of the item’s life time) but at what point does it become a bit too much?

The $499/yr price point is ludicrous. The software (LiveGradePro v2) before cost $499 $979 and I was fine paying that because it was a one time thing, with a price point of that EVERY YEAR I better damn well  be getting my money’s worth, not just a fancy new UI upgrade and some features that I already use with other programs that do it better.  I like that they offered a $249 for the first year if you upgrade to v3 from v2.3 but still, I feel like $249/yr should be standard, especially if they used to offer the program for $499 in the past as a stand alone app (which you can still use btw, v2.3.1 is still usable but I doubt they will be developing for it much in the future).

EDIT:  I was mistaken in the price, LiveGrade Pro v2 was originally offered for $979 and basic was $499, not the $499 that I had originally thought, so I retract that paragraph as the price point is pretty much reasonable for what they offer in the subscription services.  I had upgraded every time from one license to the other so that’s why I was mistaken in the price.

Anyways, on to the actual program.

NEW USER INTERFACE

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OLD USER INTERFACE

Screen Shot 2015-07-15 at 2.59.03 PM

I will have to say tat I like the Yosemite style of the new UI, it does feel a bit cleaner and less cluttered. I like how the saturation is it’s own thing AND I like that you can add different nodes on top of one another (although why you would want to do this for live grading is beyond me).

You can edit the order of operations by hitting “edit” in the middle right, which will let you delete or rearrange things in that section of the window.

Screen Shot 2015-07-15 at 1.08.16 PM

If you hit the + button next to edit, it will allow you to add another node in the mix.

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which gives you this

Screen Shot 2015-07-15 at 3.10.15 PM

If you look closely you’ll see that only one CDL node is controlled by my tangent element with the icon there in the right portion of the screen.

In the middle of the screen is the slots, clip, devices, expand all devices, refresh devices, and look control.

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When you select these, your main page will change to reflect the mode that you’re in.

Here’s how each mode looks:

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Screen Shot 2015-07-15 at 3.25.16 PM Screen Shot 2015-07-15 at 3.25.08 PM Screen Shot 2015-07-15 at 3.24.54 PM Screen Shot 2015-07-15 at 3.24.47 PM Screen Shot 2015-07-15 at 3.24.40 PM Screen Shot 2015-07-15 at 3.24.33 PM Screen Shot 2015-07-15 at 3.24.24 PM Screen Shot 2015-07-15 at 3.20.47 PM

One feature I really really like is the ability to lock the tangent panel.

Screen Shot 2015-07-15 at 1.09.01 PM

I can’t tell you how many times I’ve accidentally bumped the wheels mid take or someone else has, it’s nice to be able to set it and lock it once the look is set.

The Clips and Looks window

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This window is new in the sense that you can add new columns to add more information to.

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I don’t use the video aspect of v3, for reasons why I will state later, but I could assume that the TC in and out would be helpful for lining up CDLs with TC, but I haven’t and probably won’t ever use that function.

Creating new looks has a new prompt that comes up, and I like that it copies the last used naming convention for the next take.  You can add in the specific data for each scene, take, and episode and then can advance it with the arrow keys, really like that function.

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You can either use the arrow keys to change the values up and down or just click on the arrow keys themselves.

We finally have reports for CDLs like Silverstack has for clips and data management.  Under the folder section, you can right click on a folder and then export it as a report (alternatively you can select the report button on the top right section of the main window and do the same thing).

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This will prompt you to specify a name and destination for the report.

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And then this is what the report looks like:

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If you were to use the capture device portion of LiveGrade then the screenshots attached to each look would be included in this report.

The device manager is the same as it was in v2.3

Screen Shot 2015-07-15 at 12.58.50 PM

with the only change being the new option to add a Capture Device (aka a SDI source via an ultrastudio)

Screen Shot 2015-07-15 at 12.59.07 PM

when you select the Capture Device it gives you a prompt to select what the signal rate is coming into the ultrastudio, or whatever your capture device is.

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After you select the source it should pop up for you.

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There’s a window that pops up that lets you move the live image around, which is nifty, so you can re-position it where ever you’d like.  Just a note though, the window under IMAGE SOURCES tab, under the devices, doesn’t refresh live, it has a staggering effect, I keep that tab twirled up.

I haven’t tested the recording aspect of it, once I get some more time with that portion and can figure out how best to implement it (not gonna lie, it might be a bit, I’m very uninterested in incorporating the video portion into my workflow) and then update this post with what I find out.

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However the issue that I have with the video portion of LiveGrade is that I constantly do multicam shoots of 2 or more cameras, and I only have 1 Ulstrastudio 4k in my setup.  I use a decimator MDQuad for all my multicam stuff, as I tend to display the LUT and LOG on the different quadrants so I can monitor them at the same time, it’s not very easy to get that to work in this as things become double LUTed and it doesn’t look very good, so I don’t like to use it.  Typically I use Scopevox for all my monitoring needs from the US4K because I take a LOT of stills, for both lighting and color continuity as well as safeguarding myself in case there are questions about the dailies from post (which has saved my ass a LOT of times).

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You can select which device slot you want the video slot to go to HOWEVER it also takes whatever color is attached to that specific device so you ALWAYS have to send the US4K LOG instead of a LUTed image, which I don’t like.  Also if you have multiple cameras but one US4K you’re screwed, unless you want to constantly switch signal inputs with the device settings, which doesn’t really help at all.

Verdict: There are some things about v3 that I like (new naming conventions) and some that I most likely won’t use ever (the video portion).  If you want to add the live video feed into your workflow and can justify the $499/yr price tag for that (in perspective scopebox is $99) then by all means go for it.  v2.3.1 is still $499 forever (for now) and will never have a subscription to it.  I personally don’t feel the $499/yr price tag is worth it unless Pomfort REALLY ups their game with some versions coming out in the next year, if not then I’ll most likely stick to v2.3.1 for the indefinite future.

I’m still sussing out the program but that’s my initial review of the new LiveGrade v3, if you have some tricks that I don’t know about post them in the comments below and I’ll update the post with more info!

Try out the poll and let me know if you’re happy with v3!

DIT Folder Structure

While I was waiting on some people to get back to me for a checkout for an upcoming TV show I decided to put together a little program to help with creating default folder structures that I typically use, so now I’m making that available to everyone else as well!

Here’s how it works:

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You double click the icon, and it will ask you for a day.  I tend to use the date in the fashion of year, month, day, but you can modify it to be whatever you want, such as DAY01, DAY25, etc.

It will default to the desktop, so you should choose where you want this to go by hitting OTHER and then pointing to what destination you want the folder structure to populate.

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Then it will ask you for a camera name.

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Such as the F55, Epic, Alexa, etc.

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Once you hit continue, it will automatically populate all the folder structures and all that jazz

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And that’s it! You can find the link for the program here.

DIT_Folder_Structure