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Re: DaVinci obs...



Hello to all...

I have watched the Davinci discussion with interest now for somw time. As
most of you know, I work for Editel Chicago, the home of Davinci's first
wiz's, and later, the first Davincis ( I did not work here then, but my
mentor did). The only way I have been able to make sense of these discussions
is by assuming that colorists in Chicago have a much different workload. I
have to assume ( and I'm pretty sure it's true ) that our counterparts in LA
have reams or miles of film to go through at one time, and that davinci
somehow slows them down. Before I go on, this one topic bothers me:  I have
always worked within the idea that our clients come to us for our talents and
our abilities, and not for how fast we can twirl the knobs and hit play &
record. That aside, in Chicago at least,
in a final transfer we typically have between 1000 & 10,000' of SELECT
negative. I will typically start with pix start as frame 1 and go from there.
I ALWAYS mark the first frame of slate, and any flashes between scenes (not
takes). I know this is anal. I know this takes time. But if I have to steady
print a scene, do an alternate speed or color of a scene, or a revision, this
system makes it simple to go into the roll and cue by scene, count, or any
other way I want. The list is not completely marked, so I hardly ever have to
insert a mark.I can also do dissolves w/ mark/dissolve instead of inserting.
 I do,  however,  have to pay attention to position changes. I also
label scenes accurately. Colorists who say all of this takes too much time
are lazy, or don't know any better. As to hitting current scene,
I load a beginning correction into all three (ABC) memories. (Anal right?) I
do this so as I revise, I can do so quickly and not have to memorize what
buffer has what correction. If all three are full, you can make a change
without storing it (they're all full) hit a memory, then hit  preview scene
and there's the unsaved correction. This is like 4 buffers at your
fingertips. I personally don't use D & E because I don't think they are very
ergonomic. And the Split the difference wheel of fortune is inacurrate, as
well as a pain in the ass.
 As to auto scene detect, if you've got time to watch davinci mark your roll
( and not that accurately or with much control) you've got time to mark it
yourself. As to alternate color corrections, I agree that there must be a
better way. I also agree with reel names. I wish our Davini had a built in
timecode generator with a defineable offset for doing tape to tape from the
same sorce timecode. I know Davinci makes an add-on. Does anyone use it? does
it work? As to TLC's, I know they are popular in LA LA land, but we pay
assistants way too much money not to be able to record on 2 - 8 decks per
session. I realize however, that long form dailies and episodic work require
that damn box, but I can't believe those of you that use it don't bitch about
it more. If any piece of telecine gear needs to come into the 90's, that's
the one. The day I could get off of an online edit linear style interface was
the day I did. 
 
In summary, I'm sure I am the oddball here. I'm sure many of you will
disagree with me, and that's fine by me, it's what this board is for;
Sounding off right? Remember, it's only a friggin' computer anyway, and by
this point, if you can't jump on unix, then dos, then mac,
then gvg, then cmx, then davinci, maybe something else is wrong...
Please be gentle, I give of myself for the good of humankind, and once in
awhile so I don't miss out on a chance to tease my bretheren.

Later,
Craig Leffel